Premiere: Kid Drama – Thoughtcast 7 (CNVX)

“Thoughtcast 7” by Kid Drama is taken from the “2010 Again EP“, released on the artists own label CNVX. The four-track EP is available to purchase now direct from the CNVX Bandcamp.

Widely known for being one half of Instra:mental, Kid Drama has had a series of releases on highly respected and influential labels including Exit and Metalheadz.

Balancing autonomic with tech-step, Kid Drama creates a feeling that is futuristic and reflective. A sonic soundstage where percussion can have just as much impact as a kick and snappy snare. Basslines rumble with menacing intent, while razor-sharp drums add a technical edge to his visionary take on drum and bass.

Although the EP has a tech-step essence, it’s not all dark, with the reflective “Diazedaze” lightening the tone through the use of subtle pads and delicate strings.

“Thoughtcast 7” has a Deep Blue feel, with an aquatic techno vibe. Title track “2010 Again” is the darkest of the collection, although nowhere near a 96/97 level. With “Pivot” a fine balance of dark and light.

The “2010 Again EP” by Kid Drama is available to buy now.

Buy: Bandcamp

Premiere: Goldie – Redemption [Jon Dixon Ambient Edit] (Metalheadz)

Jon Dixon’s Ambient Edit of “Redemption” by Goldie is taken from Part 1 of the “Journey Man Remix LP”, forthcoming on Metalheadz. Part 2 of the remix series also features a four-four mix of “Redemption” by Jon, alongside fellow Detroit Techno producer, the legendary “Mad” Mike Banks from Underground Resistance and Galaxy 2 Galaxy fame.

Placed between the rolling jazz fused mix of “Truth” by Zero T and the uptempo robot funk of Belgian producer Phase and his take on “Prism”, the ambient mix of “Redemption” provides respite from the albums drum and bass core. Six seconds short of eight minutes long, the track unfolds gracefully, steadily building layers of lavish pads to create a soundscape that’s immersive and stirring, a sonorous symphony that oozes elegance.

Elsewhere across the two albums are remixes by Digital and the late, great Spirit, with a tearing mix of “I Think Of You”, a heavy powerhouse of energy and technoid funk. And mixes from the current roster of Metalheadz artists including Artificial Intelligence, Mako, Grey Code and Lenzman.

Remixes often shine best when transposed to a different genre, one of the reasons this ambient mix works so well is that Detroit Techno and Drum and Bass are perfect allies, with a similar formative history of young black producers eager to create a new sound, introducing elements of science-fiction to create something expressive, personal and futuristic. When the two styles come together like this in unison, they create a truly mesmerising cosmic atmosphere.

Both volumes of the remix series are now available to pre-order.

Buy: Goldie – Journeyman Remixes Part 1 / Part 2

We caught up with Jon to discuss the bond between the two genres, his production process and the “Redemption” remixes for Goldie.

I’ve always been fascinated by the connection between early drum and bass and Detroit Techno, a lot of my favourite artists were heavily inspired by what was going on over the pond in the Motor City, not just the music itself but the producer community working together to craft something new, resulting in a powerful musical movement. What’s your take on that? Were you exposed much to the jungle scene in Detroit?

I think community is important in any genre when you’re working towards something that is unique and in the moment. What’s amazing to me is that while Techno was evolving in Detroit, it began to make a powerful impact globally as you’ve mentioned. As Detroiters, we’re influenced not only by other musicians around us, but also our environment. Detroit in the 80s and 90s wasn’t the prettiest, nor was it a destination for tourists. Yet, across the entire city you had these “creative genius’” who were in their studios creating this music for the future….only to realize that it would slowly impact the world as it did.

There have been some amazing remixes between techno artists and drum and bass producers, the Claude Young mix of Jacob’s Optical Stairway (4hero) and the Alex Reece remix of Kenny Larkins “Loop 2” instantly spring to mind. What parallels do you see between the two styles and from a production perspective, why do you think they work so well together?

I think it’s the ear of the producer more so than the genre of the music. Personally, I’ve always loved finding similarities and differences when it came to doing a remix. In the case of anything Goldie has done and techno for example, I would have to imagine also that he’s gone through some things in life that triggers certain emotions. Those emotions go into the music and make it that much more meaningful. Everyone has their own approach to a remix. For me, especially since getting to know Goldie very well over the past 6 years or so, I knew what direction to go when he asked, and I also knew where I wanted to take it

How did you get the opportunity to be a part of the Journeyman Remix project?

In 2014 I met Goldie in Croatia in a van overseas travelling to an airport. The ride was about 3 hours but seemed like 20 minutes. Somehow, we both got on the subject of Pat Metheny and his music. From there I knew all I needed to know about him, and vice versa. We discussed Pat’s catalogue and the late Lyle Mays (Pat’s keyboardist for many years and my favourite keyboardist). Having never met before, we both understood the complexity of Pat Metheny’s music to be able to talk about it as if we both discovered it at the same time. It was that van ride that let us both know we knew how to understand music on a visual, emotional and spiritual level. We exchanged emails and I hit him up as soon as I got back to Detroit. As he mentioned in the van, he was going to start working on his new album and he wanted to involve me. I can’t mention how many early morning and late-night calls I got, emails, texts, you name it. Goldie knew exactly what it was he was hearing and how it should sound. And even though we were both in different countries, he was able to draw something from me that I didn’t know I could do. From those many conversations I was able to co-write ‘Horizon’, ‘Tomorrows Not Today’ and ‘This is Not a Love Song’. I was featured on ‘Run Run Run’ (piano) and ‘Redemption’. Since then I talk to G about once a month or so and he’s always involving me in many of his projects, including Subjective. He asked about me doing a remix a while ago and nothing made me happier than to say yes.

One of the reasons your Ambient mix blew me away was because it follows straight after the jazzy rolling remix of “Truth” by Zero T, you go from listening to these tight drum loops and deep bass to eight minutes of chords, FX and vocals. I’m sure a lot of people will listen to it as an album and think “when is the beat going to kick in”, it’s a powerful moment when you realise it’s not going to and the beauty of your remix unfolds. Have you heard the album in full and what did you think?

I’ve heard the album in its entirety and it flows very well. Goldie is very particular about that stuff and I know the ambient track was placed where it is strategically. All the remixes are incredible, especially when you know the original so well.

The album features two remixes of “Redemption”, the ambient version we are premiering today and a techno version featuring the legendary Mike Banks. What is it like working with him? Am I right in understanding he has been like a mentor to you?

Mike is a mentor yes, but much more than that. Before graduating the “UR boot camp”, Mike has spent countless hours showing and teaching me all he knows musically, but about the business side as well. He told me who I should know and work with. He also told me who to stay away from and avoid. Everything that I released always goes past Mikes ears and this remix was no exception. I let him hear it and he said “Jon, you should let me put some strings on it”. The rest is history. His strings really give the track that UR/Detroit sound and that’s what I was going for.

Talking of which, halfway through the original version of Redemption, it launches into the intro keys from Galaxy 2 Galaxy’s “Hi-Tech Jazz”. Where you tempted to feature those in your mix or was it a conscious choice to leave them out?

I was tempted at first, but I wanted to take the approach of doing something that wasn’t to be expected. If I were a listener and knew the song “Hi Tech Jazz” and to see that a UR member, was doing a remix on “Redemption”, I would expect to hear it in the remix. So I stayed away from it.

Can you run us through your mindset when tackling this project and the two remixes?

With the ambient mix, I wanted to create a mood. What type of mood that is all depends on the listener. I envisioned colors and layers,similar to the art Goldie does actually. With my remix that features Mike, I just wanted it to be good enough for Goldie and it was.

Can you let us know a bit about your studio and your creative process, what motivates you to sit down and produce?

My studio is 10 keyboards, a few smaller synths and 2 sets of speakers. Since I’m a musician first, I love using hardware so all my sounds come from my gear. As far as the creative process, it varies. Sometimes I’ll go into my studio and it’s completely silent. I’ll wait and see if I hear an idea. It can be a melody, a rhythm or a chord. Sometimes I don’t hear anything and I’ll shut everything down. Other times I have an idea of where or how I want to start a track. I never force anything. When I feel myself forcing parts into a production I save it and shut it down for a day or so. For me, making music is a way of life. It’s something that I know I was created to do. The world has probably heard only 2% of music that I’ve ever made, but everything isn’t meant to be released. I do it because if I don’t get the ideas out, it’ll drive me crazy. With the musical training that I’ve gotten over the past few decades Im grateful to be able to go into the studio and use my keyboards to make what it is I’m hearing, or what I’m picturing visually, or what emotions I want to evoke.

Finally, where can people find out more about you and can you recommend some of your back catalogue to people who are yet to discover your music?

My entire catalogue of 4EVR 4WRD can be found on my Bandcamp. And for other releases and collaborations I do my best to keep my social media updated.

Links: Bandcamp / Website / Instagram

Krust – Constructive Ambiguity (Crosstown Rebels) And LP Info

The first single from the forthcoming Krust album “The Edge Of Everything” is now available to stream via YouTube and other digital streaming services.

His first solo album since 2006 sees Krust deliver 11 brand new tracks, described as exhilarating, standout music of depth and substance. Those that have heard “The Edge Of Everything” have been talking about it enthusiastically online, with Jumping Jack Frost calling it “a masterpiece of artistic work”, Rob Booth from Houndstooth tweeting that the album “was worth the fourteen-year wait” and Om Unit declaring that, to him, “it’s the sound of a master transcending the genre”. With praise coming from such well-respected people, it suffices to say that this is one of the most highly-anticipated releases from one of the scenes early pioneers for some time. And based on these two tracks, the early signs are that it’s looking like it will live up to expectations.

Krust has always been versatile as a producer, a quick flick through his back catalogue will demonstrate how eclectic his tracks have been. From the pioneering jazz, house and jungle fusion of “Jazz Note”, to the edgy blend of political spoken word and sci-fi electronics that make up “Coded Language” (arguably one of the best vocal drum and bass tracks ever made), right through to the devastating dancefloor bomb that is the Steppa Mix of “Warhead”. Krust has delivered anthems for seemingly most areas of the drum and bass scene.

I’m glad to report, based on these two new tracks, that this album will once again see Krust return to the raw sound and experimental nature of the seminal Coded Language, released back in 1999 on Talkin Loud. In an era where a lot of people view drum and bass through the lens of a seemingly neverending avalanche of four-minute two-step releases with exaggerated foghorn bass lines, I’m hopeful “The Edge Of Everything” will alert electronic music fans from outside the drum and bass community to the vibrant 170 scene and the emotive, forward-thinking nature of producers like DYL, RQ, Shiken Hanzo and labels like One.Seventy, re:st and none60. It’s a healthy time for experimental modern jungle and, with a bit of luck, this LP may just help those often overlooked producers, who were regularly inspired by the likes of Krust and other jungle luminaries, to get their time in the spotlight too.

We’ll have to wait until early November to hear the complete album, and we’re certainly looking forward to checking it out in full, but until then the two new tracks are available to stream below.

Buy: https://lnk.to/CRM240

Krust – Constructive Ambiguity (Crosstown Rebels)

Krust – Tree Of Life (Crosstown Rebels)

Two Hungry Ghosts Chart (September 2020)

Various charts covering forthcoming promos, new releases, forgotten gems and timeless inspirations.

Dave Sector – Two Hungry Ghosts (September 2020 Chart)

X-Altera – New Harbinger EP (Sneaker Social Club)
Goldie – I Think Of You [Digital & Spirit Remix] (Metalheadz)
RQ – New Colours LP (Self-Released)
Sonic – Prince Of Cambridge (Sneaker Social Club)
Pessimist & Holsten – The Riot Tune EP (Hotline Recordings)
Forest Drive West – Impulse/Curved Path (R&S)
Kid Drama – Thoughtcast 7 (CNVX)
Tellus – Liberation EP (Modern Conveniences)
Earl Grey – French Exit EP (Inperspective Records)
Arcane – Labyrinth (Rua Sound)

Alexander – One.Seventy (September 2020 Chart)

Marked Red – Discretion (One.Seventy)
RQ – Sunset (Dawn)
Books – Cosine (re:st)
Karim Maas & Outer Heaven – The Force (UVB-76 Music)
Marked Red – Spiral Storm (One.Seventy)
Earl Grey – French Exit (Inperspective)
Tellus Featuring Quails – No Pride (Modern Conveniences)
Cryptographic – Echo IV (re:st)
Jaskin & Uneven – Kaleidoscope (none60)
LCP – Off Limits (re:st)

Akuratyde – Blu Mar Ten Music/Modern Conveniences (September 2020 Chart)

Mystic State – Vessel (The Chikara Project)
Akuratyde & Kharm – Enamoured (Microfunk Music)
Kid Drama – 2010 Again (CNVX)
Mark Kloud – Matter Of Time (Exkursions)
Kennedy One – Ocean Of Mine [Synkro Remix] (Kennedy One)
Akuratyde – Plume [Kid Drama Remix] (Modern Conveniences)
Sorse – Monotic (none60)
Lockjaw – Liminal (Locked Concept)
Cryptographic – Echo I (re:st)
Tellus Featuring Akuratyde – Down River (Modern Conveniences)

Chimera – Ronin Ordinance (September 2020 Chart)

Sully – Poison (Astrophonica)
RQ – Nectar (Self-Released)
Law & Wheeler – Early Reflections (Repertoire)
SB81 – The Drone Zone (DROOGS)
Pessimist – The Crawlers (Ilian Tape)
Riffz – N64 (Slap The Wall)
dgoHn – Monsoon Mercenary (Analogical Force)
Mark Kloud – Blood Dimmed Tide (Exkursions)
Akuratyde – November’s End [Silent Dust Remix] (Modern Conveniences)
Gremlinz & Jesta – Succubus (Ronin Ordinance)

Eusebeia – Western Lore/re:st (September 2020 Chart)

Phineas II – Dreamcatcher (Lucky Muffin Records)
Tool – Jimmy (Zoo Entertainment)
Distance – Fallen [Vex’d Remix] (Planet Mu)
36 – Hold On (3six Recordings)
Varg – Charm (Posh Isolation)
Akira Yamaoka – Wounded Warsong (Konami)
Balaam and The Angel – Thought Behind It All (Chapter 22)
Massive Attack – Mezzanine (Virgin)
Leftfield – Melt (Hard Hands)
The Opus – I come in peace (Ozone Music)

Sonar’s Ghost – Seventh Storey/Amenology (Top 10 Four Track 92-94 EPs)

Wots My Code – Wots My Code EP (Oxford ArdCore)
Metalheadz – Terminator (Synthetic Records)
Nasty Habits – As Nasty As I Wanna Be (Reinforced)
Rufige Cru – Darkrider (Reinforced)
Peshay – Protege EP (Reinforced)
Internal Affairs – Internal Affairs EP (Reinforced)
Studio II – Planet Dance (ST001)
Noise Factory – The Capsule EP (3rd Party)
Bay B Kane – The Return Of Bay B Kane (Ruff Guidance)
Tom and Jerry – Dancer (Tom and Jerry)

Dave Sector – Two Hungry Ghosts (Beats And Bleeps)

Goldie – Redemption [Jon Dixon Ambient Mix] (Metalheadz)
Audiokern – Set Off (Klangkeller Records)
Emotional Ty – Mountains & Rivers (EMTY)
Zoo Brazil – Outputs (clipp:art)
Highrise – Summertime Breeze (Breaks N Pieces)
Unknown Artist – Get Down (Semi-Skimmed Edits)
Jneiro Jarel – After A Thousand Years (Far Out)
Various Artists – Breaking The Beats (Z)
Nikitch & Kuna Maze – The Leak [Domu & Sonar’s Ghost Remixes] (Tru Thoughts)
Domu – Demos 1999 To 2009 (Self Release)
Freddie Gibbs & The Alchemist – Alfredo (ESGN)

Premiere: Arcane – Temples (Rua Sound)

“Temples” by Arcane is taken from the “Labyrinth EP“, forthcoming on Rua Sound. The release will be available on 12″ vinyl and digital download from September 11th.

The first release on the label by Arcane contains four tracks of pure atmospheric jungle goodness. A focus on bass and melody provides both ruggedness and musicality in abundance.

“Temples” is breakbeat science at its finest, intricate, emotive and melodic. The more drumfunk focused of the EP’s four tracks, it features a punchy low-end with complex Apache and Amen edits. A mysterious horn floats through the track, delicately skipping through its different sections like a mystical Sherpa.

Elsewhere on release, title track Labyrinth is reminiscent of one of my favourite Good Looking releases, “Travelling” by D.O.P.E with its multiple layers of atmospherics and cosmic chimes. “Planet X” featuring Samurai Breaks is a deep dancefloor workout, a blend of sophisticated drums and rude Reese bass. “Voyage” drops the tempo merging hip-hop, house and dub for a cosmic half-time 170 expedition.

The “Labyrinth EP” by Arcane is available to buy direct from the label now.

Buy: Bandcamp

Premiere: Mystic State – Mirrors Edge (The Chikara Project)

“Mirrors Edge” is taken from the debut LP, “My Own Private Island“, by Mystic State released on the Bristol-based label, The Chikara Project.

“My Own Private Island” contains fourteen tracks covering the bass music spectrum, from instrumental airy soundscapes to 90s jungle fused breaks. It’s an impressive debut that certainly captures the atmospheric side of drum and bass, from its early origins to modern, minimal and progressive 170 styles.

“Mirrors Edge” is the perfect blend of these two contrasting sub-genres. It’s half-time skeleton allowing breaks to twist and filter while remaining calm and melodic, adding a dancefloor twist to a sound often associated with intimate headphone listening sessions. The first half of the track is built around samples also used in “Terrorist” by Renegade, namely the “Think” break, Reece bass and Jah Shaka dub sound FX. The second section adds “Soul Pride” drums into the mix, adding a further injection of funk and nostalgia.

If you were a fan of jungle in the 90s and appreciated the cosmic, forward-thinking nature of the sound then be sure to check out “My Own Private Island” for an intoxicating excursion into melodic atmospherics.

The debut LP by Mystic State, “My Own Private Island”, is now available to purchase directly from the label via Bandcamp.

Buy: Bandcamp

Premiere: Cryptographic – Echo III (re:st)

“Echo III” by Cryptographic is taken from the “Echo EP”, forthcoming on re:st. The release will be available on a strictly limited edition vinyl, with only 100 being pressed, and digital download. Both versions can be pre-ordered direct from the label now via Bandcamp.

The re:st label is based in Switzerland and at the forefront of experimental 170 excursions into deep and dubby, techno fused modern jungle. The “Echo EP” is saturated in effects and atmosphere, expressive and percussive the release integrates ambient field recordings with weighty kicks and heavily delayed FX.

The EP captures a true sci-fi ambience with its robotic, industrial percussion and sounds that echo into the distance like ships venturing into space. Rainfall and informative vocal samples add to this Bladerunner vibe as you could imagine the educational messages being relayed on large screens as public service announcements in a futuristic city.

Buy now: Bandcamp

Fanu Talks Breaks, Headz, Ableton and Producing DnB

To celebrate the release of Fanu’s second EP on Metalheadz, we caught up with the Scandinavian DnB and hip-hop producer to discuss what it’s like to record for Metalheadz, collecting samples, how his studio set-up has changed and some production/studio tips.

You can check out his track “Through Thick And Thin”, taken from “The Legacy EP” below.

So, before we talk about your new release on Metalheadz I feel we need to discuss “Siren Song” as that’s where I was first drawn into your sound. I was a massive fan of Good Looking in the early to mid-90s but then began to drift away from drum and bass and began to listen to more techno, house and early prototype broken beat at the end of the century. “Siren Song” was one of the main tracks that turned me back onto DnB in 2004.

Ah, thank you! If I have helped bring one person back to DnB or turn them to it, I’ve succeeded.

That period was very dear to me. I remember how this more synthetic, more drum-machine-beats driven sound was taking over, and I wasn’t feeling that, and that track just happened, and I somehow knew it’d work.

In a way, I guess my sound has always been slight ”counter-movement-ish”, but that period, around 2004–2008 was really about breaks being chopped and all that. I suppose it struck the right nerve in many. I was in touch with TeeBee a lot back then and it struck a chord in him, too – the melancholy that resonates in one Scandinavian will likely resonate in another.

I guess that song is the one from me that a lot of people know about, and I’m just happy about that. That song literally took me around the world and gave me my quick 15 minutes of fame, and it happened at the perfect time, as I was a student with surprisingly much time on my hands, so I could travel a lot all the time just to DJ and spread the sound.

It had everything I was so passionate about when GLR where at their peak, perfectly edited drums, bass that took the track to a whole different level, pads that genuinely took you on a journey, plus those vocals… The track had a genuine cosmic quality, everything fuses so impeccably it’s hard to believe that it’s made from a variety of samples from different sources as its so natural.

Safe to say I wouldn’t be what I am if it wasn’t for GLR, either. Their 90s releases were SO GOOD. I’ve always said, in that era of DnB, producers were bringing plenty of outside influences into the scene. Just putting music into DnB, without trying to sound like DnB too hard, if you know what I mean? In general, music was way more heterogenous back then, and diversity and individual voices were celebrated more, I feel.

The GLR camp was sampling deep house, jazz and all that – I sorely miss that organic vibe of those days. That music took you on a journey each and every time. That music you had to LISTEN to, and you did; it wasn’t just some light-hearted background music – it was so strong.
In general, DnB was a crazy melting pot back then.

This ability to forge different elements together so tightly has become a trademark of your sound, from your drum and bass productions to your hip-hop beats, from your first release to this new EP on Headz.

Thank you! I’ve been absorbing music passionately since I was 10 or so, so I guess that’s it.

What’s your vision as an artist and how do you set about making such emotive music?

That’s a broad question! When I started making music, I was 12 years old. My primary goal was to recreate those magical moments I experienced when listening to the music that seemed to resonate in me. And you know what they say: when you make music that’s true to you and makes you FEEL something, there’s a high chance it’ll vibrate in other like-minded people as well.

I always felt that in a lot of 90s music, or at least the stuff that found its way to my speakers, there was often this sense of “otherness”, this level of depth that you didn’t find in the mundane everyday life. Music always took me to places. E.g., I remember listening to FSOL’s “Lifeforms” album while just lying on my bed in a dark room, watching stars, and that was magical. I grew up in the countryside, and back then the climate was way colder there and you could see the stars and Northern Lights in the winter, the way my parents raised me and my twin brother when we were young was kind of relaxed and we mostly got to do whatever we wanted: we were always playing computer games from a very early age, and in them, I also felt that sense of otherness and escapism from the everyday life, too. And we got to enjoy nature and freedom a lot. I think all that kind of contributed to me becoming a creative person somehow; that’s how I see it. I guess the art that comes out is somehow a reflection of what you are inside.

Continue reading “Fanu Talks Breaks, Headz, Ableton and Producing DnB”

Premiere: Trinity Carbon – International Bassline (Art-E-Fax)

“International Bassline” is taken from the “Downfall Of The Nemesis EP” by Trinity Carbon, released mid-September on Art-E-Fax.

The sixth release on the Berlin-based label follows in the same fashion as its predecessors, treading the ground between techno, house and 90s breaks. Described as “5 raw club weapons rooted in UK club culture”, the EP packs a punch with its coarse beats, mighty kicks and heavyweight basslines.

This area between genres has always been one of the most exciting for me in electronic music as it often leads to new ideas and reinterpretations of old themes. Similar to the experimental hot-bed that was the early 90s, this EP takes inspiration from across the dance spectrum, using elements out of context in a way that creates a sound that is as rough as it is refreshing. It’s amazing how vibrant a track can get by simply adding a breakbeat to a techno melody or throwing a loose 4/4 under an old school drum loop.

“International Bassline” is one of those tracks you want to hear in a dark club, surrounded by dancers bouncing up and down in unison. The sublime combination of an infectious bass melody with a disorientating vocal sample induces both a euphoric rush and a mild sense of panic. As it builds, the breaks and percussion bring all the tracks aspects together in a dynamic alliance of underground nostalgia.

Featuring artwork by Planet Luke (Klasse Recordings) the “Downfall Of The Nemesis EP” by Trinity Carbon is available to pre-order now direct from the Art-E-Fax Bandcamp.

Buy: Bandcamp

Premiere: Fanu – Through Thick And Thin (Metalheadz Platinum)

“Through Thick And Thin” by Fanu is taken from the “Legacy EP“, available to buy now on Metalheadz Platinum.

Featuring his trademark blend of funk breaks and sci-fi atmospherics, “Through Thick And Thin” encapsulates a rough and bumpy journey through the cosmos. Bright pads pierce the soundscape, then plunge into darkness. Breaks roll out then contort, stirring vivid imagery of space debris and intergalactic peril.

Fanu is a unique talent, with his productions combining high-energy jungle for the dancefloor combined with a strong narrative and purpose for the heads, his music has the ability to tell stories and evoke emotions, which makes Metalheadz the perfect home for this release.

For me, this EP captures everything I love about drum and bass and Headz in particular. All the elements are at a utopian level of balance, from the light and dark atmospherics to the breaks which have crunch yet don’t muddy the clarity of the productions, it’s no wonder to see why Fanu is such a respected mastering engineer.

I believe if you’re lucky enough to have music on Headz you need to up your game and the attention to detail on the “Legacy EP” shows Fanu has certainly risen to this challenge again, two years after his debut for Metalheadz Platinum, the “Black Label EP”.

This release is out now on Metalheadz Platinum.

Buy Now: https://metalheadz.bandcamp.com/