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Indian E-music – The right mix of Indian Vibes… » Sean Lewis


Don Diablo and CID Hit #1 With Remix of Alex Adair’s “Make Me Feel Better”

Delivered... Sean Lewis | Scene | Tue 10 Mar 2015 1:30 am

Another week, another change at the top of the Beatport 100 chart. This time, we’ve got a trio of first-time chart-toppers, featuring Dutch producer Don Diablo and New Yorker CID, who took their uplifting rework of UK artist Alex Adair’s “Make Me Feel Better,” straight to #1 this past weekend.

Not only was this feat noteworthy for marking the first #1 for each of the trio of talents involved, it is especially significant for veteran producer Diablo, who’s been in the scene for over 15 years, but has never topped the Beatport charts. Additionally, their “Make Me Feel Better” remix also marks the first release for Diablo’s label, Hexagon- it’s rare to see a label score this big with its first release!

Congrats team! Can’t wait to see what the next Hexagon release achieves!

B-Ju & Ticklish Talk ‘Dualities,’ Their Influences and How They Came Together

Delivered... Sean Lewis | Scene | Fri 6 Mar 2015 7:04 pm

Last week, two creative forces, B-Ju and Ticklish, came together to share a release entitled Dualities on Druid Cloak‘s label, Apothecary Compositions. On Dualities, the two German artists produced two collaborative tracks, two solo tracks (one from each), and remixes of one another’s tracks, at wildly different BPMs, to create a wholly unique 6-track EP.

We love the record, and were interested to know why B-Ju and Ticklish, who had never worked together before, created Dualities, so we jumped at the opportunity to talk with the duo about their collaboration.

What’s the history between you two? How did this EP happen?

TICKLISH: I actually have been a B-Ju fan for years, before we knew each other. I started getting into electronic music via house, and always played his tracks out in the club. I never dared to send him music until I started the Ticklish project, even though we lived in the same city – Hamburg – at that time. We corresponded via email for quite some time, sending tracks back and forth, until we decided to collaborate. Then I moved to Berlin, so we had to do 100% of that by sending each other tracks and stems. I think the very time we met in person was when I had a gig with DJ Paypal in Hamburg, and by that time I was able to play out our first track.

B-JU: Yeah, before his set, he was dancing unmasked [Ticklish plays with a rabbit mask on] with two girls at the same time, and I was like “damn, who is this player?” After that night, our ideas for this collaboration came together really quickly. I was a fan since I first heard “No1ButU,” we both had a good contact with Druid Cloak of Apothecary Compositions, and the rest was history.

Although the release has a cohesive sound, there are some clear distinctions between your production styles. What would you say are the major sonic differences between you two?

B-JU: Each of us has his own approaches, which explains the differences, even if there aren’t many of them, in our music. Ticklish is really focused while making music. When I tried to explain to him a idea for a song, he was super fast converting it, without any detours. He just knows what works in the club, before he even started to realize the idea. Maybe he benefits from his history as house DJ. Me on the other hand, I started making music in the turntablism scene, where I learned a technical, more nerdy view of production. I guess I’m more of the trial-and-error type, who has to test the 10 filters on the hi-hat before he’s able to continue.

TICKLISH: B-Ju is a real sound designer though! I personally really love the synth stabs and percussion sounds he crafts and works to get a groove on. I’m a little more the pragmatic guy. I wanna write down my ideas as fast as possible, and my music mainly focuses on chord progressions, little melodies and rhythmic patterns. I have a library of that type of stuff that I’ve built up over the years, so sometimes a sound comes to mind and I can drag it into the project in seconds. I think the combination of pragmatism and playfulness really is audible, and worked really well on this record!

What were some major influences on this album for each of you?

TICKLISH: I think I was listening to a lot of Sepalcure stuff at that moment, apart from that I certainly picked up a lot of footwork influences that were getting hyped so much at the time, and still are for sure. I think the jungle influences are getting more and more hearable in my tracks. I just got into that several years ago and it’s so much fun programming rhythms like that, and playing around with classic breakbeats. They have this super nice groove and dirt in them that I just don’t get tired of. Another thing that had a big influence on me was the Weboogie crew from Berlin. We regularly throw parties together, the Weboogie sound is kinda unique, and has a big following in Berlin. Boogie, funk, soul and RnB, to name a few styles, so those guys introduced me to a lot of new music that influenced this EP as well.

B-JU: I remember that I watched the Paradise trilogy by Ulrich Seidl, and I was listening to a lot of Erdbeerschnitzel during the process of making the EP. He is probably one of my favorite examples how to bring complex melodies into a club context.

What do each of you have going on for the rest of 2015?

B-JU: I’m working on my house EP and on a couple of remixes right now. Gigwise, hopefully I can play more shows with Ticklish, which was always fun to do in the past. I’m also looking forward to my first gigs overseas in late summer. Besides playing sets, I’m trying to merge two parties I’m doing with friends. One is called Workout, where I play house music with Philipp Cuasito, and the other one is called .drms with Phokus, where we focus mainly on UK bass.

TICKLISH: We’re actually working on putting some tour dates together as B-Ju & Ticklish. Musicwise, I just finished two remixes that I can sadly not talk about yet, but which should be out soon. Also more specifically, I have a new track coming on a UK compilation called Reload, which will be released in an exciting format, but I can’t talk about that either, I guess. Then of course writing, and putting out a lot of music, for sure! I have a lot of stuff lying around. I need to figure out a good channel to get the music out there!

B-Ju & Ticklish’s Dualities is available here. Support it, it’s excellent.

Hardwell’s Remix of Ellie Goulding and Calvin Harris’ “Outside” Hits #1

Delivered... Sean Lewis | Scene | Tue 3 Mar 2015 3:42 am

It’s still Monday and British singer Ellie Goulding is already having a massive week. Her new single, “Love Me Like You Do” is currently #1 on the Radio 1 charts, #3 on Billboard, and with a little help DJ Mag’s #1 DJ in the world Hardwell, the remix of her 2014 single with Calvin Harris, “Outside” has captured the #1 position in our Beatport Top 100.

With these three of the biggest names attached to this project, Hardwell’s huge “Outside” remix took the top slot just five short days after its release on Calvin Harris’s Fly Eye label.

Hardwell is one of the most decorated in Beatport #1 history, and although this reworked track is his first #1 in 2015, it’s also the celebrated Dutch producer’s first major single of the year. Congratulations to everyone involved, this one’s big. You can buy it here, and stream it below.

 

Eric Prydz VS CHVRCHES’ “Tether” Is the New Beatport #1

Delivered... Sean Lewis | Scene | Tue 24 Feb 2015 12:53 am

Eric Prydz interrupted the two-week reign of Oliver Heldens and Zeds Dead’s chart-topper “You Know” over the weekend, with his epic rework of CHVRCHES’ “Tether,” which you can check out here.

Released on Prydz’ Pryda imprint, the newly minted #1 is a remix of a single that originally appeared on the Scottish electronic act’s 2013 debut album, The Bones Of What You Believe. The track was previously remixed by Junior Sanchez, back in 2013.

Just two days after its Feb. 16 release, the Swedish dance icon’s remix cracked the Beatport Top 10, covering the rest of the distance to #1 before it was a week old, with the support of an official video that has racked up over 250,000 views in the past five days.

Check out Eric Prydz VS CHVRCHES’ epic “Tether” video below. Congratulations Eric!

Zeds Dead & Oliver Heldens’ “You Know” Hits #1 on the Beatport Charts

Delivered... Sean Lewis | Scene | Tue 10 Feb 2015 7:53 pm

Over the weekend, 20-year-old Dutch producer Oliver Heldens (his birthday was Feb. 1) rang up his impressive fourth Beatport #1 with “You Know,” a main-room house collaboration he did with Canadian duo Zeds Dead.

The Spinnin’ stable is looking pretty unstoppable at the moment, and its only competition appears to be itself, as this new #1 knocks another of their releases, Martin Solveig and GTA’s “Intoxicated” out of the top spot, after a two-week run.

“You Know” has been garnering strong support from world-class DJs like Martin Garrix, Avicii and 2014 Grammy-winner Tiësto, among many, many others. Congratulations guys!

Matin Solveig and GTA’s “Intoxicated” goes to #1

Delivered... Sean Lewis | Scene | Tue 27 Jan 2015 1:36 am

French producer Martin Solveig and Miami representatives GTA took their vocal party jam “Intoxicated” to the top of the charts over the weekend, bumping off previous #1, Nom De Strip and 3Lau’s “The Night” featuring Estelle.

“Intoxicated” was released on Spinnin’s sublabel, Spinnin’ Deep, drawing fans into radio-friendly territory with a tune that is perfectly suitable for the festival field of dancefloor.  The single was released on Jan. 19, shooting to the top spot in under a week, thanks to its catchy piano riff and “Let’s dance/ No time for romance/ You’ve gotta be intoxicated” vocal.

Check out Martin Solveig & GTA’s video for “Intoxicated” is below.

3LAU & Nom De Strip Take “The Night” to #1

Delivered... Sean Lewis | Scene | Tue 20 Jan 2015 3:05 am

We’re only a few short weeks into the new year and Hardwell’s label Revealed has already notched back-to-back #1s. Over the weekend, Blaster Jaxx and DBSTF’s “Beautiful World” was forced to make way another Revealed release: Las Vegas DJ & producer 3LAU and LA whirlwind Nom De Strip‘s latest electro stormer “The Night.”

As you’ll soon recall, “The Night” is a reinterpretation of the ’90s hit “The Rhythm Of The Night“, originally released by the Italian dance outfit Corona. This revamped ’15 version boasts vocals by from Grammy-winning UK singer Estelle, of “American Boy” fame.

Get ready for “The Night,” our new #1, and congrats to 3LAU, Nom De Strip, Estelle and the Revealed crew!

Blasterjaxx & DBSTF Take “Beautiful World” to #1

Delivered... Sean Lewis | Scene | Tue 13 Jan 2015 8:49 pm

Surpassing Showtek, fellow Dutchmen Blasterjaxx and DBSTF, aka D-Block & S-te-Fan, have taken the charts by storm with “Beautiful World,” Beatport’s second #1 of the year.

“Beautiful World” marks veteran chart-toppers Blasterjaxx’s first pairing with DBSTF, the house alias for hard dance duo D-Block & S-te-Fan. “Beautiful World” debuted at #39, and rocketed to the top spot in just five short days.

If seeing Blasterjaxx at #1 gives you slight deja vu, it’s likely because the duo have, in fact, literally been here before; last year’s single “Mystica” was the second #1 of 2014. Meanwhile, “Beautiful World” marks the first single of 2015 for Hardwell’s Revealed Recordings, and DBSTF’s debut for the label. Check it out below.

Weekend Weapons: 501’s Top 10 Wall-Shaking Bass Tracks

Delivered... Sean Lewis | Scene | Fri 19 Dec 2014 9:00 pm

2009 was a breakout year for 501, the Helsinki-based artist whose dubstep debut showcased impressive precision from the very beginning. Since then, he’s polished his festival-sized sound, releasing on virtually every label in the genre, including OWSLA, Circus, MTA, Subway and many more.

This week, the 21-year-old Finnish producer delivers his new Crystallize EP on iconic label Never Say Die, boasting five new tracks that will satisfy his fans’ tastes for cavernous, stomach-churning drops. We took a look at 501’s current list of dancefloor favorites, for another roof-rattling installment of Weekend Weapons.

1. Laxx — “Semi Auto”

“The suspense Laxx creates always gets rewarded, if you dare to go beyond the drop. The bass on ‘Semi Auto’ is a devil’s spawn.”

2. Au5 feat. Tasha Baxter — “Snowblind”

“As cheesy as combining dubstep and trance sounds is, Au5 remains one of the few who can pull it together with a straight face. Impressive work.”

3. Icicle, Proxima, SP:MC - “Hyper Velocity”

“Deep, moody and packed with intensity. This one resembles a lot of the old-time gritty dubstep vibes I fell in love with in the first place.”

4. Must Die! — “Snowcone”

“This one’s my favorite from last year. The intro and the selection of sounds are a demonstration of Must Die!’s impeccable taste. I’ve listened to this one probably a million times and it’s one of those tunes where every note hits that sweet spot.”

5. Moko, Culture Shock — “Your Love” (Culture Shock Remix)

“The bass on this one shoots through your body. Very technical, yet fluent and natural at the same time.”

6. Eptic — “Dimension 7″

“Classic Eptic rowdiness. Guaranteed to work on the dancefloor and keep your neighbors awake. Swinging triplets, coupled with fiery bass: a recipe you can’t go wrong with.”

7. Trolley Snatcha — “Take it Back”

“Trolley’s been quiet for a while, but I’m happy he’s back. This one goes in hard.”

8. Must Die! — “Star Throne”

“As well as dropping some smooth-as-butter melodic treats, Must Die!’s not afraid of pulling off some fiercely tech-y tunes.”

9. Nero — “Satisfy”

“Whatever these guys do…well, I just can’t resist.”

10. Knife Party — “Boss Mode”

“There is no way you can avoid this track anywhere in the near future. I’m adding it here because the second drop is just slightly different.”

Weekend Weapons: Dimension’s 10 Bass Heaters for Winter Dancefloors

Delivered... Sean Lewis | Scene | Fri 12 Dec 2014 9:00 pm

Early this year, UK phenom Dimension (born Robert Etheridge) released a track entitled “Crowd Reaction” on Cyantific’s CYN Music, beginning what would become a multi-week reign at the top of the Beatport drum & bass chart. In the midst of that wildfire success, the Londoner’s sound has been championed by Friction and Annie Mac on BBC Radio 1 and highlighted in mixes from veteran D&B acts like Drumsound & Bassline Smith.

This week, Dimension released his much-anticipated “Crowd Reaction” follow-up with “Love To Me / Move Faster” on Chase & Status’ MTA Records. These cuts are destined to become massive crowd-pleasers, with strong comparisons to the current drum & bass rulers like Wilkinson. As Dimension rounds out the year with select shows across the UK, it’s the perfect time to tap his current playlist of favorites for the colder climes. Welcome, then, to this week’s bottom-heavy edition of Weekend Weapons.

1. Mind Vortex — “Overture”

“A tune with a great intro and packed with raw energy. It’s great for chucking into a mix as well.”

2. Dub Phizix & Strategy — “Buffalo Charge”

“I love just letting this roll out in the clubs. It’s one for the hardcore UK ravers.”

3. Alix Perez & Foreign Beggars ft. Rico Dan — “Deng”

“I love ‘The Horn Track’ sample. I love the beat too, but when that second verse comes in, it’s game over.”

4. Break — “Dulcid Tones”

“This feels like the maximum bass you can fit into a song.”

5. Mefjus — “Continuous”

“The understated simplicity of the bassline gives this tune such a wicked groove. Check out the rest of his album, Emulation.”

6. Knife Party — “404”

“This tune drops so hard, beast!”

7. Metrik — “Universal Language”

“This tune will stay in my sets for a very long time. He’s one of the most talented producers in the game so be sure to catch the rest of his Universal Language album.”

8. Crystal Fighters — “Love Alight” (Culture Shock Remix)

“This one works well both in the clubs and at home. The vocal sits really well with the side-chained Alex Reece-y bass.”

9. Chase & Status — “International” (Dimension Remix)

“It was great fun doing this remix for one of the biggest artists in the current D&B scene.”

10. Kove — “Still High”

“A beautiful slice of haunting D&B. Rich with echoe-y vocals and warming strings.”

Chocolate Puma and Firebeatz’s “I Can’t Understand” Hits #1

Delivered... Sean Lewis | Scene | Tue 25 Nov 2014 8:00 pm

Spinnin’ wastes no time bouncing back into the Beatport 100 top spot this week with Firebeatz and Chocolate Puma’s new collab, “I Can’t Understand.” Dutch duo Firebeatz is already responsible for a couple of huge #1 hits this year, but this is their premier offering beyond their signature big-room electro house. Here, they’ve joined forces with fellow Dutchmen Chocolate Puma who’ve nabbed their first #1 of the year. Incidentally, this isn’t the first joint venture between the two groups. “I Can’t Understand” marks the fourth release in three years from this dynamic foursome and will likely be just the beginning considering their chart-topping creative output.

Icicle Discusses His New Drum & Bass LP ‘Entropy’

Delivered... Sean Lewis | Scene | Mon 17 Nov 2014 7:00 pm

Labeling Icicle a drum & bass producer might be a bit inaccurate. Sure, the Holland-born, UK-based artist might be best known for his work in the D&B and dubstep realms, but there is always a subtle undertone, an underlying influence, ranging from old school jungle to new school techno, that you can hear just beneath the surface of his tracks. His 2011 LP Under The Ice answered the prayers of drum & bass purists, while experimenting with half-time tempos, innovative arrangements and unique melodies, and now he’s back with his second full-length album, Entropy, which hits shelves today (Nov. 17), via Shogun Audio.

We had the pleasure of meeting up with Icicle to ask him a few questions about his album, his influences, and more.

How’d you become a drum & bass fan? Do you owe anyone in particular a debt for introducing you?

When I was about 15, some of my school buddies took me to a local D&B night run by DJ Esta, Jungle Galaxy, which got me hooked instantly. I later went to the local record shop to buy my records often and forged a friendship with John / Rosco who worked there and had a full collection of old Certificate 18, Photek, Source Direct, Jonny L, Virus, Metalheadz etc. He introduced me to all that, so it’s him I owe my debt to.

When you first started producing electronic music, how old were you? What kind of music were you making?

The earliest memories I have of making music with a computer, I was probably eight or younger. My friends and me were messing around with very basic MIDI programs, then later with Cubase, Fruity Loops and Reason. It was all not very serious, and I was making all sorts, until that day when I was 15 and heard D&B properly for the first time. It got some direction after that.

As far as creativity and styles, what do you see going on in the drum & bass realm right now?

Drum & bass is very diverse at the moment, and because of that it’s quite exciting. The half-time infusion of the last few years has opened up new doors and given D&B a lot more space to work with, resulting in some really great music and at the same time, the technical ability of many producers has been growing on all fronts and keeps it all quiet at the forefront in my opinion.

Lately we’ve been seeing a growth in interest in D&B. Is this something you’re feeling on your side as well? Any idea as to why this might be going on at this particular moment?

I think recent years have been strong for drum & bass. There are several reasons for it; after dubstep, there has been a renewed interest in bass music in general. Also, D&B seems to make its way into the charts over here, inevitably getting more kids involved, who will then gradually develop their taste and become more seriously interested.

Entropy is your followup LP after 2011’s Under The Ice. What were the differences in approaches going into both of these albums?

I think Entropy is more of a statement on current electronic music than Under The Ice was. It’s more futuristic and more of a development of my sound. Under the Ice was a lot more retrospective, and based on my musical foundations. Entropy is my evolution of that.

When I listened to the album, one of the standout tracks was “Mechanisms.” There’s a lot of subtle, technical sounds going on at the core of it. It’s very detailed. What kind of work goes into a track like that and how long does it take to get everything just right?

“Mechanisms” is actually one of the oldest tracks that made it on there, being almost two-and-half years old now. It was one of the first tracks where I consciously started looking for more detail, and a sonic evolution from my previous work. It took quite a lot of tweaking and there were many different versions, we even contemplated a vocal for quite some time, but in the end kept it bare and let it do its thing.

One of the more surprising tracks on the album is also the sexiest – “Superimposed,” with amazing vocals by Sarah Hezen. What was the impetus for adding a track like this to your album and how did you connect with Sarah?

I made the track as a musical experiment, retaining the usual sound palette and a bit of melancholy. Sarah was then tipped to us by Alex Evans, our recording engineer. He was helping her with some of her solo stuff. She did a demo and blew us away with her original harmonies and amazing approach. We’ve started working on a lot more too!

I have to ask about the track “Amp,” which seems like a newer dancefloor tune, but is also a tribute to dance music history. What does it represent for you?

When you read the small print, you can see that the riff is licensed! As much of a look forward as this album is, “Amp” represents the roots still, the early rave culture and techno influence I always lean on, at least a bit!

I really could ask you about every track on the album, but in the interest of keeping this semi-short, I’ve got to ask you about one more track that’s really very telling of your production talents, “Hani.” It’s got that classic bass track sound, and a lot of producers can build careers just producing these types of tracks, yet you frequently switch things up. Why is this important to you? 

I think you make the best music when you have fun and a sense of freedom in the studio. For me, that means writing different music and searching for the boundaries of my comfort zone from time to time. When it comes to success, specializing usually seems to pay off more. People like it when you give them what they expect, but there is no real progress in that, and I think the one thing that keeps me fully engaged is the progress!

DallasK and KSHMR’s “Burn” Streaks to #1

Delivered... Sean Lewis | Scene | Fri 10 Oct 2014 7:00 pm

Congratulations go out to LA-based tag team DallasK and KSHMR, whose progressive house banger “Burn” has skyrocketed straight to the #1 slot in our Beatport Top 100.

Released on Hardwell’s prolific imprint Revealed Recordings, “Burn” has captured the top spot in our leading chart this week. Before joining forces for this track, both DallasK and KSHMR have had previous releases on leading labels like US-based Ultra and Dutch dance juggernaut Spinnin’, but “Burn” is the first official #1 for these promising young guns. Expect more from them soon.

DallasK and KSHMR’s “Burn” Streaks to #1

Delivered... Sean Lewis | Scene | Fri 10 Oct 2014 7:00 pm

Congratulations go out to LA-based tag team DallasK and KSHMR, whose progressive house banger “Burn” has skyrocketed straight to the #1 slot in our Beatport Top 100.

Released on Hardwell’s prolific imprint Revealed Recordings, “Burn” has captured the top spot in our leading chart this week. Before joining forces for this track, both DallasK and KSHMR have had previous releases on leading labels like US-based Ultra and Dutch dance juggernaut Spinnin’, but “Burn” is the first official #1 for these promising young guns. Expect more from them soon.

Ulterior Motive Break Down ‘The Fourth Wall’

Delivered... Sean Lewis | Scene | Thu 9 Oct 2014 7:00 pm

Bournemouth is a coastal retreat that is a two-hour train ride south west of London, and the home of Greg Hepworth and James Davidson, the UK drum & bass duo known as Ulterior Motive. Far removed from the urban sprawl that inspired the drum & bass boom of the mid-’90s and fed its fire for the past 20 years, Bournemouth might not be the place you expect to foster such an intricate sound. As Hepworth said in a recent UKF interview, “Sometimes [Bournemouth] feels very remote and secluded, but it’s definitely helped us carve our own sound. We’re not being influenced except by the things we want to influence us.”

In mid-September, the duo released their new single, “Tape Pack,” on Goldie‘s iconic Metalheadz label. Making short work of Beatport’s Drum & Bass Top 100, the song quickly rose through ranks to claim the #1 spot and hasn’t moved since. “Tape Pack” was an early taste of what was to come from Ulterior Motive’s full-length debut, The Fourth Wall, which is in stores now. Beatport’s drum & bass editor Sean Lewis spoke with the charismatic Greg Hepworth to discuss Ulterior Motive’s latest works and inspirations.

You’ve named Metalheadz and old school hardcore as some of your inspirations. When you think about that era, are there any seminal records that come to mind?

Greg Hepworth: Something like Slipmatt “Breaking Free” is a seminal record for us, the melodic use of the pitched breaks in the intro that lead to the euphoric vocal and pad bed in the breakdown, capture the sense of hardcore while also incorporating the jungle, which is everything that we have come up on.

Sideways” has that jazzy element to it. Does that also come as a tribute from that ’90s era drum & bass?

Hepworth: Absolutely, we’ve always been huge fans of the 90’s Bristol sound, and we wanted to write something that showcases that. Artists like DJ Die, Krust & Roni [Size] have been huge influences for us.

Seems like you can really hear the old school influence on “Tape Pack,” which went straight to #1 on the Drum & Bass charts. Did you know that track would have that sort of impact?

Hepworth: To be honest, we didn’t know how people would react to “Tape Pack,” but we’re both humbled by the response to it. It’s really nice that people can relate to a piece of music on a personal level. When we played the track to Goldie and Ant (TC1, Metalheadz label manager) they started telling us that this is the “one,” and should be the lead single for the album. There’s a video somewhere of Goldie hearing “Tape Pack” for the first time, he’s literally punching holes in the studio roof, it was probably at this point we realized “Tape Pack” had real potential as a single.

There is a long history of drum & bass exploring new rhythmic patterns and feelings. Right now we seem to be in a new age of exploration, as heard on your tracks, like “Muted” or “Chapters.” What’s your take on the future for this type of production?

Hepworth: Drum & bass is always finding new avenues to explore, and as the genre grows and more producers become involved they bring their own influences into the mix. It’s a really good thing that producers try new things, otherwise there’s no development. Without this, things would become stagnated and dull pretty quickly.

You guys have got four or five years under the belt now, it’s pretty safe to call you veterans at this point. How did you decide that the timing was right to release your debut LP?

Hepworth: We’ve both wanted to do an album for a long time but for one reason or another things have either got in the way, other commitments have pushed it back or we just haven’t felt ready to take on such an important project. Since we signed to Metalheadz, we made a conscious effort to write as much as possible and things just progressed from there…

What does releasing a record on Metalheadz mean to you?

Hepworth: We’re so proud to be releasing our debut album on Headz, from the early days of Platinum Breakz & Pulp Fiction, we’ve been huge fans. The label’s been a massive influence on us.

What was the hardest track to put togethe on the LP?

Hepworth: Arrangement-wise, “Stay” took the most twists & turns along the way. We have so many versions of it! Mixdown-wise “Longshot” dug its heels in the hardest.

What the hell is “the fourth wall”?

Hepworth: “The fourth wall” is a term in theater/film that represents the invisible wall between the actors and the audience. We wanted to break through this wall by writing a personal album, representing all the different styles in drum & bass we’ve loved throughout our history.

What’s your dance music prediction for 2015?

Hepworth: More quality drum and bass being introduced to commercial festivals.

Ulterior Motive’s tracks of the summer:

Total Science & Friction – Scatter

Fracture – Loving Touch

Ulterior Motive’s artists to check for this year:

Hyroglifics

Blocks & Escher

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