*** [ dub / reggae / HK underground ] *** Hong Kong's Premiere Music Blog *** [ exclusive DJ mixes ] ***
Eclectic as always, the #HKMU returns! From hiphop to house, breakbeat to Balearic, techno to tech-house, there’s more letters of music here than in a bad musical pun. While my feeble attempts at humor ought to be restrained, Hong Kong’s talented underground musicians are thankfully pursuing productions and mixtapes with reckless abandon.
 
Getting us started this month is the versatile Loki Dolo, who has a massive video out for his debut artist track “Tunnel Fees” - a lyrical expose on HK nightlife atop a self-produced jazzy beat - and he has also managed to squeeze out an experimental beat called “illuzion.”
 


 
Heyo's latest is “大世代,” featuring JFung. A short beatxploration with some in-your-face visuals (or is it 'face visuals?'), this takes things into dark and heavy territory:
 

 
A recent newcomer to HK, Upbeat Cynic has a fresh dubstep collaboration out with sp★★l. “A.D.H.D.,” a biting commentary on the over-medication of society, came about from the vocalist’s own experiences as an educator. I spoke with him briefly: having “seen unprecedented growth in pharmaceuticals” within schools, resulting in children being “channelled into compliance with drugs” rather than allowed the “room to make mistakes and learn by them.” Upbeat Cynic has a lot to say on the topic, both on and off the mic:
 

 
DJ Tsoi - also new to the #HKMU - has released three mixtapes within the past two weeks, including two live sets from PLAY. These take things deeper, while the August mix is a bit more big room:
 



 
Heavy Hongkong's Blood Dunza has a new EP out on Dub Temple Records, entitled Flipside. Four diverse tracks from his bass vaults - you can listen here - though don’t be afraid to read my full short.smart review as well!
  
Flipside by Blood Dunza
 
Sert, as reliable as ever, has a new “Soul Healing Session” for August, the 16th instalment of his far-reaching dnb/jungle series. This edition starts off with a track from HK’s own Muggsy. Speaking of Muggsy, he’s continuing his own “Soul Journeys” series, now up to its 4th volume. Stream and/or download here.
 

 
Casey Anderson's latest production, available on local label Typhoon8records, is “Out With The Tide.” An appropriately-titled deep house groove given its country of origin:
 

 
Dan F's recently prolific output continues with the release of “Rack of Respect for the Raw (Extended 12” Mix),” a new breakbeat (in progress). The comments hint at a proper release via Disuye Records:
 

 
Local Filipino rap collective Pinoy Wit Attitude have a fresh video out for “Para Sa HipHopan,” a bouncing rapid-fire EDM-edged cut which features EazyBeatz, MikeyMikeYhomen, C.E, & J-Treze:
 

 
Featured above as a vocalist, EazyBeatz showcases his beat-producing side on the brand-new five-track Noise Pollution EP, downloadable via DatPiff. He’s also got a live beat-making video on the Akai MPD 18:
 


 
Sinistasounds, DJ Redman’s production alter-ego, approaches breakbeat from a poppier perspective with his re’slurp of Maroon 5’s “Pleasure Fucker.”
 

 
Oma continues its “Mixed by _____” series of live club sets, with Frankie Lam taking over the booth for the first of two “August.2014” mixes. Expect quality selections from the PUSH DJ, and likewise for Jeremy Cheung’s sprawling three-hour tech-house odyssey:
 


 
In the same vein, Emmanuel Diaz also has an August live mix out, although his approach to house is much more vocally-driven:
 

 
Cliché Records' second release for their Homesick label is a repress, of a (self-described) mythic track from the late 90s. The result, a pair of Dance 6 edits - “Git Down Saturday” b/w “And the Beat goes on…” - lies at the crossroads of early electro, disco, and funk. Groovin', and coming soon on 12” via Juno Records:
 

 
DJ Darka was featured as an “Artist of the Week" in mid-August by Frisky Radio. His progressive house mix does require a login, but it’s then free to download…
 
Hopefully not just for those that shower once per month, Sean Rogers' “Fullmoonbathing” mix is from a Full Moon Party earlier this summer. Expect slightly-jacking house from his #HKMU debut:
 

 
Neptune returns with another pair of mixes; the house of”Transdimensional Space Goat” challenges the listener to ‘go all out,’ while “Chill Trip” pushes the vibes in an opposite direction:
 


 
cleen takes on a liquid dnb tune from Jetta, with the resulting “Feels Like Coming Home” sliding smoothly along the ears courtesy of both vocal and rhythm:
 

 
Barnaby Bruce - just hinting at an influence from the King of Pop with the opening beat - gets a bit spooky on the explorative “Séance Fiction,” which will be released this winter on vinyl via the Palms & Charms label.
 

 
Remember, the #HKMU is not just about DJs! New Tonic Press is about to release Sunny Does It For The Money, a raucous indie-rock CD. “Crooked K” is the most recent advance track, meaning a total of three have been released so far:
 

 
From far away across our northern border, Shenzhen’s DJ LoveTron shares his recent house set from the weekly (and format-shifting) Muzik Box:
 

 
What about The Groove Thief you ask? If not, fair enough… but thanks for scrolling this deep nonetheless! My latest mashup is the slightly cheeky “Drunken Sound System Dub,” which pairs a live-in-an-Indian-store vocal (plus beatbox) with a heavy dub groove to fill out the sound - whether it’s played on a system or not!
 

 
Thanks for reading, as always. It’s truly appreciated.
So finally, as a special present to you, the supportive reader/listener, here’s the first official announcement of an upcoming TGT production: an evening of discriminating bass music featuring Japanese MPC maestro Anchorsong! Please save the date - 23/10 at XXX -  this is going to be an exciting event!
 

 
Eclectic as always, the #HKMU returns! From hiphop to house, breakbeat to Balearic, techno to tech-house, there’s more letters of music here than in a bad musical pun. While my feeble attempts at humor ought to be restrained, Hong Kong’s talented underground musicians are thankfully pursuing productions and mixtapes with reckless abandon.

 

Getting us started this month is the versatile Loki Dolo, who has a massive video out for his debut artist track “Tunnel Fees” - a lyrical expose on HK nightlife atop a self-produced jazzy beat - and he has also managed to squeeze out an experimental beat called “illuzion.”

 

 

Heyo's latest is “大世代,” featuring JFung. A short beatxploration with some in-your-face visuals (or is it 'face visuals?'), this takes things into dark and heavy territory:

 

 

A recent newcomer to HK, Upbeat Cynic has a fresh dubstep collaboration out with sp★★l. “A.D.H.D.,” a biting commentary on the over-medication of society, came about from the vocalist’s own experiences as an educator. I spoke with him briefly: having “seen unprecedented growth in pharmaceuticals” within schools, resulting in children being “channelled into compliance with drugs” rather than allowed the “room to make mistakes and learn by them.” Upbeat Cynic has a lot to say on the topic, both on and off the mic:

 

 

DJ Tsoi - also new to the #HKMU - has released three mixtapes within the past two weeks, including two live sets from PLAY. These take things deeper, while the August mix is a bit more big room:

 

 

Heavy Hongkong's Blood Dunza has a new EP out on Dub Temple Records, entitled Flipside. Four diverse tracks from his bass vaults - you can listen here - though don’t be afraid to read my full short.smart review as well!

 

 

Sert, as reliable as ever, has a new “Soul Healing Session” for August, the 16th instalment of his far-reaching dnb/jungle series. This edition starts off with a track from HK’s own Muggsy. Speaking of Muggsy, he’s continuing his own “Soul Journeys” series, now up to its 4th volume. Stream and/or download here.

 

 

Casey Anderson's latest production, available on local label Typhoon8records, is “Out With The Tide.” An appropriately-titled deep house groove given its country of origin:

 

 

Dan F's recently prolific output continues with the release of “Rack of Respect for the Raw (Extended 12” Mix),” a new breakbeat (in progress). The comments hint at a proper release via Disuye Records:

 

 

Local Filipino rap collective Pinoy Wit Attitude have a fresh video out for “Para Sa HipHopan,” a bouncing rapid-fire EDM-edged cut which features EazyBeatz, MikeyMikeYhomen, C.E, & J-Treze:

 

 

Featured above as a vocalist, EazyBeatz showcases his beat-producing side on the brand-new five-track Noise Pollution EP, downloadable via DatPiff. He’s also got a live beat-making video on the Akai MPD 18:

 

 

Sinistasounds, DJ Redman’s production alter-ego, approaches breakbeat from a poppier perspective with his re’slurp of Maroon 5’s “Pleasure Fucker.”

 

 

Oma continues its “Mixed by _____” series of live club sets, with Frankie Lam taking over the booth for the first of two “August.2014” mixes. Expect quality selections from the PUSH DJ, and likewise for Jeremy Cheung’s sprawling three-hour tech-house odyssey:

 

 

In the same vein, Emmanuel Diaz also has an August live mix out, although his approach to house is much more vocally-driven:

 

 

Cliché Records' second release for their Homesick label is a repress, of a (self-described) mythic track from the late 90s. The result, a pair of Dance 6 edits - “Git Down Saturday” b/w “And the Beat goes on…” - lies at the crossroads of early electro, disco, and funk. Groovin', and coming soon on 12” via Juno Records:

 

 

DJ Darka was featured as an “Artist of the Week" in mid-August by Frisky Radio. His progressive house mix does require a login, but it’s then free to download…

 

Hopefully not just for those that shower once per month, Sean Rogers' “Fullmoonbathing” mix is from a Full Moon Party earlier this summer. Expect slightly-jacking house from his #HKMU debut:

 

 

Neptune returns with another pair of mixes; the house of”Transdimensional Space Goat” challenges the listener to ‘go all out,’ while “Chill Trip” pushes the vibes in an opposite direction:

 

 

cleen takes on a liquid dnb tune from Jetta, with the resulting “Feels Like Coming Home” sliding smoothly along the ears courtesy of both vocal and rhythm:

 

 

Barnaby Bruce - just hinting at an influence from the King of Pop with the opening beat - gets a bit spooky on the explorative “Séance Fiction,” which will be released this winter on vinyl via the Palms & Charms label.

 

 

Remember, the #HKMU is not just about DJs! New Tonic Press is about to release Sunny Does It For The Money, a raucous indie-rock CD. “Crooked K” is the most recent advance track, meaning a total of three have been released so far:

 

 

From far away across our northern border, Shenzhen’s DJ LoveTron shares his recent house set from the weekly (and format-shifting) Muzik Box:

 

 

What about The Groove Thief you ask? If not, fair enough… but thanks for scrolling this deep nonetheless! My latest mashup is the slightly cheeky “Drunken Sound System Dub,” which pairs a live-in-an-Indian-store vocal (plus beatbox) with a heavy dub groove to fill out the sound - whether it’s played on a system or not!

 

 

Thanks for reading, as always. It’s truly appreciated. So finally, as a special present to you, the supportive reader/listener, here’s the first official announcement of an upcoming TGT production: an evening of discriminating bass music featuring Japanese MPC maestro Anchorsong! Please save the date - 23/10 at XXX - this is going to be an exciting event!

 

Anchorsong Live In Hong Kong

 

Hong Kong’s own Blood Dunza returns to Australian label Dub Temple Records for his second EP of deep bass. Exploring his own musical archives, the four tracks from the Heavy Hongkong headman that comprise Flipside are productions from 2008-2011 that have laid dormant until now. Fortunately - given that this EP was compiled for release just before a tragic computer crash! According to Blood Dunza, these are “tunes that I made for myself to play to get a little high” during Heavy’s dubstep nights. While he’s more focused on “reggae related stuff nowadays,” this is an interesting and personal time capsule from one of Hong Kong’s leading purveyors of bass music.
 
“Triangle” sets the tone: layered, with pulling bass carrying dissonant tones and a haunting Oriental melody that at times is given total prominence. Thick echoes surround the pulsing low-end on “Flip,” before the style does exactly that with a Chinese vocal introducing a sparse near-breakbeat. These tracks are simultaneously busy and complex, though the slow-building “Drifters” initially indicates otherwise before the beat and soulful sampled theme emerge from the haze. Arguably more directly influenced by the dub aesthetic than mainstream ‘clubstep,’ Flipside ends with “Timeout,” which balances 16-bit squeals of glitch with soaring synths. 
An engaging collection as well as an intriguing snapshot into an artist’s development. Free download:
 
Flipside by Blood Dunza
 
Hong Kong’s own Blood Dunza returns to Australian label Dub Temple Records for his second EP of deep bass. Exploring his own musical archives, the four tracks from the Heavy Hongkong headman that comprise Flipside are productions from 2008-2011 that have laid dormant until now. Fortunately - given that this EP was compiled for release just before a tragic computer crash! According to Blood Dunza, these are “tunes that I made for myself to play to get a little high” during Heavy’s dubstep nights. While he’s more focused on “reggae related stuff nowadays,” this is an interesting and personal time capsule from one of Hong Kong’s leading purveyors of bass music.

 

“Triangle” sets the tone: layered, with pulling bass carrying dissonant tones and a haunting Oriental melody that at times is given total prominence. Thick echoes surround the pulsing low-end on “Flip,” before the style does exactly that with a Chinese vocal introducing a sparse near-breakbeat. These tracks are simultaneously busy and complex, though the slow-building “Drifters” initially indicates otherwise before the beat and soulful sampled theme emerge from the haze. Arguably more directly influenced by the dub aesthetic than mainstream ‘clubstep,’ Flipside ends with “Timeout,” which balances 16-bit squeals of glitch with soaring synths. An engaging collection as well as an intriguing snapshot into an artist’s development. Free download:

 

 

Showcasing an inclusive approach - proving that musical peace is at least a reality in the Middle East - Israel’s Zvuloon Dub System combines Jamaican and Ethiopian influences to produce a potent and timeless album. The vocals, sung in Amharic, Tigrinya, and Gurage, come from lead singer Yalo as well as several guests, while the rest of the band bring a clear and confident knowledge of classic roots reggae.
 
From the opening bars of the instrumental “Alemitu,” it is obvious that this album has been lovingly crafted, with a strong sense of purpose and respect. After a slow lead-in with horns triumphant, the groove arrives alongside a dynamic keyboard solo. On “Tenesh Kelbe Lay,” another nice rhythm provides the platform for the intoxicating vocals. Hypnotic, yet far more dance than drone, this shows influences of the dub tradition rather than being true dub from an engineering perspective.
 
“Sab Sam” is a catchy track, sounding similar to some of the more triumphant work of Amadou & Mariam in structure and vocal styling. From there, “Man Begelagelgni” chills things out a bit, allowing a nice walking bass line to shine through before “Ney Denun Tieshe,” which features the wonderfully wavering guest vocals of legendary Ethiopian singer Mahmoud Ahmed amidst more tight horn lines. Then “Yehoden Aweteche Lengeresh,” bearing some influence from Zap Pow’s “Last War” riddim, returns the album firmly to the Jamaican fold.
 
“Tsbukti Fetret” includes an elegant East African melody on the krar, a traditional instrument that appears on several other tracks as well, while a solid skanking guitar propels the rhythm. Hinting more at rocksteady than reggae, “Endemenesh” - with Zemene Melesse on mic duties - leads into the funky and upbeat “Zelel Zelel” splendidly, before the sparse and almost melancholy “Yene Almaz” closes out the album. Here it’s the masinko, a single-stringed bowed lute, that harkens back to the Ethiopian musical tradition.
 
Through and through, this is world music in the most transcendent and intriguing of ways. An impressive work of musical fusion, Anbessa Dub is spirited and spiritual:
 
Anbessa Dub by Zvuloon Dub System
 
Showcasing an inclusive approach - proving that musical peace is at least a reality in the Middle East - Israel’s Zvuloon Dub System combines Jamaican and Ethiopian influences to produce a potent and timeless album. The vocals, sung in Amharic, Tigrinya, and Gurage, come from lead singer Yalo as well as several guests, while the rest of the band bring a clear and confident knowledge of classic roots reggae.

 

From the opening bars of the instrumental “Alemitu,” it is obvious that this album has been lovingly crafted, with a strong sense of purpose and respect. After a slow lead-in with horns triumphant, the groove arrives alongside a dynamic keyboard solo. On “Tenesh Kelbe Lay,” another nice rhythm provides the platform for the intoxicating vocals. Hypnotic, yet far more dance than drone, this shows influences of the dub tradition rather than being true dub from an engineering perspective.

 

“Sab Sam” is a catchy track, sounding similar to some of the more triumphant work of Amadou & Mariam in structure and vocal styling. From there, “Man Begelagelgni” chills things out a bit, allowing a nice walking bass line to shine through before “Ney Denun Tieshe,” which features the wonderfully wavering guest vocals of legendary Ethiopian singer Mahmoud Ahmed amidst more tight horn lines. Then “Yehoden Aweteche Lengeresh,” bearing some influence from Zap Pow’s “Last War” riddim, returns the album firmly to the Jamaican fold.

 

“Tsbukti Fetret” includes an elegant East African melody on the krar, a traditional instrument that appears on several other tracks as well, while a solid skanking guitar propels the rhythm. Hinting more at rocksteady than reggae, “Endemenesh” - with Zemene Melesse on mic duties - leads into the funky and upbeat “Zelel Zelel” splendidly, before the sparse and almost melancholy “Yene Almaz” closes out the album. Here it’s the masinko, a single-stringed bowed lute, that harkens back to the Ethiopian musical tradition.

 

Through and through, this is world music in the most transcendent and intriguing of ways. An impressive work of musical fusion, Anbessa Dub is spirited and spiritual: