Damu releases debut album Unity on Keysound

damuThis November, Keysound follow acclaimed albums by LV & Joshua Idehen and Sully with ‘Unity’, the debut album by one of the most distinctive artists to emerge from the UK in recent years, Damu.

Dense sheets of colour and ripples of warm emotion cascade through Damu’s musical vision. It’s an ambitious album, and at an hour in length it’s not necessarily an easy listen, but those with some endeavour will find themselves swept away by the fantasy world that ‘Unity’ inhabits. The steel drum march of ‘L.O.V.E.’, the midnight serenade of ‘After Indigo’, Trim collaboration ‘Ridin the Hype’ and breathtaking closing track ‘Don’t Cry In My Bed’ are only some of the sights you’ll see along the way.

Damu has only had two physical solo releases to date, ‘Ridin’ on Keysound and ‘Mermaid’ on Local Action, but already he’s honed an instantly recognisable sound of his own. His releases have been supported by artists such as Starkey, Sinden, Brodinski, Sbtrkt, Girl Unit, and notably The Streets’ Mike Skinner who selected Damu as one of his “New Faces of UK Dance Music” in his Guardian takeover in February

He’s part of the UK’s underground dance music scene by association, but ‘Unity’ finds Damu thinking much bigger than that, with touches of Air France’s beach-pop, the gloss of major label R’n’B, and subtle nods to the demented psychedelic visions of Wiley and Aphex Twin. It also betrays his classical background, demonstrating knowledge of chord progressions and structural sleight of hand that many of his peers would kill for.

1. Unity
2. Breathless
3. L.O.V.E.
4. After Indigo
5. Weapon #3
6. Maths Is Fine For Sum
7. Cheat When U Compete
8. Ridin The Hype (Feat Trim)
9. Waterfall Of Light
10. Plasm
11. Ether
12. Don’t Cry In My Bed

“An extraordinary young producer, I’ll be watching every step he takes in 2011” Mary-Anne Hobbs
“A formidable addition to the stream of forward-thinking dance music that’s been pouring out of Manchester” Altered Zones

soundcloud.com/damu | blackdownsoundboy.blogspot.com

Rustie releases debut album Glass Swords

RustieGlasgow’s talent pool clearly runs deep, and if the city’s last few years of genre-busting electronic music have made anything remotely clear it’s that Rustie is one of the deep-fried kingdom’s crown jewels. Emerging with the rest of the multi-talented Numbers crew, and with only a handful of laser-guided releases to his name, his presence far outreaches his focused, evolving discography. Rightly mentioned in the same breath with many of the most innovative producers in the world, astute Pitchfork scribe Martin Clarke once described Rustie’s music “like a metaphor for living in intense digital excess” – something everyone should be able to relate to.

As is often the case, this digital excess also mirrors the excesses of the physical world, and so Rustie time travels for the cocaine-addled synthesizer washes and searing guitar tones of 1980’s pop, the cash-infused bombast of new-millennium R&B, the pit-of-your-stomach ecstasy high of the most classic rave memories and the bloodshot scowl of white-hot pirate radio broadcasts. In 2007, with a new generation of irreverent producers and artists seemingly simultaneously uploading their music to MySpace, Rustie’s ‘Jagz The Smack’ EP was a miniature revelation. In a swift five tracks, it managed to not only synthesize the tone of mid-decade electronic music, but also provided a danceable prediction for much of what would soon be called “UK bass music” (not to mention many other, far less eloquent, names).

It would take three more years to move through a string of now classic 12”s like ‘Zig-Zag’, ‘Bad Science’ and ‘Play Doe/Tempered’, his collaboration with Bristol’s mighty Joker. This unfettered run was capped by a string of essential remixes (or “Resmacks” in the parlance of Rustie) for the likes ofJamie LidellKelisThe Big Pink and Nicki Minaj, leading into his debut EP for Warp, ‘Sunburst’. In another breathless five-track flash, ‘Sunburst’amalgamated Rustie’s love for obscure Japanese prog-rock, 16-bit video game sonics and icy grime and Detroit techno heft into a fleeting vision of the future of rave music. Snare rolls ricocheted, synths undulated in hypercolor hues and the bass bubbled over, the stage was set.


Outpost Launch International PR Service

Japan 3.11.11: A Benefit AlbumOutpost Media launches an international PR service today, to deal with the growing need for clients to focus campaigns beyond UK based PR.

David Silverman, Outpost’s Managing Director said: “The world today is a much smaller place. The growth of smart phones, downloads and social media have created a global music marketplace that is open to everyone. Radically improved communication channels mean that the time is right for artists and labels who don’t already have an international reputation, to start getting one.”

Mel Ruben will be heading up the new service that will cover key media titles in 35 countries across Europe, America, Australia and Japan. Mel joined Outpost in April, moving from an international events management role.

Outpost’s first project is for US based Polyvinyl Records on the label’s fundraising album ‘Japan 3.11.11: A Benefit Album’, which includes tracks by Of Montreal, Deerhoof, David Bazan, Xiu Xiu, Casiokids and Efterklang. Outpost will also represent Mr Bongo Records critically acclaimed artist Hollie Cook internationally.