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| Pitchfork |
 "I hope dubstep continues to be hard to pin down, disobeys its manifesto, gets called stupid names, gatecrashes other scenes, and spikes the punch, elopes, and has lots of children"-- one of about 10 eminently quotable things said by the producer Untold to the dance-music site Resident Advisor this past October. The same month, he released Gonna Work Out Fine, an aggressive set of music that crystallized a lot of what I'd been hearing in singles coming out of dubstep and what you could call the post-dubstep diaspora: an incorporation of house-music rhythms, a more acidic sound palette, and some upbeat misanthropy in an otherwise superserious genre. Listening to his singles is like hearing dubstep getting a wedgie.Untold is one of two producers featured on both Sub:stance and Elevator Music, two new compilations that serve as mini-anthropologies of dubstep in 2010-- who's making it and what it's sounding like. Elevator Music is a set of unmixed, exclusive tracks released on Fabric Recordings, a label linked to the London club of the same name (a former cold storage building; #2 on DJmag.com's Top 100 Clubs of 2009). Sub:stance is named for a dubstep-themed night at Berlin's Berghain (a former power station; #1), led by producer and Hotflush Recordings founder Paul Rose, aka Scuba....full text |
| Bbc |
| It sounds rather like a term your exasperated granddad might use in lieu of anything more specific, but ‘bass music’ is, for now, the best catch-all we have to describe the fertile dancefloor cross-pollination taking place between dubstep, house and techno. Alternately – and in some cases all at once – these allied producers reference garage, funky house, grime and numerous points between, chewing up the past in order, so artist and audience hope, to spit out the future. As with any genre, or confection of genres, the productions involved range from game-changing to the eminently forgettable. The first volume of Fabric’s impressive new mix series dedicated to this bass-heavy territory tends almost exclusively towards the former, delivering a raft of previously unreleased, unmixed tracks, that surveys some of the more diverting routes modern dance music is taking to reach hips and feet. Happily, those routes frequently go via the head, too. That’s certainly true of London’s Untold: the plunging, chrome-plated and laser-streaked gurgle of his Bad Girls sounds as singular as the string of audacious tracks he released last year. And with his Gold Bricks, I See You, Mosca also delivers a piece of music so fresh it’s still bleeding: euphoric in part, and scattered with cut-up vocals and digital horns, it’s also infused with the exquisite melancholy that characterises so many garage tracks. ...full text |
| Hdmusic |
| Goldbricks, I see you! We can’t have enough of this compilation ever since we got it. Maybe this is a bit exaggerated and leaves the premises of journalistic objectivity but it’s most probably due to overexcitement. And why is that? Probably Mosca’s latest “anyone and everyone is drooling” tune will speak your language and hook you to the glittering whirlpool where broken-housey and recently refurbished uk-garage dwelves. If not, Martyn’s “Friedrichstrasse” could also serve as your blue pill to this elevator music world revealed by the ever fresh Fabric. Productions by established artists like Untold, Caspa & Rusko, Starkey and Hot City go together like a charm with the offerings from XXXY, Doc Daneeka, Hackman, Julio Bashmore or Shortstuff. Showing love for roots and keeping an eye open for innovation this is a smooth trip into lush deep grooves, pumping yet not disturbing rhythmic patterns and future electro. All in all, this is a must have album and a milestone for the broken beats of the new decade....full text |
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