Cold Mission is the debut album from east London-based producer Logos: it features fellow producers Mumdance, Dusk + Blackdown and Rabit.
That Logos is member of two emerging underground collectives – new school grime specialists Boxed and the Keysound Recordings’ 130bpm family – it gives you a rough sense of his whereabouts. At the first flickers of the album intro Ex101, you begin to sense the scope and scale of Logos’ “Mission.”
His modus operandi is twin strike of connection and disconnection: he lurks in the spaces between places, both literally - down badly lit Eastend back streets – and figuratively, swerving between established musical nodes with the mission of finding new ones. It’s suspended in the tension between then, now and what’s to come. In simpler terms: Logos is a junglist but this is not a jungle album. He’s a grime head but this is not a grime long player.
This is an excursion in the dissolutions of forms and edges; of the elongation of patterns into repetitive plateaus of intensity. The album bristles with tension: for the “Cold…” component it is like he dissolved the intros of a thousand darkside jungle 12”s and dripped them into his analog hardware.
The album features Keysound Recordings label bosses Dusk + Blackdown on the UKG exoskeleton “Alien Shapes,” while eski excursionist Rabit collaborates on “Swarming.” In 2013 Logos has formed a fruitful production partnership with Mumdance and their hyper-intense “Wut It Do” features on the album, following their anthemic but paradoxical Keysound releases “In Reverse” and “In Reverse PIV”.
Logos’s 2012 “Kowloon EP” was recently lauded by Fact Magazine as “year zero” and “the catalyst” for a talented new wave of grime-inspired producers. Alongside artists like Beneath, Wen, Visionist, E.m.m.a., Moleskin and Etch, Logos forms part of a new wave sonically exploring the 130bpm space and finding life and creativity again in edgy “London retro futuristic music.”
1. Ex 101
2. Stasis Jam
3. Surface Area
4. Swarming (ft Rabit)
6. Alien Shapes (ft Dusk & Blackdown)
7. Menace 8. Cold Mission
9. Night Flight
10. Wut It Do (ft Mumdance)
11. Atlanta 96 (Limitless Mix)
Welcome to the colourful sonic world of E.m.m.a and and her debut album “Blue Gardens” for Keysound. To the outsider it’s perhaps not immediately apparent the connections between reference points such as, Coney Island and Rebel MC, or Encarta ‘96 and Delia Derbyshire but as you immerse yourself into E.m.m.a.’s vivid sound palette they begin to lead you down a winding path of fantastic vistas.
Her story begins several years back: around ’05 she was mostly absorbed in the US rap of Big Pun, Fabolous and Jadakiss before having a “what the…?!” epiphany with Skream’s “Midnight Request Line.” “I realised that there was something going on that I wanted to be a part of,” she says. But from fairly well trodden beginnings her story quickly diverts into unexpected realms.
She met Sully and began sending him the grime she’d been making, albeit with her own twist: “I thought if I made it funny and did more historical references to eras from the past, such as a Victorian highwayman rather than a south London rudeboy, people wouldn’t necessarily be able to criticise me because I was taking the piss.” While her interest in a quasi-humorous “Victorian grime” style would wane, a pattern of musical creativity driven by a vivid inspiration source was emerging.
“American Nostalgia, Point Break, American high schools, bubble gum, picture houses, Coney Island, Hollywood, proms, Long Island, picket fences, boardwalks, Baroque tonality, Wendy Carlos, Delia Derbyshire, Jeff Wayne, Westerns, sci fi, spaghetti western soundtracks, Encarta ’96: genuinely these are in my mind,” she explains. “I just think the idea of the monopoly the Encarta encyclopaedia had on knowledge is ridiculous in the context of the present day. I’m not ashamed to say it’s my muse.” A few key happenings helped E.m.m.a. on her journey.
Firstly by ’08 she became baffled by the lack of melody in bass music, though she connected strongly with a small cluster of purple synth experiments from Rustie, Starkey, Zomby and Joker. Secondly a guy called Adam heard her music at a party, and would then go on to encourage her production. His name was Adam Tinley, best known as Adamski. He in turn introduced her to Rebel MC and legendary dub producer Adrian Sherwood, who now all live on the south coast. E.m.m.a. went down to visit. Adamski’s impact would be to empower her to write in strange time signatures, such as 3/4 on “Dream Phone VIP”.
With Rebel MC she would collaborate with on “Jahovia.” E.m.m.a’s sound was beginning to emerge. A 12” of “Dream Phone,” a key contribution to Keysound’s flagship “This is how we Roll” compilation, a 7” of Jahovia ft Rebel MC replete with a dub mix co-written with Wil from LV, not to mention her DJ debut at Fabric leads us to her debut album “Blue Gardens” featuring an exquisite collaboration with Sully.
It positions her at the forefront of the emerging new wave of 130 bpm producers and yet also as a highly individualistic fresh new talent for 2013.
2. Dream Phone VIP
3. Cherry Flavour
7. Green Light
8. Shoot The Curl
9. Mood Ring
10. At Sea