Gentleman’s Dub Club release second EP


2012 sees the highly respected Gentleman’s Dub Club (GDC) release their long-awaited second EP on Ranking Records. Hailing from London, this talented band have won critical acclaim through their live shows which have been translated beautifully to CD in – ‘Open Your Eyes’.

Phantogram set to release ‘Nightlife’ EP

PhantogramPitchfork approved duo Phantogram are set to release their new EP ‘Nightlife’ through Barsuk Records on the 20th of February.

The band have built up an impressive online following with over 90,000 Facebook fans and critical praise for their debut album Eyelid Moves.

The band will be headlining a sold out show at Cargo on the 28th of February.

DJ Mag’s Best of British Awards 2011

djmag_bob11_bigIt’s been a brilliant year for electronic music and what better way to celebrate than DJ Mag’s Best of British Awards 2011? This year’s awards ceremony takes place on Wednesday 14th December at East Village where the results of the public vote will be revealed.

We’re pretty happy at Outpost HQ because we’ve got 5 nominations to shout about. Please take the time to vote and if you’re feeling generous, cast some love their way. Here goes…

Breakthrough producer (Damu)
Best Label (Keysound Recordings)
Best Single (Rustie ‘Ultra Thizz‘)
Best Album (Rustie ‘Glass Swords’, LV & Josh Idehen ‘Routes‘).

You can vote here using their nifty Facebook app (no long signups).

Timo Maas collaborates with Brian Molko on new single

Timo Maas & Brian MolkoTimo Maas makes his long-awaited return in October with a new single ‘College 84’ featuring Placebo’s Brian Molko. Released on Maas’ own label Rockets & Ponies, the single precedes his highly anticipated third artist album due out in 2012.

Legendary producer Alan Moulder (best known for his work with Depeche Mode, The Killers, Nine Inch Nails and Foo Fighters to name a few) has mixed the fusion of electronic beats, sinister chords and hypnotic vocals to make an anthemic club track. &ME, Sam Young and Adam Port also make an appearance with their remixes of the single completing the package.

Timo’s break into mainstream dance music came from his remix of Azzido Da Bass’ ‘Doom’s Night’, leading to the release of his mix albums ‘Music For The Maases Volume 1’, and ‘Connected’ for Paul Oakenfold’s label Perfecto. 2002 saw the release of his debut artist album ‘Loud’, produced by German dance music powerhouse Martin Buttrich, with guest appearances from Kelis and Finley Quaye. A second mix album ‘Music For The Maases Volume 2’ was released before his second artist album ‘Pictures’ in 2005, which featured Neneh Cherry and Brian Molko.

Alongside remix commissions for artists such as Fatboy Slim, Kelis and Madonna, Maas has found commercial success with his track ‘To Get Down’ being used in films The Italian Job and Rider, the FIFA game series and a Budweiser commercial. For his upcoming release Maas has, in his own words, been “building up a unique sound, of working with different sounds to create something new and fresh”.

For a chance to see the man himself performing in the UK on Friday 2 December 2011, ‘That Mixmag Thing and Timo Maas present: Rockets & Ponies’ at The Queen of Hoxton in London and with free entry, this is an event not to be missed.

Buraka Som Sistema announce new album Komba

Buraka Som SistemaAfter being slowly handcrafted over the past 11 months, Buraka Som Sistema return to the world of the living on a Halloween night, presenting their much anticipated sophomore album, ‘Komba’: an exploration of the borders between life and death combined with Buraka’s fierce approach.

Komba is an Angolan religious ritual, celebrated seven days after someone passes away, where friends and relatives honour the deceased by drinking their favourite drinks, eating their favourite food, dancing and singing their favourite songs while sharing experiences and telling stories about their life. The irony that the best party of your life happens after you’re dead, and the idea that we should live every day as if it was our last one, sets the common thread for ‘Komba’.

‘Komba’ is an album that fits together perfectly. All songwriting happened over 11 months with the starting point being a one month retreat in the remote woodlands of Monchique in the south of Portugal, from where the band brought dozens of beats and ideas. There they worked alongside friends like Stereotyp where the first sketches of ‘Hangover (Bababa)’ and the trippy 90 bpm song ‘Vem Curtir’ were created. Mixhell contributed to an intense ultra percussive beat that later became Macumba. The experience was so refreshing and unique that some of the music crafted during these four weeks has changed little from the initial demos. With a lot of new music on their hard drives, the band headed out to London’s Red Bull Studios, where guests like Afrikan Boy (‘Eskeleto’) and Roses Gabor (‘(We Stay) Up All Night’) came in to sprinkle the record with their own unique voodoo. With the hard drives running out of space and heads full of ideas, the band came back to Enchufada’s Lisbon headquarters to start refining the final ‘Komba’. Other guests like Terry Lynn and Sara Tavares (‘Voodoo Love’), Kaysha (‘Komba’) and Blaya (‘LOL & POP’ and ‘(We Stay) Up All Night)’, were then invited to help give the album its finishing touches.

Being on the road solidly for three years promoting their highly acclaimed debut album ‘Black Diamond’ has transformed Buraka from what was initially a producer’s idea into a fully fledged band. ‘Komba’ sounds like a band. An album ready to make thousands of people dance in festivals and clubs around the world. Songs like ‘Tira o Pe’ or ‘(We Stay) Up All Night’ have the perfect balance of electronic music and the live performance that Buraka have showcased to their fans in hundreds of shows around the world. The fact that Blaya (one of Buraka’s most explosive live contributors) steps up to do vocals on two songs is the best example of this natural evolution. This shift takes ‘Komba’ one step further on the group’s quest to find their own sound, pushing them further away from diminishing labels like “Progressive Kuduro”. It defines them as being true explorers of the urban lusophone melting pot.

On one of their journeys to South America, the group become fascinated with Sao Paulo’s street art movement. One of the leading characters of this movement – Brazilian artist Stephan Doitschinoff a.k.a. Calma – has views on religious and pagan aspects of South American culture which fused perfectly with ‘Komba’. Calma portrays the mix of spiritual idiosyncrasies in the same way Buraka deals with all their rhythmic influences brought from the West and Africa. For the artwork it was a no brainer to use one of Calma’s most famous paintings.

‘Komba’ is an “access all areas” pass for listeners to see life the same way Buraka does.

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 |

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.