We compiled a megamix of 100% Pearson Sound tracks and remixes to honor the release of the Hessle Audio boss’s debut album.
David Kennedy has never produced a track I didn’t like. Over the past few years, I’ve amassed a collection of his 12″s under the monikers Pearson Sound and Ramadanman, as well as a number of records that he released on Hessle Audio, the label he co-runs with Ben UFO and Pangaea.
At this point I’d consider myself an ephebian expert on Kennedy’s work, and I’ve developed a theory that explains why David’s tracks are often very complex and hard to mix. I think maybe he, Pangaea, and Ben UFO practiced DJing so often that they got bored of mixing 4/4 rhythms and started trying to fuck with each other by making difficult tracks (except for Ben UFO, who only partook in the mixing of the tracks and not their creation). The intricacies of Kennedy’s rhythms made it really hard for me to mix one Dave track after another for an hour straight, so please forgive the occasional awkward transition in this megamix. I made it with two turntables, a CDJ, nine 12″s, and one CD.
Ramadanman – Core – Soul Jazz
Ramadanman – Humber – Apple Pips
Ramadanman – Revenue – 2nd Drop
Pearson Sound – Wad – Hessle Audio
Kontext – Plumes (Ramadanman Refix)- Immerse
Pearson Sound – Clutch – Hessle Audio
Pearson Sound – Work Them – Swamp81
Pearson Sound – Stifle – Hessle Audio
Sonarpilot – Voodoo Logic (Ramadanman Refix) – Sonarpilot Audio
Pearson Sound – Gridlock – Pearson Sound
Pearson Sound – Starburst – Hessle Audio
Hardrive – Deep Inside (Pearson Sound Remix)- Night Slugs
Ramadanman – Glut – Hemlock
Pearson Sound – Piston – Hessle Audio
Pearson Sound – REM – Pearson Sound
Pearson Sound – Power Drumsss – Hessle Audio
Ramadanman – Penn Hill – Unreleased
UPDATE: Thanks for participating! We’ve picked the lucky winner and will be mailing out the package in a few days.-
Electronic Beats has decided to close out the year the best way we know how: by giving our readers a bunch of free stuff. This holiday season, we have a ton of autographed CDs and 12″s from EB favorites, as well as free trips and tickets to our forthcoming EB spring festival season, which will hit Warsaw, Bratislava, Prague, and Cologne between February 27 and May 29. We’ve bundled the items into five separate prize packs, which we’ll unveil over the course of the next week, and we matched each batch with a mix from one of five producers who left an indelible mark on 2014’s cultural fabric. In order to score the bounty, you’ll have to listen to the mix and send us as many track IDs from the set as you can. Whoever IDs the most tracks wins the prizes.
Its somewhat misleading to say that Ben UFO was one of 2014’s most hyped DJs, because one could argue the same for 2013. The Hessle Audio label boss has sustained a constant buzz over the past few years, especially among diehard heads with a soft spot for left-field dubstep derivatives and noise-leaning electronics. Tuning in to his weekly radio show on Rinse FM in 2013 seemed to be one of the few rituals that united the international underground, and his list of shout-outs sounded like a roll call that included RA writers, aspiring producers, established DJs, and popular techno-related Internet personas.
His momentum from 2013 propelled him to new heights in 2014; he played over 120 gigs across 32 countries, including stops at major festivals like the Warehouse Project, Dimensions, Weather Festival, Parklife, Free Rotation, Dekmantel, and ADE. The constant gigging helped UFO break through to wider audiences that regard him as something of an ambassador of certified underground sounds, especially the weirder ones. His ascendance corresponded with what feels like a generally increased interest in dance music’s avant-garde fringes over the past year or two, as evidenced by the rising popularity of gritty lo-fi textures and labels like PAN, The Trilogy Tapes, and Berceuse Heroique. It creates a sort of chicken-and-egg scenario: Did Ben UFO make antagonistic dance floor music more popular, or vice versa?
As aforementioned, there are over 100 Ben UFO sets from the past year to choose from, and we’ve settled on one that has stuck with us since it was posted at the end of last summer: his appearance at Dekmantel. If you can help us ID more tracks than anyone else, you’ll score the following autographed CDs and LPs:
Hudson Mohawke, Butter (Warp) [CD]
Mount Kimbie, Cold Spring Fault Less Youth (Warp) [LP]
James Blake, Overgrown (Atlas) [LP]
SBTRKT, SBTRKT (Young Turks) [CD]
Disclosure, Settle (PMR/Island) [CD]
Submit your Track IDs in the form below. Be sure to include the artist name, track name, and the time it appears in the mix using the format time-artist-title (ie. 15:25-Lynyrd Skynyrd-Free Bird). When you’re done, hit Subscribe. Keep an eye out for more chances to win new prizes throughout the next week, and click here to enter our other year-end contests.
In our BPM column, we review a clutch of the most intriguing electronic music currently on offer. This month, Louise Brailey on Mr. Beatnick, Fis, Objekt, Nguzunguzu, Pearson Sound, and Renaissance Man.
Artist: Mr. Beatnick
Title: The Synthetes Trilogy
Label: Don’t Be Afraid
Format (release date): CD/digital (out now)
London’s Mr Beatnick may not be the world’s biggest self-promoter, preferring that his musical knowledge speak for itself. And it did, furnishing DJ sets, stints on Rinse and NTS, music writing, and, every now and then, his quietly brilliant hip-hop informed productions. It was a suite of immaculate house EPs on the Don’t Be Afraid label that rattled him free from the “producer’s producer” pigeonhole and found him talked up everywhere from Fact to NME (poor soul). Neither hip pastiche nor bass-primed, his original Synthetes trilogy of EPs ran in tangent with, but apart from, the strands of house revivalism. Eight original tracks from the original trilogy of releases are gathered here, in an expansion pack that includes four exclusives and is an exercise in depth and restraint. Beatnick’s hip-hop background manifests in the subtle use of samples and frequent excursions into space funk territory (see “Sun Goddess” for examples of both) but while the warm, jazzy chords of “Symbiosis” are spiritually aligned with house classicists like Theo Parrish or Virgo, the rawer excursions suggest the kind of Detroit updates installed by the new wave of idiosyncratic producers like John Heckle. Of the newer tracks, both the deep and muted “Waning Moon” and the jungle bpms of “Never Dies” provide stylistic variation, but let’s not mess about—it’s not the exclusive tracks that make this one essential.
12-inch/digital (November 18th)
Even when placed alongside a handful of other assaults on drum ’n’ bass orthodoxy, which is what happened when “Cultural Trauma” was featured on Exit Records’s Mosaic compilation earlier this year, Fis’ music juts out like an unsightly slab of brutalism. Then, his sound was tempered by a collaborator, the experimental d’n’b producer Consequence. Working alone, his dark, strange vision stretches the parameters of the genre until you hear the sockets pop.
Enter Tri Angle, who’ve have spotted a kindred spirit in the New Zealander—and it’s testament to Fis’s own unplaceable sound that it fits on their roster as well as anywhere. Indeed, on “Magister Nunns”, increasingly frantic wails and twitchy percussion bears more than a passing resemblance to The Haxan Cloak. The decrepit-sounding “DMT Usher”, originally released on NZ label Samurai Horo, deploys a crippled breakbeat and heart-stopping rotary blades FX to slash through its desiccated, Shackleton-style ambience. “Mildew Swoosh”, well, you can work this one out: splints of percussion lope and collapse into a breakbeat as waves of toxic white noise gather and disperse. We’re in a flush of artists attempting to recapture mental and spiritual impression of rave music, Fis seems obsessed with its physicality—even if there’s little else left. Decayed, mutated, sick, this is body and it lives, in its own way, in the present.
Fade To Mind
12-inch/digital (out now)
Asma Maroof and Daniel Pineda follow up their contribution to Kelela’s Cut For Me mixtape with eight more examples of why they’re one of 2013’s more interesting propositions. As Fade to Mind’s resident shock troops, they make mutable, mutant grime which glints with shards of R&B, anchored by a slippery center of gravity lent by a powerful low-end. That their meticulously layered records can sometimes feel unlovable is part of their futurist appeal. From the chorale synth, knackered piano and vrooom FX of “Vision of Completion” to the shuddering and dungeon-dank “Tumultuous” (which, displaying the duo’s stylistic pluralism of influences, features both nods to juke and Goa trance), Skycell sees Nguzunguzu are clearly so far ahead of the pack they can barely mask their contempt. Still, sometimes it’s the most insidious weapons which do the most damage and “Foam Feathers” distills Nguzunguzu’s capacity for genuine creepiness into the meanest of elements: parping, clenched baseline, tin-pot percussion, and twinkling, incongruous chimes, all coalescing out of the sound of distant heavy industry. Now, can you even imagine the damage these would do in a club?
12-inch (out now)
Objekt’s TJ Herz makes club music that feels like it’s lurked so long in the cracks between techno and garage it’s started to congeal there. This, the third in his series of self-released white labels, continues to mine that particularly warped seam and just as “CLK Recovery” found its charge in the tension between warehouse techno’s relentless drive and intricate, atmospheric sound design, “Agnes Demise” employs violent dynamics to disorientate. Air piston and sucker punch drum pads stake out a monolithic two-step, as assorted clanks and clatters littering the negative space left in the backdraft. Like any power tool, “Agnes Demise” finds its power in its relentless force on a concentrated area—which only makes those moments when the percussive support implodes, leaving behind aftershocks of aural detritus, including a scrambled space transmission, even more disarming. “Fishbone” is less contorted, an exercise in streamlined electro pitted with cavernous sub-bass and passages of ambience. It’s up to you to take the respite while you can.
12-inch (out now)
Remember when dubstep blossomed into a period of unprecedented experimentalism only to settle into quite trad house? It felt like going from Chagall and Otto Dix one year to pastoral landscapes the next. Thankfully, Hessle Audio’s infrequent transmissions have remained beacons of innovation amidst the conservatism, their light shining all the brighter against the increasingly irrelevance of labels like, say, Hotflush. As one of the founders of Hessle, David Kennedy aka Pearson Sound, keeps things ticking along with this release. A-side “Lola” sees him thrash out a grimier direction, the pointillist Zomby-esque synths and leaden swing an interesting set-up to B-side “Power Drumsss”. The latter, a flinty Hessle-style 808 tool, albeit with the angles slightly off. Lastly “Starburst” employs squealing stabs, distorted drums and, eventually, a cloud of synth vapor which envelops the whole affair like a toxic sunrise over industrial wasteland. While not an quite essential release, it augers well for a label who’s recent flush of releases have included Pev and Kowton’s brilliantly scuzzed out “Raw Code” and the itchy industrialism of Joe’s “Slope”.
12-inch/digital (out now)
Coming up amid the heady days of fidgit house (with the Dubsided and Made to Play credits to prove it) Renaissance Man know better than some that affecting seriousness in the club is a mug’s game. They also know that the line between making club music that’s littered with clever-clever samples which is innovative and humorous and coming off as a bit of a cringe is really fine. Now, with their freshly minted Black Ocean label providing a home for hardcore-referencing, grime-y slow boilers like “UFO Who R U” they’ve gone all out: sampling Brad Pitt’s derided Chanel commercial, calling their mix for Dis “outsider Gabber”… The Internet, presumably, is smiling inwardly to itself at all this but, back in the real world, it’s genuinely difficult to hate. This is partly due to their production chops: Renaissance Man have always been sonic innovators and even as “Kama (Dance with Me Into the New Age of Love)” references the acid synths—and the new age bollocks—of Sven Väth style trance, they temper it with heads-down techno fatalism, foreshadowed on the excellent January release Call2Call. As for “Journey”, with its galloping Plastikman chassis laden with granular texture—all knife clinks and bird tweets—and the foolhardy use of that sample it could, perhaps should, be a disaster. Yet somehow the feeling that the track, and the EP as a whole, is coming from a genuine place cuts through the dense fug of naffness, or worse, irony. ~
For other editions of BPM, click here.
Rather than operate as a music news source, Electronic Beats operates as a music information source. We want to share with you; we want you to know what we’re hearing, what’s reverberating our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Down with that? Welcome to Editors’ Choice.
Lisa Blanning (Online Editor)
Kelela – “Enemy” (produced by Nguzunguzu)
The first new track revealed from the vocalist’s upcoming debut release (she called it a mixtape at her recent Berlin gig, but with the catalog number FADELP001, that implies vinyl) is a much spikier production than the beguiling “Bank Head” from Kingdom’s latest EP and an interesting contrast for the singer.
Louise Brailey (Deputy Online Editor)
Joe – “Maximum Busy Muscle”
This week Hessle Audio announced two upcoming releases. Two. That’s like Christmas for us undernourished Hessle fans. It’s Joe’s release that I’m digging the most—particularly this bruxic B-side. It has an apt name—the track feels like it’s coasting off its own nervous energy, meanwhile the stumbling beat, scrambled samples and clipped, live percussion is reminiscent of the kind of squared-off anti-techno that Robag Wruhme used to make in the early part of the millennium.
Moritz Gayard (Online Duty Editor)
SETH – “Dont Open Your Make – Chick On The Moon”
Gobby is back. This time the beloved techno manipulator has teamed up with vocalist James K for a new project called SETH. Their debut EP Chick on the Moon will be released on October 8th via UNO, get an idea above.
Jannik Schäfer (Social Media Editor)
Kid Kameleon – “Flavor Overdrive”
Matt Earp aka Kid Kameleon’s favorite sounds of 2013 compiled into one smashing hour of footwork, d’n’b, trap, future bass, hip-hop, zouk, dubstep, and more. 130+ BPM fun! Extra internet cred goes out for including the Schlachthofbronx remix of ‘Teach Me How To Dougie’.
Andhim – “Boy Boy Boy”
The masters of sunshine are back with another track that doesn’t seem to change from the first to the last second but still succeeds in nestling right into the nucleus accumbens. Boys, boys, boys…
Read previous editions of Editors’ Choice here.