His album ‘Revelate’, 10 tracks of blissful electronica, spanning ambient, through breaks to house and back is, in parts, so unmistakably ‘Quivverish’ you could confidently pick it out of a line-up and take it down. Guilty as charged.

But this isn’t an accusation, nor a bad thing. Quivver’s sound is unique and distinct, it oozes quality with the hallmark of a musician that isn’t just naturally talented but has honed his craft over decades.

Hence the levels of excitement around the release of ‘Revelate’, on John Digweed’s revered Bedrock label, were extremely high as were the expectations. Yet the market that music is received into has changed. The album format is molested, the appetite for the listener to digest a body of work is diminished.

What Quivver has done with this ten-track long-player is to take the listener on the traditional album journey, something notoriously difficult for electronic music artists – especially those with an underground bent.

The album starts with ‘Moonlight Pools’, a dark and emotive ambient opener. The keen-eared amongst you will spot a touch of the ‘Stage One’, just a sprinkling. ‘Horizons’ picks up the pace with a low-slung, smouldering, house chugger. It’s filmic, like taking a journey through the city and staring out the window as the landscape slides by.

Things get interesting with ‘Nothin’ New to Feel’, starring a pop-like vocal laid bare on a deep bed of progressive house. The lush pads and sumptuous melody are strong and emotive, the ambients are unusual but somehow familiar. The production here is a tour-de-force, a masterclass in the selection of sounds and arranging them with space and texture. I was left needing more vocal and the uneasy feeling that if this was the album starter, the album journey might be more successful.

‘Atomised’ is a pure-deep soundscape, something that wouldn’t sound out of place in one of John Digweed’s own sets. As fast as you’re settling into the deep journey, ‘Funkily’ shoots you an accusing look and elbows you hard. “This is how it is”, it says; funky yes, but quirky, uneasy and edgy. Punchy toms, nagging bass, vocal snippets and spiralling effects. When the ethereal strings kick in, like a raging shepard tone, and that hoover bass, and then that spooky melody – wowzers it’s just something else.

This is the sort of tune you hear at 5am dancing hard to the sunrise and still talk about ten years later.

‘Altered’ is a hard-funk journey with a growling house framework and a queasy Pixie-esque sample and ‘Shine’, a modern-sounding breaks track.

‘Hold’ puts you back on that deep and dreamy journey and ‘5AM’ lays bare that deep backroom experience, with its repetitive, driving nature you can almost see the strobes flashing in the background.

As if the end of the night has finally arrived ‘Crystals’ closes the album with an exuberant flourish of breaks, sub-bass and wonderful melody. The quality not so much trickles but gushes. It is literally a showstopper of a tune. It’s hard to imagine a more Quivver sounding track here, it’s light-touch everything, almost subtle in its approach but heavy-hitting on its exit. The choice of sounds, the balance and the placement of sounds are truly special. At nearly four minutes it’s an almost perfect set-closer, an album crown and an accomplished piece of work, yet I need more. ‘Crystals’ could be an album on its own and it wouldn’t disappoint.

And there is the problem with this album. It’s a journey, it’s a club, it’s a festival but it doesn’t quite gel to be the ‘experience’ I know it’s capable of. I want more ‘Crystals’, ‘Funkily’, and ‘Nothin’ New To Feel’. I want more of those outpourings because they are truly full of fireworks. Instead, it’s an album that is very good with some sublime moments.

Despite its imperfections, ‘Revelate’ has been on repeat, in the house, the studio, the car and pretty much everywhere. Check out ‘Revelate’, but more importantly, check out Quivver, he is one of the talents of our electronic generation.

‘Revelate’ can be bought as part of a 4 album boxset alongside Satoshie Fumi, Lopezhouse and Captain Mustache.

Score 9\10

Buy Here

The post Quivver – Revelate (Bedrock Records) appeared first on Data Transmission.

According to the rule of 10,000, it takes approximately 10,000 hours of practice to truly become an expert at something and master one’s trade. However, for Blaze DJ, 10,000 hours was but a mere apprenticeship. The London based DJ has put so many hours in, that he has come to develop an almost telepathic connection to the decks, the music he plays and the people who listen.

A genuine member of the Acid House generation, Blaze DJ considers himself to be “one of the lucky ones” to have witnessed the growth of the UK’s electronic music scene from its beginnings to the present day. Yet, he manages to bring the same enthusiasm and energy to his sets now, thirty years later, as he did while playing the epic parties of the early 90s. 

For Blaze DJ, it is and always has been all about the break. Influenced by many artists from the early days right through to today, he has managed to take all his inspiration and influences and weave them into the tapestry that is his own unique sound. Think 70’s NYC, meets 90 Rave with a hint of 00’s Dubstep breaks, a touch of acid and a tabasco hit of 80’s pop and you’ll start to get an understanding of Blaze DJ’s style.

Now under his brand Ministry of Breaks, Blaze DJ hosts a mix series of the best breakbeat inspired music from around the globe with exclusive releases from leading Breaks labels including Nipponeer Records, Lizplay Records, One 7 Audio, Elektroshok Records, Distorsion, 13 Monkeys and Ravesta Records. Other highlights in this series are random eclectic live remixes, which on paper shouldn’t work, but surprisingly masterfully blended as if they were released that way.

So, calling the Old Skool for the 21^st Century and take a break from the norm.  

You can listen to the shows on Data Transmission Radio on the 4th Week of the month on a Thursday at 1am (UK), listen back to this weeks show below!

The post Ministry of Breaks Show comes to Data Transmission Radio appeared first on Data Transmission.

To some electronic music purists the combination of vocal and techno or progressive instrumentation is not an acceptable combination. It’s like a mash up of commercial pop music at one end of the spectrum and a more underground sound on the other. For me, and I’m not alone here, the combination of crafting a song and setting it into a landscape of interesting electronic music is irresistible.

BOg and GHEIST have nailed that very combination with Venere. The mournful male vocal, lush pads and catchy underground melodies are utterly immersive. This is the sound of your soul floating into space and looking down contemplatively, of self realisation and turning points.

Ironically it’s when Fideles set the song to a house backdrop that it really comes into its own. A rolling techno bassline carries the vocal, somehow all the better for the key changes that could all go so wrong but sounds so right. The arrangement allows the track to breathe and become something really special. It’s hard, it’s soft and kind of tactile.

Glowal turn in another great remix that is perhaps more suited for the more underground floors with support from Afterlife, Innervisions, Bedrock and Exit Strategy which really is very good but for me the Fideles remix hits the mark.

Either way ‘Venere’ is a release made with love and full of soul. It’s great to hear the passion pouring through from the people that count, you know the ones? The punters, out there on the dancefloor.

Score: 9/10

Buy from Beatport here:

The post BOg, GHEIST – Venere (Atlant) appeared first on Data Transmission.

Both tracks on ‘One Darker’ are provided by Graham himself. In fact, they are both different takes on the same track, but the contrast is ample, and that on its own is quite a feat. In the original take (as Quivver) he opts for a 4:4 take on deep, progressive house. Narcotic as ever, the warm groove is bound to make hips sway. The British maestro expertly crafts an earthquake of a low end, while beautiful shapes and forms make themselves tangible, in what already feels like a classic, straight from the future.

Always the innovator, John puts his recently revived Skanna alias to down for a masterclass in breaks & D&B. Prior to his recent remix of Sasha’s ‘Rooms’, Skanna had been dormant for almost 20 years. Now back with a flourish, he reworks ‘One Darker’ in a timeless fashion. The zero-gravity remix feels like a living, sentient creation. Featuring a growler of a bassline that contracts and expands at will, while the same shapes from the original materialize in shifting patterns for a seductive take on the genre.

‘One Darker’ feels like a unique blend of past, present and future, like only someone like Quivver can provide. Not to mention that it proves that breaks is making a much-needed comeback to the main stage, this release is not only a testament of John Graham’s legacy in electronica, but it is yet another display of quality, Bedrock sound.

Score: 9/10

Buy from Beatport here:

The post Quivver – One Darker EP (Bedrock) appeared first on Data Transmission.

Attending the Let it Roll festival was an exciting opportunity for me as it featured almost every current drum and bass artist around. Held in the baking hot sunshine on an abandoned Soviet-era airfield outside the Czech capital, Prague, this festival was not for the faint hearted. It was one of those occasions when hardcore ravers from all over Europe gather together to enjoy their love of Drum and Bass, Neurofunk, Breakbeat, Breakcore, Liquid, Jump Up and everything in between. Truly an experience and brilliant 23rd birthday present for me.

Apart from attending Sunbeatz DnB festival in Ibiza for 3 years running, this was my first festival abroad. This was completely different though as in Ibiza all the nights are held in clubs. So, I guess you could say, that it was my first open air festival. And what a fucking difference it makes. For years I have marveled over videos online of the legendary Defqon.1 festival, wanting more than anything to attend a festival that sells out in a matter of hours simply because of the incredible stages, sound systems and laser light shows. As an avid lover of Drum n Bass, Let it Roll was set to be even better.

Set about half an hour away from the iconic city of Prague, in a quiet little town called Milovice, the festival is surprisingly accessible with plenty of amenities nearby and even a Tesco to stock up on well needed water, food and booze. Although the festival does have loads of food stalls selling everything from pizza, Chinese food to local Czech cuisine, we opted for the money saving option of bringing our own food. The bars were what you’d expect from a normal festival, although pints were a steal at €2 per drink. The money-operating system was slightly confusing, with the festival currency being BOLTS. The exchange rate was about €2 per BOLT, which entailed converting GBP to CZK Koruna, then Koruna to BOLTS. Although this did take a bit of getting used to, everything at the festival with the exception of cigarettes could only be paid for on an electronic wristband that could be topped up before the festival, or on site via credit or debit card. After complaining about the initial hassle of this, I realized that the ease of not carrying cash about was actually a bonus. There was also a really awesome scheme that included a cup exchange, which meant for every cup that was handed in, you could exchange for 1 BOLT, the equivalent of €2, which meant that we felt like we were getting a lot more back for our money.

The atmosphere at Let it Roll was extremely friendly, with a mix of mainly European people, and only around 20% of the tickets were sold to locals. The majority of festival goers we met were from Germany, Austria, Slovakia, Belgium, Britain, The Netherlands and France. The eclectic mix of people meant that there was a diverse range of personalities all coming together over their love of music. I can honestly say that it opened our eyes to the amazing range of culture offered by a diverse crowd of people. Although we can learn so much from our lovely European neighbors, deep down people are people are people, and we are all the same despite our cultural differences. It was so enlightening to meet people from other cultures uniting in their love of music, and I must say that this is one of the main things that going to a festival out of Britain has taught me. And I loved every second of it. During the minutes before we boarded the train to Milovice, we met a lovely Slovakian couple, Frederika and Palov. We instantly clicked when we found out that Frederika had lived on the same road that I grew up on, in Sheffield, England. I guess it’s not such a big world after all. Making friends before even entering the festival was a godsend, as they helped me to negotiate my way around the booze aisle as well as the taxis trying to overprice unsuspecting tourists. It was lovely to bond with people so quickly, and after setting up camp together, we soon realised that everyone at that festival was just as friendly.

Now on to the main reason we had trekked all the way to Prague, the music. Let it Roll had one of the most impressive line-ups that I’ve ever seen, with nine stages and hundreds of acts lined up over the 3 days. There was even a pre-party on the Wednesday night with one of the stages, an old airplane hangar with a huge rig inside, open to all the eager festival goers. This stage was open 24/7 and didn’t shut until 4pm on the Sunday. Whereas our festivals usually go all weekend, Let it roll was a bit different as the main days were on Thursday, Friday and Saturday.

The first night on Thursday hosted an array of artists, with all stages apart from the main stage open. The highlights for me personally was the hospitality night on the factory stage. Big name artists in liquid DnB featured including S.P.Y, Netsky, London Elektricity, Danny Byrd and Wilkinson.

The Madhouse Stage was absolutely sick, holding thousands of people under a big blue marquee, the feature was a huge Optimus Prime-style robot that looked out onto all the ravers from behind the DJ decks. On Thursday night, Critical Music, an independent record label based in north London owned and run by DJ and producer Kasra took over this stage to provide some awesome DnB artists. All time favorites Ivy Lab were my pick of the night, providing dirty DnB mixed with just the right amount of Neuro. Other acts played on the label that night were Kato, Hybris, Rido and Foreign Concept.

After all the excitement of the previous night, the festival gives people a chance to relax and chill throughout the daytime. By that I mean that they don’t start the main acts until 6pm with some of the smaller stage open from 4pm. There is one small stage open for midday as well as the 24hr Hangar. So people aren’t left without music, but the main shows don’t start until the evening.

I would say Friday, for me, was the highlight, as it featured the best names and the acts that I was most excited to see. In all reality it definitely didn’t disappoint, instead it surpassed all expectations. To be honest I was spoilt for choice and split between the stages, but tried to pack in as much as possible. Friday daytime was so enjoyable because we found a rig called Forbidden Society, which was on the shredder stage, another smaller industrial looking stage with burnt out cars and a makeshift scrapheap metal man. Although I’d never heard of Forbidden Society, then have to get a shout out as the music was some of the phattest, dirtiest Neurofunk that I’ve ever heard. I really enjoyed it and would travel specifically to see that rig.

Starting the nighttime with a bit of Liquid Drum n bass to ease me into it, I headed towards the newly opened main stage. I enjoyed Hybrid Minds’ set for the first half an hour, then went wandering to find something a bit heavier. Discovering new artists is one of my favourite things about festivals, and this one was no exception. Walking around the festival we stumbled upon what sounded like dubstep crossed with Skrillex. It was quite unusual music but definitely had a banging beat. As we walked in to investigate further, the now familiar robot loomed over us again as we danced for duration of the set. The artists I later found out was Italian duo Was A Be who have only burst onto the scene in the last few years on Shogun audios label.

Next up was the legendary RAM Records take over on the factory stage. This was the second biggest stage at the festival. It was a large open air area that consisted of mechanical nuts and bolts, moving in unison with the music. The huge scaffolding framed stage was set out to look like a factory, complete with smoking chimneys, huge pillars and moving steam punk cogs, all colored in industrial yellow. This created an intense and surreal atmosphere that really suited the music genre and enhanced the experience even more. Obviously, Andy C’s independent drum and bass label, RAM Records (est 1992) are a huge name in Drum n Bass so they were bound to feature some wicked artists held on their record label. Sets were featured from artists such as Madface, Bensley, Loadstar b2b DC Breaks, Bad Company, Dimension, Teddy Killerz and Killbox (Ed Rush&Audio).

The opening show for the main stage was held at 10pm Friday night. And damn was it spectacular. The firework displays were second to none, and the lasers were absolutely out of this world. Throughout the night I got to skank my little arse off to high contrast (liquid), Drum n bass legend Andy C, Calyx & Teebee, world famous DJs Hype & Hazard playing all their usual tunes (Ready or not, Mr. Happy, Machete) followed by uplifting DnB from The Upbeats.

Somewhere amongst that time, I snuck off to see the absolute legends that are Black Sun Empire. And as always, they couldn’t have been any better. Performing on Shogun Audio’s night in, again, the Madhouse, they dropped tune after tune of purely awesome and dirty drum n bass. Some of the finest music I’ve had the pleasure of experiencing the highlight of their set for me, was probably hearing some new material as they played songs from their new album ‘The white room’ released this year.

Saturday night was set to be big. After a whole day of blazing hot sunshine, thousands of sunburnt party goers set upon the various stages. With Jump-up all stars taking over the factory stage, artists such as original sin and sub zero were the highlights of my night. The main stage was also incredible as the astounding laser shows wowed me once again. The lineup, I’d say was a bit tamer on the main stage tonight and aimed more towards the mainstream music scene. Saying this, I enjoyed it a lot and spent the evening in awe of the lasers and bassist speakers that I have ever come across. That must be said, that the sound systems were second to none. Absolutely top notch sound quality the whole way through. The Europeans definitely know how not to skimp on the bass, unlike some of the mainstream UK festivals.

Featuring on the main stage on the final night was The Prototypes, Camo & Krooked, Sigma and Sub Focus. However, the highlight of the main stage for me were Delta Heavy, playing tunes which were just dirty as hell. They had the whole of the thousands strong crowd skanking their absolute arses off. Another thing about Europeans, they can dance! Never in my life have I seen moves that fancy, with so many people putting their all in and completely losing themselves in the music. It was such a beautiful thing to see. Other attractions on Saturday included an Eatbrain take over, featuring Malux, Coppa live, Synergy, Mob Tactics, State of Mind and Telekinesis. Then on the port stage there was a night hosted by Dispatch Records featuring Panorama, Onset, Safire, Kyrist, Alix Perez and Nymfo.

To be honest I wish I could have split myself into 2, 3 or even 9 so I could have caught and danced to every single act. But I guess it’s just another reason to come back next year. Let it roll is all about the music, it’s absolutely a no frills festival, with minimal amenities on site, hardly any decorations and on a completely flat plane of land, and only a few activities to do in the day. Despite all this, it is literally the most amazing experience that I could have ever wished for my 23rd Birthday. The sound systems are incredible, the line-up is everyone that you could ask for if you like DnB, playing act after act consecutively with no gaps in between leaving you guessing how long until the next set… The people are warm, kind, friendly and hardcore. Everyone is so into the music and it makes for a brilliant atmosphere and all round spectacular festival. It definitely is one to make the effort for if you like DnB, Breakbeat, Neuro, Dubstep or anything dirty with a beat. This year was the 10 year anniversary so it was a special one, but I can see every year in the future been just as good and hope to return next year.

Photo credit: Jakub Dolezal

The post Reviewed: Let It Roll appeared first on Data Transmission.

Malaney Blaze aka Daniel Neal is 27 years old and currently resides in Nottingham.

Coming from creative parents and being around music his whole life, he started his musical endeavours in his teens, learning the drums and joining a Ska band with school friends.

Shortly after he branched out into classic hip hop and started collecting vinyl. When he eventually got his decks he started practicing turntable-ism and quickly picked up mixing and beat matching skills. It wasn’t long before he turned his attention to electronic music, in particular, Drum & Bass.

You can always expect a bass heavy set from Malaney Blaze and he is comfortable using 4 decks to keep the crowd dancing and guessing. He is also not afraid to dabble with his other influential genres (Reggae/Breaks/Hip Hop/Garage/UKG/Dubstep), so don’t be surprised if the tempo gets changed up a few times throughout his performances.

Having played at clubs in his local area and supporting international acts such as AMC, Jubei, Congo Natty, Top Cat, SASASAS and Jayline he has had already made quite a name for himself.

We expect big things from Malaney Blaze after he Won the Nozstock Festival in association with Data Transmission 2016 DJ Competition which will take him to play at the festival this weekend (22nd-24th July), you can still grab tickets from their website > http://nozstock.com/

Track list:

1. Malaney Blaze – Intro
2. Tim Ryan All Stars – Liquidator
3. The Prototypes – Rocket Guns Blazin’
4. Indiekai – Cliche
5. M.C & Six Blade – Rock ’n’ Ride
6. Sizzla & Errol Dunkley – Champion Sound (Dub Phizix Remix)
7. Muzzy – Play ft. UK:ID
8. Sub Killaz – Gangsta
9. Margaman – Rough
10. TC & Jakes – Rep (S.P.Y Remix)
11. Optiv & BTK – Malfunction (State of Mind Remix)
12. Potential Badboy ft. Demolition Man & Show Stephens – Revolution (Tyke remix)
13. Simula – Truth Serum
14. Sam Binga ft. Rider Shafique – Mind & Spirit (Breakage Remix)
15. Black Sun Empire & State of Mind – Until The World Ends (Mind Vortex Remix)
16. Spor ft. Icicle & Linguistics – Mind of an Insomniac
17. Sub Zero & Dub Motion – Oh Girl
18. After 6 & Ryan Blyth – Trust Me (Frankee Remix)
19. Bad Company UK – Planet Dust
20. Document One – Run The Block
21. Facing Jinx ft. Alexsia Louca – Now You’re Gone (Break Remix)
22. Icicle ft. SP:MC – Dreadnaught (Phace Remix)
23. Spectrem – Shaolin
24. Gentleman’s Dub Club – High Grade
25. Rebound X – Rhythm ’N’ Gash
26. Black Twang – So Rotten
27. Roots Manuva – Witness (1 Hope)
28. O.P. – Ante Up (Robbin Hoodz Theory)
29. Born Jamericans – Boom Shak a-Tack
30. Break – Unification
31. Alpha – Frozen Black (Upgrade Remix)
32. Tantrum Desire – Anarchist ft. Rhymestar
33. Dominator & Nu Elementz – Spartanz
34. Dossa & Locuzzed – Electric Boogie
35. Lexx & Numa Crew – Kill The Whole A  Dem (Upgrade Remix)
36. / Northern Zone – Soul Is Still The Same
37. Filthy Habits – 100th Victim
38. Toronto Is Broken – No Gyal Tune
39. Stranger – The World Is Burning
40. Drifta ft. David Boomah – It’s All Over
41. Simula – Distress Signal
42. Tantrum Desire – Airhead
43. Numa Crew ft. Dub FX – Bass Hater (Samy Nicks Remix)
44. Pasco – The Trick (Turno Remix)
45. Damage Report – Head Cold
46. Signal – Ennair
47. The Upbeats – Def Crescent (Neonlight & Wintermute Remix)
48. Audio – Thunder Ridge
49. Malux – Turbine

The post Mix of the Day: Malaney Blaze appeared first on Data Transmission.

Fresh off the back of his Emphasis EP for Liar’s aforementioned imprint, Otik offers up 4 servings of ten tonne, break-driven belters, fusing together hardcore, jungle and grime. Today’s premiere, ‘Bulldog’, aches with ’90s nostalgia, but still offers a punchier, more full-bodied sound that ultimately gives it a modern edge.

Taken from the Strangelove EP, ‘Bulldog’ is due for release July 24th; head over to the Infinite Machine Bandcamp from then to grab a copy.

Strangelove EP Tracklist:

01. Glimpse
02. Futile
03. Bulldog
04. Stranglove

The post Debut Transmission: Otik – Bulldog appeared first on Data Transmission.