Tag Archives: Dubstep

Melbourne producer  Wabz channels UK Garage on new EP



When you think of Australian music, Garage, or UK Garage for that matter, isn’t one that jumps to mind. But you’d be wrong for thinking that geographic parameters would mean there isn’t a scene. One of the main figures in this messily burgeoning scene is Melbourne producer Wabz. Since 2012 Wabz has been releasing music that sticks to the original UK Garage ethos, but at the same time is full of his own ideas for the genre.



On his latest EP Sleep Less, Wabz has added elements of avant-garde experimentalism to create something that feels familiar, whilst feeling totally new and exciting. Avant-Garage if you will. Opening track NightRider is a low tempo slow burning that has more in common with chillwave than 2-Step. It smoulders with intensity and verve. Bells Ring Out is when we start to get an idea of what Wabz is really getting at, and what the crux of the EP is. Methodical, but lackadaisical basslines run amok with wonky breakbeats, while wispy synths eddy and swish around us. There is a recurring vocal sample, that helps break the track up, but ultimately doesn’t really add much. Bells Ring Out mixes into Melrose Park, with an effortless ease that would make many a club DJ smile. It’s more of the same, but a cruel purity oozes from the speakers throughout its duration. The beats are tight and the basslines dense. Melrose Park is the most immediate track on the EP. If it came on at a park, or club, dancing would become more frenzied and looks would be fierce and intimidating.



Shadow and Walk this Way close the EP. Both are harder hitting than the previous tracks, but this doesn’t mean they are any less listenable. Glitchy chimes open Shadow, and the whole song has a lurid lullaby quality to it. It sways and sweeps along until it slowly fades out. Walk this Way opens with an electro-owl bass hoot. At first the stop/start beats feel tedious and lazy as you just want to the bass throbs to continue, but as everything slowly starts to become in-synch you realise it’s another demonstration of Wabz’ production wizardry to create the song that way.



Ultimatley Sleep Less is an amalgam of classic UK Garage and early Hyperdub releases. Everything is a bit stark and murky. There are flourishes to Wabz’ palate that show his influences, but there are more that hint at his future. In the past my main problem with garage is the vocals/MC’s, but the majority of Sleep Less is instrumental, baring a few vocal samples. This make the listen refreshing and more rewarding as you can actually hear Wabz’ deft production touches, rather than them being buried under layers of inane vocal tracks. It can only be a limited amount of time before Wabz unveils his second album on a very suspecting world!











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Slugabed returns to the Activia Benz for another



I’ve said it before and I’ll say it again the Acitiva Benz’ series is one of the most consistent and forward thinking singles clubs around today. After forty plus releases they are showing no signs of faltering, in both quality and imagination. But what marks the out isn’t that they pick the best new and existing talent around, but that they don’t charge for these releases.



The most recent, and forty fifth release sees Activia Benz’ founder and benevolent dictator Greg Feldwick AKA Slugabed returns to the fold, since last year’s hhhowllll. Like hhhhowllll Fuck Station Zero is a slow burner that sounds like Feldwick just plucked the elements out of the ether. The beats are lethargic and lysergic, the bass flows like a lyrical babbling brook, gently caressing our ears as the cool water rushes over our feet.


It’s been four years since Feldwick’s debut album Time Team on Ninja Tune, so let’s hope that its follow up is still in the pipeline. But if Feldwick has retired from long players, let’s hope that he still keeps releasing gentle bangers like this to fill the void!









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Kcus Uoy teams up with Amajin Records to continue their mission statement of forward thinking instrumental music



It’s Easter Bank Holiday, the night is drawing in. You’re in a food coma because you’ve eaten too many Easter Eggs and hot crossed buns, but don’t worry your musical answer is at hand!



₭ ₡ V $ V ∅ ¥, KCVSVOY or Kcus Uoy, in all fairness I don’t really care how it’s pronounced or written, as the music speaks for itself. It’s a mixture of Hip-Hop, Trap, Gothic Electronic whilst never committing 100% to any of them, yet sounding like all of them at once.



Self Seen Mine is the standout track on the album. Opening with eerie vocals and a deep bassline that, if played loud enough, could do more damage than the San Andreas Fault! This is a mixture of everything dark and sinister, bouncy and vibrant, bassy and extreme, eerie and atmospheric and totally listenable. The rest of the album is chocked full of inventive forwarding thinking productions and insightful concepts.



KCVSVOY is a name that needs to be watched, because like his music cannot be ignored!



KCVSVOY is out now on Amajin Records.








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L/O/O/N looks set to release a powerful and dazzlingly delicate debut album



We’ve all had enough of two dimensional dance music. You know the type, over the top breakbeats, aggressively throbbing basslines, coupled with immense bass wobble and inane vocals. If you’ve had the misfortune to go out and end up in generic bar/club you would have heard enough of this music to last a life time. Norwegian producer Mikael Kanstad AKA L/O/O/N has definitely had enough of this thing and has decided to do something slightly different.



Coming from a hard rock/metal background L/O/O/N’s music feels like it has more ebb and flow to it that his peers. There is an element of space and movement that is sometimes missing form electronic music. Lead single Dropping Faces is a prime example of this. Opening with a wall of swaying synth and keyboards, an achingly simple vocal sample keeps us on our toes by popping up and giving us something immediate to grab hold to. The music is low tempo, borrowing more from hip-hip than house, but don’t let its laid back visage fool you, there is plenty going on just under the surface and what’s more its fun!



L/O/O/N, along with the Activia Benz label look set to be trying to change the conventions of what electronic/dance music can and should be in 2016. We will have to wait to see what L/O/O/N is really capable of, as his self-titled album is out in March 11th, but for now this is something to get excited about!










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So it’s been 1 year, 12 months, 365 days, 8760 hours, 525,600 minutes, 31,536,000 seconds since thisyearinmusic’s last New Year’s (Dis)Honour list. The whole point of end-of-year-lists is to showcase things that the writer(s) have enjoyed and you, my dear reader, might have missed all the while showing themselves to be much more knowledgably and interesting than you are.



We would like to think that thisyearinmusic is different and we generally try and showcase things that have touched us and defined what 2015 was about, but sadly we’re just as bad as all the others, and this post is just an example of that. Last year’s list was ungainly and bloated, so we’ve tried to cut it down to the bare bones. We won’t be handing out prizes for art direction, production and such, but instead we’ll give you Album and Song of the year, and people to watch out for this year. We aren’t even going to waffle on for ages about why these songs are good and better than millions of over songs released this year, but we will say that each captured the feeling and mood of the year perfectly.


Song of the Year



10. Big Dope P-Still Hood



9. The Bug Zim Version



8. Django Django-Giant



7. Hunck-I’ll Wait




6. The Garden-HaHa



5. Courtney Barnett-Elevator Operator



4. The Death of Pop-Rayban Party



3. Ricky Eats Acid-Carnival of Souls



2. E B U-Dead of Night



  1. Loyle Carner- Tierney Terrace



Album of the Year



10. Warm Brain-Big Wow





9. Grubs-It Must Be Grubs





8. Sasha Siem-Most of the Boys





7. MXLX-^___^





6. Death Grips-Fashion Week





5. Miguel Baptista Benedict-bedsores (regurgitations and loops)



4. Dave Cloud and the Gospel of Power-Today is the Day that they Take me Away



3. Kamasi Washington-The Epic



2. Binker and Moses-Dem Ones




  1. Fairhorns-FUCKUP Rush




One’s to Watch



Activia Benz



Du Bellows



Applewood Road



Oliver Wilde



Baishe Kings


Where the hell has this year gone? Last time I checked it was March, and now we’re coming into the final straight. As with the previous ten months, November has been pretty good. Here are the highlights:




Club Kuru


Trust Fund

Mercury Prize

Warm Brains





Album Leaf

Me and My Drummer



But the real highlight was the Mutations festival. For two days we were pulled pillar to post across Brighton so we wouldn’t miss anything. High lights included:



Willis Earl Beal

Nature Channel


Chelsea Wolf

Neko Case

Abi Wade

Josh T. Pearson

Christopher Owens


Merlin Tonto

Best Friends


Blank Mass



Foreign Skin

Mount Bank

Jane Weaver

Lightning Bolt




So, again as usual, December the gauntlet has been thrown down. Will you accept…







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Warp Records are 26 years old. However this year makes the 25 anniversary since the release of their first album. To mark this auspicious occasion here is a selection of 25 albums from Warp’s nigh on perfect back catalogue. The albums included are well known, but might not get the press they deserve due to others taking the limelight. Richard James we’re talking about you here.



1991       Sweet Exorcist-C.C.C.D.


The first album on Warp is more of a slice of what was going on at the time, rather than an indication of what was to come. Richard Kirk (Cabaret Voltaire) and DJ Parrot, had gained some attention with the Northern Bleep techno scene thanks to the Testone EP, C.C.C.D. was one of their follow ups. While it’s not as ground breaking as Testone, it is just as playful and has a charming vibe to it.


1992       Various-Artificial Intelligence


Dance music was changing in 1992. Rave culture was deemed to be selling out the original ethos of techno, so to embrace a change towards “Intelligent Techno” Warp put out the First Artificial Intelligence compilation. Warp co-founder Steve Beckett said this about the time and AI1 “The dance scene was changing and we were hearing B-sides that weren’t dance but were interesting and fitted into experimental, progressive rock, so we decided to make the compilation Artificial Intelligence, which became a milestone. It felt like we were leading the market rather than it leading us, the music was aimed at home listening rather than clubs and dance floors. People coming home, off their nuts, and having the most interesting part of the night listening to totally tripped out music.”


1993       F.U.S.E.- Dimension Intrusion


Richie Hawtin created a masterpiece, under his F.U.S.E. guise, with this Detroit influenced album Dimension Intrusion. Warp licensed it in as it fitted in with the “electronic listening music” Artificial Intelligence series. Dimension Intrusion is made up of screaming acid, ambient flourishes, hard electro and classic Detroit techno, what’s more isn’t insanely melodic, catchy and instantly becomes a favourite.


1994       Kenny Larkin-Azimuth


Detroit native Kenny Larkin was a third generation techno artist, missing out on the early days of techno because he was in the military. When he came out he made up for lost time. 1994’s Azimuth showcases his ability to recreate the original sound, but add in contemporary styles to make it sound fresh and vibrant. Like Dimension Intrusion there are elements of ambient album with harder hitting moments.


1995       Seefeel-Succour


In 1995 Warp was going through its first set of changes. The label, like the UK’s musical landscape was changing. Classic albums were released by Aphex Twin-I Care Because You Do and Sabres of Paradise released Sabersonic II. The Artificial Intelligence series was coming to an end, and Britpop was ruling the charts and getting kids into guitars for the first time since punk. Not to miss out on something ground breaking Warp signed shoegazing mavericks Seefeel. Instead of the classic shoegazing sound Seefeel mixed electronics in to their sets to create minimal soundscapes. Succour is the perfect mix of droney guitars and tonal synths. It showed that a band could exist and release “electronic listening music”. They were also an prelude of what Warp would come to be a few years later.


1996       LFO-Advance


Back in the bleep days LFO played a vital role in not just breaking the sound, but the label too with their classic self-titled single LFO. In 1996 they released their second album Advance. The sound is slightly harder than on their debut, there are some exquisite moments, Loch Ness being one. In the five years since LFO, the advancement of composition, intensity of sound and tone showed that dance albums didn’t have to be full of Top 40 hits to be a success.


1997       Jimi Tenor-Intervision


Jimi Tenor had more in common with Ninja Tune than Warp in 1997. Intervision is a space jazz masterpiece. Tenor’s ability to mix retro sounding massive organs, brass sections and blaxploition funk and soul, with downbeat and chillout beats makes this a tour de force. Out of the other 1997 albums Warp released, Autechre-Chiastic Slide, Squarepusher-Hard Normal Daddy, Broadcast-Work and Non Work and Plaid-Not For Threes, Intervision has aged the best and still sounds fresh.


1998       Boards of Canada-Music Has the Right to Children


Music Has the Right to Children is one of the first “classic” albums that Warp put out. Boards of Canada weren’t doing anything that Aphex Twin or Autechre at al, hadn’t done before, but it was how they did it, that made Music Has the Right to Children stand out. Seamlessly mixing low tempo beats with synths, interspersed with sketches and ambient electro skits the album put BoC on the map as one of the most forward thinking groups, not just on Warp, but in the pantheon of dance music.


1999       Squarepusher-Budakhan Mindphone


If Boards of Canada were pushing already existing boundaries, Tom Jenkinson AKA Squarepusher was going off in his own direction with Budakhan Mindphone. After 1998’s polarizing Music is One Rotted Note, Jenkinson stuck with the acoustic atmospheric vibe, but instead of the free jazz workouts, he opted for a more melodic dub infused sound. Opening track Iambic 5 Poetry showcases this new mindset perfectly and is perhaps one of the most simplistic, and immediate pieces Jenkinson has ever written.


2000       Broadcast-The Noise Made By People


2000 was the year everything changed for Warp. After eleven years in Sheffield, they moved the entire company down to London. Some claimed that the reason why Warp had such a distinctive voice in the musical landscape was because they didn’t pander to trends that London based labels either created or fell into. As an answer to their detractors Warp released the debut album by Broadcast. It is a mixture of 1960’s pop vocals, retro synths, tight drumming while being smothered in a Dream Pop sheen.




2001       Vincent Gallo-When


Vincent Gallo’s debut album is a mixture of delicate minimalism with heart wrenching vocals, that comforts and surprises with each listen. Half the album is made up of standard balladeer material and the other half are instrumentals. Give his persona as fractious auteur and restive actor, the levels of calm and eloquence of vocals are surprising. The album has a retro feel, namely due to the vintage equipment Gallo used to record it.



Sadly in 2001 co-founder Rob Mitchell was diagnosed with cancer and died leaving Steve Beckett in charge.


2002       Antipop Consortium-Arrhythmia


Since their inception Antipop Consortium had always done things their way regardless of what the mainstream thought, but Arrhythmia saw them push the boundaries of not just what a Hip-Hop could be, but what it should be. The Ends Against the Middle EP was a prelude of what was to come, a merging of electronic sounds and Hip-Hop ethos, but the level of inventiveness and experimentation on Arrhythmia was really it’s what set it and them apart from the pack.


2003       Plaid-Spokes


After four albums under the Plaid guise Andy Turner and Ed Handley had continually delivered minimal albums where organic melodies rubbed shoulders with stark electronic beats. Spokes was no different, but it felt tighter and more immediate. Tracks like Zeal offered a subtle nod to their Black Dog Productions origins, something that long-time fans had hoped for.


2004       Gravenhurst-Flashlight Seasons


In 2004 Warp started to move more away from the techno origins and started to embrace bands. While signing bands wasn’t anything that new, bands had signed since 1995, this new batch however had more in common with indie discos and folk nights than the electronic infusions of Seefeel.

Like the Artificial Intelligence releases, Nick Talbot’s Gravenhust project was more akin to relaxing after a night out, due to its comparisons to classic British folk musicians Nick Drake, Bert Jansch, Ralph McTell and John Martyn, than playing while out at clubs.


2005       Jamie Lidell-Multiply


If Gravenhurst’s 2004 folk infused album was a departure in sound for Warp, then Jamie Lidell’s soul funk masterpiece was equally surprising. If you think of classic soul singers James Brown/Otis Redding/Sam Moore being produced by Prince and remixed by Arthur Baker you’re on the right track. Lidell’s vocals ooze sex and sensuality, but he never loses sight of the song and it never sounds like parody.


2006       London Sinfonietta-Warp Works & Twentieth Century Masters


This is one of the most overlooked releases in Warp’s mighty canon. Live orchestrated versions of Aphex Twin and Squarepusher song performed by the London Sinfonietta. The tracks are culled from live performances over a two year period. The remainder of the album is made up John Cage, Gyorgy Ligeti and Steve Reich to name a few, but it is the Warp tracks that stand out, and sound the most engaging. Without the hard techno beats backing the tracks, they take on XXX.

2007       Battles-Mirrored


Thanks to Seefeel, Gravenhurst and Maxïmo Park bands on Warp wasn’t an odd thing, but that didn’t mean that Battle debut album Mirrored wasn’t against the grain. Taking inspiration from, well, basically everywhere, their take on motorik prog indie pop was a breath of fresh air. The music was deceptively simple, but staggeringly complex. A few short sharp riffs and fills, some abstract vocals then manipulate and compress them until they sound like pop music, but on the other side of a Circus’ house of mirrors.


2008       Clark-Turning Dragon


In 2001 Warp released the debut album from Chris Clark. It signalled a slight return to Warp’s techno roots, but it wasn’t until Clark’s Turning Dragon album that his renaissance had begun. On previous albums he had mixed organic and electronic samples, but Turning Dragon sounded far more mechanised. However there is an element of warmth to the album, like the classic techno tracks that influenced Warp’s beginning.


2009       Prefuse73-Everything She Touched Turned Ampexian


Anyone who has been in a foreign country, late at night, slightly drunk, and slowly tuning through radio stations looking for something you’ll never find, will feel a similar sensation of “is this it” during Everything She Touched Turned Ampexian. As the majority of the twenty nine tracks are under four minutes, and a lot are under two and three minutes, you never get a chance to get bored as the next track is literally minutes away. What’s even more impressive is how, even with the fits and starts its flows incredibly well and is ridiculously listenable.


2010       Gonjasufi-A Sufi and a Killer


A Sufi and a Killer sounds like a mysterious demo tape was found at an archaeological dig in the Atlas Mountains. So encrusted with dirt and the passing of time, the tapes were painstakingly reassembled, then they were thought lost in a fire, until years later the Gaslamp Killer somehow got his hands on them and pieced it all together. While this is a slightly over exaggerated hubris, there is a timeless quality to A Sufi and a Killer. Gonjasufi’s vocals croon and groan, think Tom Waits and David Thomas and you’re close, over tripped out and blissed out psych Hip-Hop. It’s quite possibly on the most original and forward thinking albums Warp ever put out.


2011       Rustie-Glass Swords


Glass Swords is the sound of someone who grew up playing video games and listening to electronic/house music. There is a Day-Glo transparency that is only hinted at by the title and cover. Skewing conventional dance genres and throwing in elements of chillwave, with a psych production makes Liquid Swords one of the best albums never to win the Mercury Music Prize!


2012       Mount Kimbie-Cold Spring Fault Less Youth


Throughout forty two minutes this a low tempo post clubbing classic that has enough to ups to keep you entertained, but nothing too jarring either. The addition of vocals to Mount Kimbie’s sound works well, not just in adding another layer or texture, but showcasing their ability to write in a pop vein as well as their skittering and XXX debut.




2013       Oneothrix Point Never-R Plus Seven


The Artificial Intelligence motif is one that appears again and again throughout Warp’s history. Oneothrix Point Never’s R Plus Seven is another album that can be put under that banner. Dystopic beats and loops rub shoulders with intricate and rhythmic piano and synth patterns, making this a direct cousin of Philip Glass’ most poignant and moving works and Swiss electronic pop mavericks Yello at their most inventive.


2014       patten-ESTOILE NAIANT


Woozy synths and rhythmic loops, at times it sounding like tape getting chewed up, permeates ESTOILE NAIANT to create lurid dreamlike soundscapes that challenge the listener to find their own meaning, rather than being guided. The lack of drums is striking isn’t noticeable at first, but due to patten’s exquisite compositions. This is ambient music 3.0


2015       LoneLady-Hinterland


On her 2010 debut Nerve Up, Julie Campbell, AKA LoneLady, channelled post-punk-funk to create a starkly listenable album. Her follow up takes this blueprint and delivers something that sounds like like ESG covering Joy Division. It’s more claustrophobic and desolate but makes it more catchy and, dare I say, danceable.




Of course this is a small selection of the 240+ albums Warp has released since its first album in 1991. While they have changed their sound and style, due to geographical and musical changes, they have never lost that initial spark of originality and individuality that has separated them from the majority of their peers. Here’s to another 25 years!








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So another month draws to a close, and with it the year’s end gets that little bit closer too. It’s safe to say that Autumn is fully here, so it’s that time of year to wrap up warm and listen to of Arrowe Hill and R.E.M. while walking briskly through local parks.


October has been another quality month for new music. Pure Bathing Culture released an absolute gem with Palest Pearl.


Coco showed that the Steel City is still the place for forward thinking Grime.


Simbiosi released unrelenting music that pummelled us into submission with their debut album Elements.


Larry Gus released and album the let the world see that DFA could release skewed pop with the best of them.


Iglooghost got his call up to the big leads with the announcement that his new EP would be released on Flyng Lotus’ Brainfeeder label. Expect more from this exciting, day-glo, sugar rushing teenager!


Loyle Carner showed again that he’s the real deal with his latest single Ain’t Nothing Changed. When his album finally comes out it’ll redefine what UK Hip-Hop can and should be!


Wovoka Gentle’s latest single shows that Folktronica is alive and well in 2015.


Victories at Sea channelled New Order and Duarn Duran on latest single Up.


Savages returned with the musical equlivant of being punched repeatedly in the face! Their second album, released in January, looks set to be as XXX exquisite as their debut.


Activia Benz had a great month, not just with their never ending, but also with the release of Sega Bodega’s new EP Sportswear. If you have the cash get the limited edition tracksuit because it’s fit!


Art is Hard also followed on the excellent work of their Hand Cut Record Club by releasing one of the strongest releases to date with Rodents’ beautifually skewed and bombastic Calm Down.


Levantis released an album that challenged as well entertainted. More of the same goinging forward, yeah?







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Sega Bodega delivers more than just slick beats and tight seams on new EP



Limited edition releases have been in vogue since the 1960’s. I remember licking through racks of CD’s and records trying to find the lowest concentric number possible and buying it safe in the knowledge that anyone who came after me would have a higher, and ultimately, less rare copy. Albums and singles that come in special cases were always sort after, especially if all the singles could fit into it too. I expect what you wondering this has to do with the digital release of the new Sega Bodega EP Sportswear, but I will tell you now.



Glasgow born Salvador Navarrette AKA Sega Bodega has had the novel idea, along with his excellent label Activia Benz, to release a limited edition traksuit with the name of the EP embroidered on it. This is nothing short of genius, as you could listen to the EP while wearing the trackie and doing sporting activities. But enough about this clever marketing tool, what is the actual EP like, I can hear you ask. Like with most Navarette releases this is excellent!



Land of Ooo has an anxious beat and bassline, that invigorates the listen and makes what you’re doing seem more urgent and exciting, be that sending an email, running round the park, sitting on the bus going home or any number of inane things. The chopped up vocals feel like a Dada poem. It doesn’t really make sense, but combined you get the impression of a theme and story. Spook feels like future soul/R&B. The beat has been deconstructed slightly, so that all its components are on display, but not in perfect alignment. There is a synth/keybord running underneath everything, so that it flows, and draws your attention away from the cut up beats and bass. Elis is a broody slow burner that features echoey ghostly vocals, neo-industrial beats and enough reverb that it may never actually end.



Sportswear is book ended by Sun Loop and Broken Ribs. Both offer up ethereal slabs of electronic music. The main hook of both songs is performed by what sound like something between pan pipes and the something the BBC Radiophonic Workshop would have created as a theme tune about a time travelling immortal letch with his nubile assistants. It’s a fantastic technique to open and close the EP, and one that shows that Navarette isn’t far behind Glasgow legends Rustie and Hudson Mohawke, with his ideas to composition and production.




Sadly the £50 price tag will put a lot of people off buying the tracksuit, but with the EP being just £3 it shouldn’t make much difference. But those who do buy it, for whatever price, will be safe in the knowledge that is actually limited edition, oh and as an added bonus the EP is great too!









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WotNot Music continue with post-pop vibe on Tabanca single



Pop seems to be in flux at the moment. Gone are the days of straight up effervescent pop. You know what I mean. Inane lyrics with catchy choruses, simple music with 4/4 beats, stupid videos that made no sense but were colourful and action packed, but these things combined created songs that got stuck in your head for weeks and made you cringe when you heard them out, but secretly you quite liked it as it just scream “FUN!” at full volume. Something changed and pop stars wanted to be credible and started to emulate underground sounds and artists. Then something weird happened, underground artists wanted to be pop stars and an odd exodus of scenes began to happen and now everything is a bit grey.



Musically, however, it’s all great when the scenes embrace each other, they takes the best from each and create something new and vibrant. Tabanca is one of the latest artists doing just this. Lyrically it has pop banger written all over it, but musically it is from the underground. This is down to Gent Mason’s production. It’s hazy, lazy and wavy. Combined with the lyrical content and the title it all conjures up sweltering summers and water fights.



Whether Tabanca would work as a long player will remain to be seen, but so far she’s making the right noises. And at this stage in her career this is the important thing.



Lagoon is released 06/11/2015 on WotNot Music










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