The Mighty Cream – Murk [ON1F004]

The Mighty Cream - Murk [ART]

First off I should introduce On1 (to be read as On One) Records. They are based in Edinburgh (UK), and specialize in bass-driven/heavy music. On1 Records are planning a steady flow of releases over the next few months, not only from artists from the UK but from the rest of the world. They will also be doing a few shows in the forthcoming months…if I lived in the UK I’d stay tuned in for that.

As for the roster, their facebook page ( tells us the following:

The Mighty Cream (
Gully (
Twttw (
Operation Daybreak (
Kensho (
Norbert Cleaverhype (

And this release we bring you today is from the name on the top of the list, The Mighty Cream (TMC).

The darkness and the athmosphere of the track are perfect for eachother and are very well complemented with the heavy sub-bass and the low-tempo beat. They fit in so perfectly that it makes the track groove even more, making it perfect for a undeground club where heavy bass stuff plays regularly. Halfway through the song we got a vocal chop that comes in and change when the chorus hits, with a slighty different beat which makes the track even more interesting. The breaks are the perfect example if you wanna show people what this track is all about. The ending is just perfect as everything just comes full circle.

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The brilliant Azar Swan have released their second album this week “And Blow Us A Kiss” and you can stream it for a limited amount of time on their Cloud.

It’s a fantastic follow up to their debut album of last year “Dance Before The War” which is my favourite album from last year and quite possibly from the past few years.

Azar Swan consist of the enigmatic singer-songwriter and musician Zohra Atash and producer Joshua Strawn. They came together from the ashes of their previous band Religious to Damn and have opted for a more electronic experimentation with this new creation.

Evoking moods and soundscapes harking back to the best of the glorious 80’s Electro-Goth scene, the influences of bands like Bauhaus, Siouxsie and the Banshees, The Cure, Sisters of Mercy, Love & Rockets and Electronic pioneers like Depeche Mode & Japan are firmly on show in the sound of this band.

The whole album is like a soundtrack to the coolest Vampire movie you’ve ever seen creating a Post-Apocalyptic world of Gothic adventure to make even Lord Byron proud.

The whole thing is one hell of an adventure and the thing that stands out most for me is Zohra’s vocals, they are just simply incredible and unique.  I could just listen to her voice forever.  That voice combined with musical arrangements to mirror the best of Electronic and Goth sounds of the 80’s is so refreshing in this time of formulaic crap.

I think Azar Swan are a Super-Group in the making for the future and it’s only a matter of time before people catch on to their genius. I think they just need to learn how to transform the transient nature of some of the material to something that will be forever implanted into your mind to make that bigger connection to the masses.

Both albums are great to listen to from start to finish and you can repeat them all over again and again.  From time to time you’ll go back to it and enjoy them again and again.  But neither album contains that one jaw-dropping or breath-taking moment when you think “wow, this track means the world to me”. That one BIG track that will announce their presence on to the main stage of the world stage.

I think that is still to come as they continue to craft their material and stretch further forward with greater confidence.  I think there’s a little restraint in their material to date.  They need to let go of their emotions a little bit more, they need to lose a lit bit of that discipline, self-control and clinical musical perfection.  I’ll use Japan as an example. Their music was genius but cold and clinical but Sylvian did have moments of sheer emotional genius too, “Forbidden Colours” and “Ghosts”, tracks that will stay with me forever and continue to remind me of just how great they were.

I think Azar Swan need that too, to let loose a bit more on that clinical musical perfection and allow more emotion to seep into their creations.  But maybe, they just don’t want to do that?  Maybe it’s just too clichéd?  I think once they let go of that restraint, we are going to be in for something very, very special in the future.  But even if they don’t, they’re still one of my favourite bands around at the moment.

This is the start of it though, 2 brilliant & accompolished albums under their belt but you just feel that there’s so much more to come.

One day I am sure they will conquer the world with their sound, they have conquered mine!

Fictive – Braindust [DubKraft Rec]

Fictive - Braindust [DubKraft Rec]

Fictive - Braindust [DubKraft Rec]

Really cool video and dancing imagery by the homie Silviu Costinescu. Eye Candy Comprised of BrainDust… In his own words:
Braindust is actually a derailed project. One day I was working on some new efx chains for another music video, and i started to play with some footage i recorded on Costa Brava beaches, here near Barcelona, very blissful and calming images, yet alive and with some eerie out of place industrial elements too. You know, my brain implodes when I walk along those shores, it melts, then turns to dust and then the breeze carries it away, along with all the useless thoughts. The animal in me is perfectly capable now to take care of itself and stay anchored in the present to enjoy and be well. I try to find my way practicing a sort of awake and active meditation, among other things, long walks and sightseeing are the main part of this. So you can see now the ideas association that happened naturally in my brain, while in the studio, and soon i found myself basically channeling this video, finding and putting all parts together at hyperspeed, i like to let myself carried by these spontaneous developments, this is what i actually call inspiration… it’s a state of channeling in which the brain is dust in the wind and thoughts are butterflies that i observe but don’t interact with, while my hands and ears and eyes make it happen.

If you want the best quality sound, please consider purchasing high quality audio files from the DubKraft website or other authorised sources:
Video by Silviu Costinescu –

Thias – Let's Fly (Odesza – say my name vox) [Norwegian Bass]


Norway seems to have been hit by the dance bug following a few of their producers hitting the big time such as Cashmere Cat and Kygo.

I think you’ll find their numbers swelling in the coming year as more young Norwegians aim to emulate that same success. Here’s one guy that shows some promise, Thias. Don’t know anything about him, except that he only has 35 followers and this 1 track on his cloud!

He has flipped this Odesza track into a sublime jazzy Future Bass beauty. Interested to see how he progresses. In the meantime, keep your eye firmly on Norway.



We’ve been saying for a while now that Rathero is a name to watch out for and he is surely continuing to prove that with some of the most interesting stuff that’s come out recently.  This new track testifies to that and it kind of verges on the fusion between Minimal/Tech House, Moombahton and some great Transnational flava thrown in all for good measure.

This is really interesting stuff indeed and deeply atmospheric:

You can still cop his recent and second EP release with us for free:

DJ SU REAL : "TRAPISTAN" [India's First Trap Album]


India has always shown some great promise when it came to Electronic music in a dance context. From the time of the Asian Underground in the 90’s when a clutch of artists from India joined in and experimented with the exciting sounds emanating from the immigrant populations who had settled in the UK through to the noughties when artists like Midival Punditz and Bandish Projekt were showcasing a respectable and underground Electronic scene in India. Right through to the last 10 years when acts like Bandish Projekt, Nucleya and Sound Avtar and some others consolidated their positions as India’s Electronic forerunners. It saddens me however, to see that over the past 3 years India has started to emulate their Bollywood model of copying Hollywood and are now following the same dumb EDM formula of the USA. It really saddens me!

However, there is still some really good stuff still coming out of India like this intelligent concept and release by DJ Su Real, possibly India’s first Trap album!.  So this really gives me some hope for the future!

Some nuggets in this, even though as many of you know I’m hardly Trap’s biggest fanatic.

Here’s what he says:

“Trapistan” is a state of mind. Ostensibly, yes, the aim was to make India’s first album of Trap music but over the 4 months spent ruminating over the concept, much emerged that wasn’t sound. In the U.S. they refer to the “trap house” as the seedy location where criminals engage in nefarious illegal activities. The meaning of the name is somewhat obvious – the lifestyle is tempting, full of the many pleasures of life and heaps of bravado, but in the end, it’s a trap. It consumes you, not the other way around and you can’t just get up and walk out.

So I’ve come to believe that most brown people around the world are Trapistani’s, even though Trapistani’s come in all colors, shapes & sizes. We’re still largely “trapped” in belief systems, value systems, institutional systems that are outdated and serve to maintain the status quo. We pray to different Gods yet we all suffer the same fate. From Jersey City to Jalandhar, Dubai to Dharavi, we’re trapped by a trail of history, culture, genetics and environment that is greater than all of us. For whatever it’s worth, Trapistan is my attempt to break out.”

Stream and download 2 exclusive tracks for now but cop the whole download on which will go live on 11.11.14.

Artist: SU REAL


Label: Independent

Release Date: 11/11/2014

– Free Download via , Soundcloud & Bandcamp
– CD with 2 bonus tracks, available only at live events
– USB with 2 bonus tracks, DJ mix archive, music videos – available only at live events

Track Listing:
1. Trapistan
2. Dhinak
3. East Indian
4. Aatankwadi
5. Swag
6. Crime Capital
7. Cobra
8. Ghanta
9. Cosmic Yoga
10. Chirodhini
11. Maut
12. Satyam (*Bonus*)
13. Mechashiva (*Bonus*)

These recordings are licensed via Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license.

The following samples were used in the production of this recording:

Public Enemy & Anthrax – “Bring The Noise”
Mohawks – “The Champ”

“East Indian”
Bounty Killa – “East Indian”

DJ Vadim ft. Moshun Man – “Terrorist”

M.I.A. – “Paper Planes”
Soulja Boy – “Swagger On”

“Crime Capital”
Kendrick Lamar – “M.A.A.D. City”

Q-Tip – “Work It Out”

Asha Bhosle – “Piya Tu Ab To Aaja”

“Cosmic Yoga”
Yogi Ramesh Pandey – “Cosmic Yoga”

Sun Ra – “Space is the Place”
Osho – “From Death to Deathlessness”

Lata Mangeshkar – “Satyam Shivam Sundaram”

Raghu Dixit Project – “Parasiva”

Gameface, BLVCK & Watengwa: Looking Back


Gameface (left), with the singers Pculture and Novena, producer Daudi a.k.a . Daz Naledge and Incubate project leader Maarten (right)

Last month, we announced a collaboration of the Tanzanian hiphop crew Watengwa with the Dutch dark-trappers Gameface and BLVCK, organised by Hivos, Incubate Festival and ourselves. A month later, we look back at the project with Incubate project leader Maarten and Gameface.

“The first surprise was that most of the crew-members of Watengwa didn’t actually come,” Maarten tells me. “They sent a producer and two female singers, who weren’t part of the core-crew but regularly performed with them. But there were no rappers. That made the project a little bit different from what we expected, but not in a bad way of course. More reggae-oriented than strictly hiphop, for example.”

Gameface agrees. “But just the fact that we were able to work with people from a whole different part of the world and be connected in music was already an amazing experience.”

One of the first things that Maarten remembers is the first night. The members of Watengwa had arrived just some hours before and were almost immediately dragged onto the stage to perfom with complete strangers they had barely exchanged a word so far. “But as BLVCK was playing, the producer of Watengwa started MC-ing and interacting with the crown, wich gave a really nice vibe.”

The next day was more quiet, the first moment to get to know each other on a more personal level. “The connection on the level of music was definitely there,” says Gameface. “It was funny to find out that, no matter how different our styles, we both use FL Studio to make our beats for example.” When I asked him if he knew anything about African hiphop or African music in general, he came with a nice story about the experimental track ‘Tribe’ he made a while back. “That track uses a sample from a popular African song and it turned out that one of the singers knew the original and loved the way I give it a second life in this way.” The producer, in turn, just happened to have downloaded some first EDM-trap tunes to his computer.

Gameface is very down to earth about the sometimes controversial relationship between trap music and hiphop. “I see it as a bridge. I’ve been producing hiphop for many years, including a lot of dirty-south beats, the ‘hiphop-version’ of trap. Besides I’ve always loved heavier electronic music like hardstyle and techno. When I first heard about ‘EDM trap’ I liked the idea and nowadays my tracks have become very synthy. The only thing I don’t like is ‘lazer trap’. It’s a sound we’ve been hearing in the Netherlands for s0 many years even before it became big in the USA.. I just can’t stand the sound any longer.”

But there’s a new generation in the air. “Espepially at their performance in Rotterdam, the crowd was very young and they seemed to be quite into the music of Gameface and BLVCK,” tells Maarten, with a tone that reveals that it surprised him, in a positive way. The other crowds they played for were again very different. Both at Inclubate festival and in Amsterdam (where they eventually performed, instead of going to Belgium), the crowd was largely made up of older folks that lingered around after seeing bands, without a specific connection to  hiphop or trap. “But they were genuinely interested in our music and we had them dance,” which was a great experience.

A week together is an increadibly short time to get to know each other, let alone to make enough music together for an actual joint performance. Yet, a start has been made. Gameface started with a beat for Watengwa’s singers to sing to. “I showed them my basic idea,” recalls Gameface, “and they immediately started to improvise, to try what would fit best. And it worked out very well.”

Currently, the track is being finished, put together with the vocals and mastered, to be released soon. We will of course keep you updated!


Check out a nice photo report here!












Bison & Squareffekt X Photo Romance – G13 [FUTURE TARRAXO]


The laid back vybz of “Future Tarraxo” has excited me for some time now and so glad more of it is coming. Here’s a great new track by 2 of the pioneers of this mood Bison & Squareffekt and they’re joined by the brilliant Photo Romance to present more of this style that I hope will sprout more in its wake in the coming months.

Future Tarraxo is essentially Tarraxo imbued with a sense of new sci-fi mood and dollops of Purple Wow hues.

Get ready for G13 by Bison, Squareffekt and Photo Romance! Fasten your seatbelt because we three of the greatest Future Tarraxo producers on the same track!

We definitely hope you will enjoy this hybrid, atmospheric, tune. Press play, get trippy and enjoy the musical ride!

Roundup Sessions #8


8th version of the Roundup sessions. At the end of the Month I’ll do a “October Roundup” so stay tuned for that to peek what were the best unknown tunes of the month. Here goes this week’s tracks: