For all enquiries please contact bookings@surefireagency.com


Surefire.Sound @ Corsica Studios, 25th March



Surefire.Sound
Friday March 25th 2011
Corsica Studios, London

http://www.surefiresound.com
http://www.surefireagency.com
http://www.corsicastudios.com

::

Surefire.Sound makes a triumphant return to the capital on Friday 25th March with another line up of high quality electronic music that will turn Corsica Studios into a melting pot of creative freedom and expression.

Flying in from the USA to headline the night is Martyn, an artist whose work across the spectrum of electronic dance music, from dubstep to techno to drum & bass, perfectly encapsulates the forward thinking ethos of this event. Joining him will be Om Unit, another producer who refuses to be constrained by the restrictive nature of genre definitions, as well as Tectonic’s new boy Illum Sphere and UK Garage/2-Step legend Noodles. Joe Muggs once again has the honour of providing the musical hors d'œuvres to warm things up in Room 1.

The second room plays host to Addison Groove’s Juke Box with the intense energy of the first event set to continue as the man himself is joined by Chicago’s DJ Rashad, one of the founding fathers of the Juke/Footwork scene that this room pays homage to. Expect a heady mix of house, ghetto house, disco, juke, and ghettotech blended together with razor sharp precision from this pioneering artist. Joining Addison and Rashad will be Oeuvre Records’ enigmatic P45 who will get things started with a unique fusion of dubstep, techno and the industrial avant-garde.

Much like the first event this second Surefire.Sound will bring together an uncompromising combination of cutting edge artists to an open minded and receptive audience, creating an atmosphere to rival anything in London’s clubland. Don’t miss out.

Full Line-Up

ROOM 1
Martyn
Om Unit
Illum Sphere
Noodles
Joe Muggs

ADDISON GROOVE’S JUKE BOX
Addison Groove (Live)
DJ Rashad
P45


TICKETS AVAILABLE FROM http://www.corsicastudios.com

Illum Sphere - Live for Surefire

The second round of Surefire.Sound London takes place next Friday 25th March @ Corsica Studios, and as part of the warm up for this event Illum Sphere has put together a little 15 minute teaser of his live show exclusive for Mixmag. Check it out, and make sure to get the low-down on the event below...

"Cutting-edge record label Surefire.Sound returns to London next Friday March 25 for a little shindig with the likes of Martyn and Illum Sphere and Noodles at the helm, and Mixmag have bagged this exclusive live mini-mix from Illum Sphere to whet your appetites…

Hitting Corsica Studios for a second time, Surefire.Sound will also welcome Om Unit and Mixmag’s own Joe Muggs, plus a second room headed up by Addison Groove, DJ Rashad and more."

ILLUM SPHERE Live for Mixmag and SUREFIRE.SOUND March 2011 by MMTracks




Surefire.Sound
Friday March 25th 2011
Corsica Studios, London
http://www.surefiresound.com
http://www.surefireagency.com
http://www.corsicastudios.com


::

Surefire.Sound makes a triumphant return to the capital on Friday 25th March with another line up of high quality electronic music that will turn Corsica Studios into a melting pot of creative freedom and expression.

Flying in from the USA to headline the night is Martyn, an artist whose work across the spectrum of electronic dance music, from dubstep to techno to drum & bass, perfectly encapsulates the forward thinking ethos of this event. Joining him will be Om Unit, another producer who refuses to be constrained by the restrictive nature of genre definitions, as well as Tectonic’s new boy Illum Sphere and UK Garage/2-Step legend Noodles. Joe Muggs once again has the honour of providing the musical hors d'œuvres to warm things up in Room 1.

The second room plays host to Addison Groove’s Juke Box with the intense energy of the first event set to continue as the man himself is joined by Chicago’s DJ Rashad, one of the founding fathers of the Juke/Footwork scene that this room pays homage to. Expect a heady mix of house, ghetto house, disco, juke, and ghettotech blended together with razor sharp precision from this pioneering artist. Joining Addison and Rashad will be Oeuvre Records’ enigmatic P45 who will get things started with a unique fusion of dubstep, techno and the industrial avant-garde.

Much like the first event this second Surefire.Sound will bring together an uncompromising combination of cutting edge artists to an open minded and receptive audience, creating an atmosphere to rival anything in London’s clubland. Don’t miss out.

Full Line-Up

ROOM 1
Martyn
Om Unit
Illum Sphere
Noodles
Joe Muggs

ADDISON GROOVE’S JUKE BOX
Addison Groove (Live)
DJ Rashad
P45

TICKETS AVAILABLE HERE

Shackleton - Quietus Interview



Ahead of his appearance at BLOC this weekend, the enigmatic Shackleton had a quick chat with the people at 'The Queitus'.

"Sam Shackleton’s entry into the world of electronic music was through visits to dubstep’s chrysalis, FWD>>, in the early 2000s. Along with a cohort of friends, among them Laurie Appleblim, the Lancashire-born producer quickly became an admirer of the unique brand of urban dread purveyed by the likes of Youngsta and Hatcha. The outsider’s perspective which Shackleton and ‘Blim brought them in 2005, to the foundation of Skull Disco; one of a new generation of hugely influential UK labels, and an early indicator of the resilience and dizzying potential of the dubstep virus.

Since Skull Disco closed its doors in 2008 - having by then established one of the most distinctive visual and musical identities of any UK label of the past decade - Shackleton has continued to refine his sound. His trademark brooding atmospheres, intricate lattices of percussion and warm, embracing subbass lines have seen the light of day on Perlon, Honest Jon’s and his own recently-founded imprint, Woe To The Septic Heart.

He has also stirred the cauldron with laptop-based live performances, reconstructing his tracks into seamless, rolling vistas of tension and paranoia and earning himself a slot in Fabric’s legendary mix series in December of last year. It’s just such a set that he’ll be airing at the Bloc Festival this weekend, where it will form the nihilistic, Eastern-inflected icing on an already decadently endowed electronic cake.

The Quietus spoke to Shackleton over the phone in his Berlin studio, finding him settling down with his morning cup of tea at the highly respectable time of 9am.

Are you usually an early riser then?

Sam Shackleton: Yeah I’ve just got used to it over time. I’ve been able to live off my music for the past 5-years or something like that, but I’ve had it engrained into me to get up at 7 O’ clock in the bloody morning! [laughs] I stay in bed ‘till 8 and that’s a lie in for me!

I wanted to ask about how you got into electronic music. Your influences seem to be different from the norm; you’ve come from a punk background. Was that unique among the early dubstep crowd, did people find it strange?

SS: I don’t know about that, because I don’t know everybody’s musical backgrounds. I never really felt part of some early dubstep ‘scene’ or something like that. We just called it all garage then, you know? Me, Appleblim, Necta Selecta and Engine Room used to go down to the parties, Necta Selecta was booking some of those guys, like Geeneus, and Plasticman - now Plastician - back in 2003 or something. We’d go down FWD>> and that type of thing, but I can’t say I ever really swapped notes with everybody on their musical background! [laughs]

But it’s probably just a generational thing, because at that time I would have been 28, 29 perhaps, and a lot of those lads were very, very young. I used to really like Youngsta, and what he was playing. We thought that was superb, great stuff. I think at that time he was maybe 16. So you couldn’t really expect him to have had the same exposure to different music as perhaps we would’ve had. But it’s strange really, because you can find a common ground in somebody’s approach in one form of music, and then in another form of music people like completely different things. I think when you listen to that Youngsta stuff from around that time - I don’t really know what he’s doing now, I have to be honest - it was basically very minimal, spacious dub of some kind; even if the beats were somewhat different or whatever. So there’s got to be some common ground in that. It doesn’t really matter if I was listening to Jah Wobble playing bass with Public Image back when I was growing up, whether Youngsta’s never heard that, there’s some kind of shared aesthetic there anyway.

All these things seem to fall in and out of vogue if you will - which bands get name-checked and all the rest of it. I think it’s all a load of bollocks really. I think kids are quite naturally avant-garde anyway.

You mentioned the four of you going down to FWD>>. In a Martin Clark interview from way back you discuss how you would be really going for it on the dancefloor, where a lot of other people were maybe a bit more self-conscious in their response. Do you think having that energy on the dancefloor has influenced the music you’ve made since?

SS: [thinks] When Hatcha and Youngsta were playing their sets back then, there was a lot more of a percussive influence; which I’m hearing quite a lot these days with the UK funky stuff. I think maybe there was a certain energy in that - when you think of something like those early Mala tunes - Mala’s still big on the percussion isn’t he? It’s good dance music, you know, end of story! I think at that time, there weren’t so many people in the club, it wasn’t considered a rave, there was a lot of smoking going on, and it was a very working class london crowd. People don’t like to lose face or whatever - but again, maybe we were just that bit older and it didn’t really matter to us. My friend Necta Selecta put it really nicely when he said, 'people get into these things in their own way', and he’s absolutely right. As for influencing my music - all the music I’ve heard has influenced me in some way, really.

So your live sets now - I’m thinking of the Fabric CD here - it’s music you can move to, but maybe it’s not music for the club? Do you see it that way?

SS: This is the funny thing - I see it completely as club music. I’m not a big fan of what you might term electronica. I do see my music as very functional club music. I think people have their own groove, and you can’t expect everyone to share your groove. But I think if you get away from the fact that it doesn’t necessarily have a rigid four to the floor, or a regular snare or whatever, it’s actually completely dance music - at least that’s the way I see it. I do understand people saying 'oh you can’t dance to that', but then you come to some nights [of my music] and people really lose themselves in it, really dance. And I like that. But yeah if you see me play you’ll find that half the people there completely agree that it’s dance music and the other half disagree and go to the bar! [laughs]

Could you talk in a little bit more detail about your live set? The tracks are sort of reconstructed using the basic elements aren’t they?

SS: I don’t want to give too much away! Well... I’m not so precious [laughs]. When I have a complete tune, I break it down into its component parts - this is really boring stuff, I can imagine the casual reader saying 'Oh...next question' [laughs] - but basically I break it down into parts, into loops which I can trigger at any time. Some of it’s quite complex, so I might have to leave a whole section in rather than break it down into smaller loops. In that respect, it’s not as live as I might want it to be - but then you’ve only got so many pairs of hands! On top of that I’ve got textures - all the instruments that aren’t percussion - I guess normally you’d say melodies but I don’t really go for many melodies! It’s all done in Ableton. I don’t want to big up the company too much but it’s a very good product, I find it very useful.

I think what might surprise people [when they see me live] is that they find it quite intense - whether it was good or bad. But a lot of that comes from the volume. At a low volume, on your speakers at home, there are things you don’t really notice so much - particularly in the bass - but when it’s at a high volume you realise 'this is actually quite a driving force'.

The laptop set-up obviously gives you a lot of freedom, but given that your music has come out of the UK bass scene, have you ever felt an urge to play strictly vinyl and acetate?

SS: Well I’m not really from that. I’ve never been a vinyl DJ, I mean I did start but - I never thought that I would get bookings, that was the first thing. It never crossed my mind that people would be interested enough. I did think, when it came to releasing the first Skull Disco record, perhaps 200 people would buy that across the country, and think “oh that’s a nice bit of obscure dub”, or something. But it constantly surprises me that people want to book me - of course that makes me very happy. So in the first place it wasn’t a case of, 'Oh let’s book this DJ, Shackleton'; people heard the music and wanted to do a booking. It shouldn’t really work like that should it? I’ve heard people say, 'DJs should be DJs and producers should be producers and never the twain shall meet.' I do have quite a bit of sympathy for that.

But it’s just one of those opportunities that’s opened up. I’ve realised I’m not really a DJ, I’ve no real desire to represent other people’s music in that context. Even though I have massive respect for all the guys who were going down FWD>> back then, I never really wanted to be a dubstep guy or something like that, it’s not really my thing. I think I’m maybe just a bit too old to feel comfortable with that kind of stuff. So people wanted to book me, and I’d turn up with some of my own stuff I’d cut to dubplate, but I’d never really want to play anybody else’s stuff. I can’t explain that, maybe it’s some weird ego thing.

Coming back to doing the live thing, it was Kode 9 who first sowed the seeds in my head. I was on the phone to him, and he said to me 'Have you heard of this Ableton program? I could see that really working with your music', and that made me curious. So I have him to thank! He’s quite perceptive like that isn’t he, with the whole Hyperdub thing. Clever bloke, he knows what he’s on about.

I wanted to talk about your production. You’ve described yourself in the past as 'not a natural music maker'. What keeps you coming back to making it?

SS: I think what I meant by my not being a natural music maker is that it’s a struggle for me, to make something that I feel happy with. Since saying that, I’ve come to realise maybe it’s more that I’m not happy putting just anything out. I always used to feel a bit weird when people said, 'Oh, I finished that [track] in an afternoon', or something like that - but it’s different for different people isn’t it. I don’t really understand music theory or anything like that, and I’m not sure I really want to. I’ve read a couple of introductory books, but I just get bored halfway through and think, 'I’m making the sounds I like.' I have a more intuitive approach - but I sometimes think that does trip me up a little bit, when I’m making a track and then halfway through I think, 'This isn’t working, why not?' and I have to dismantle the whole thing to find out. Perhaps if I knew a bit more about music theory, I’d work out these things, like why these particular sounds clash.

The major focus in your music seems to be on the percussion. I’ve heard that your approach to drum programming is very detailed and painstaking. Do you think that the craft - the pure man-hours - of putting it all together is a really important part of the process?

SS: This is the paradoxical thing about it I think: personally I like [music] that, when you hear it, doesn’t jar with you, sounds very natural and has a flow to it. But the process of making that is actually very premeditated and laborious. That’s a strange contradiction isn’t it? It’s just the nature of a certain kind of electronic music.

Finally, what’s coming up in the future - Pinch mentioned a collaborative album between you guys?

SS: [thinks] Well I like working with Pinch, he’s a friend. But I wouldn’t want to say, 'Oh there’s an album going to come out.' We really need to listen back to what we’ve done, we need to do more work and then we’ll see what happens. If there’s enough material there for an album, some time in the long, long distant future, then that would be nice. If there’s not enough material for an album - if it’s a 12” - well that’s fine as well. It’s just about keeping the quality high.

For myself, I don’t really plan things, it doesn’t work like that for me. I wish I could. For example, with the Woe To The Septic heart label that I’ve started, the wise thing would’ve been to have a good follow up 12” out by now, and I’m nowhere near it! But these things happen when they happen. When I’m happy with something and I feel it’s completed, then it’ll come out. But I don’t have a release schedule or anything like that - I think that’d create pressure.

Appleblim - Fabric 'Main Room' Mix + Interview



Ahead of his appearance at Fabric on the 12th March alongside Shackleton, Ricardo Villalobos & Craig Richards, Appleblim swung by the Fabric blog for a chat as well as dropping a 90 mix chock full of exclusives too.

"Appleblim is a true character and a music obsessive. Literally bigger than most things in any DJ booth we truly look forward to each one of the Bristol based producer’s sets here. Having played numerous times - he’s twice hosted Room Three in aid of his record label Apple Pips - he returns to complete a lineup that reunites the composite players of the heralded Skull Disco label, setting up shop alongside his old label mate and fabric 55 artist, Shackleton and the Chilean mastermind Ricardo Villalobos; with all three appearing alongside Craig Richards. In Appleblim’s trademark gentlemanly fashion, when we asked him if he had anything on the horizon ahead of the show he went above and beyond both the call of duty and our expectations, providing us with a 90 min mix of super fresh material and giving the world what is probably the first public airing on over 50% of these tracks (only a couple of them are reportedly available at this time).

He also took the time to provide up to the minute details on his movements of late, filling us in on what’s happening with his own productions alongside those he chooses to expose in the near future on Apple Pips.

“I've been working a lot with [Caravan label boss] October;” he offers when probed on his current musical partnerships. “We've just completed a 12" for an exciting new Bristol label called Smorgasbord. Its great fun working with Jules, he has a really interesting studio that is really easy to make music in. He’s got tons of great old synths and outboard effects, and a mixing desk, which is not the way I’m used to working, so it’s been a really fun process. We started quite a few beats, but settled on a slow house thing and then totally changed the direction of another piece and made it a house paced piece of dubbed-out woozy synth. He's been making tons of lovely kinda deep-trippy-jackin-house stuff some of which will see the light of day on Apple Pips.”

Al Tourettes and I are working on new stuff together, as well as a remix for upcoming German house dude Axel Boman for Hypercolour; he did a 12” on Koze's Pampa label which I really liked. It's sounding really cool, and I’m excited to hear what he does for us in return. Al is one to watch in 2011 and his live set just HAS to be seen, it's a stonker! Also Arkist has been one of my tips for a long time, and I’m really excited to be releasing a killer 12" from him on Apple Pips, both tracks can be heard on the mix...these are the kind of tunes that every time I play them (and I do mean EVERY time!) people come up to the booth freaking out wondering who they are by. Myself and Arkist are working on a remix of Sepalcure for Hotflush that is on some hydro-pump bassline, hydraulic neurofunk garage type shiz... I think peeps are gonna love it! Scuba is returning the favour by remixing Arkist's 'Rendezvous' (I just heard that he has done not one but TWO mixes of it - so excited to hear the results!”

Appleblim’s enthusiasm for these producers is completely founded too and his unearthings for his label have ranged across styles and tempos just as much as his DJ sets do. Since those early releases by the likes of Martyn, Brackles and Instra:mental, he’s developed his tastes, seemingly seeding a lot more from his immediate surroundings, releasing singles from his fellow Bristol based producers Kidkut, Orphan 101 and Komonazmuk last year. From what we’ve seen he looks most comfortable in this kind of situation, standing amongst friends as an equal, as well as an able outlet. It seems to be holding him, and his music collection, in very good stead.

“Wedge & Gatekeeper have both been making great music recently too that will hopefully see light of day over the coming months,” he continues, never stifling his flow. “Wedge, working in tandem with another great Bristol producer, I.D., is making some amazing slow mo house meets John Carpenter discoid stuff, and Gatekeeper is coming with some ace new 140bpm stuff based around the mad synths he's been acquiring; Wasps and Juno's and so on... He's also been working with Southwest mic men Grillza, Dread MC, & Ryder Shafiq on a vocal project which is sounding great too.. Then there’s a Paul Woolford remix that Komonazmuk and I have done which I am really happy with, and we are working on more original stuff together. I think people may be surprised by it when it drops; it’s not the styles we are known for! I'm really excited about Komon's album for HENCH coming up - I’ve heard some sneak previews and again I think people are gonna have some surprises when they hear it... he really is an amazing producer...”

And… other than all this music stuff I’ve been overhauling the Apple Pips label - as always with Stuey from Give Up Art. We're doing a redesign of the sleeves, which people are gonna love, and we’re working on a one-off limited release of the remix Al Tourettes and I did for Underworld, but I don't want to give too much away! We have releases from Arkist, October & Borai, and Gatekeeper lined up with tons more to come over the coming year.”

With gigs in Copenhagen, Porto and Berlin already under his belt this year it seems like the next few months are set to be some of his busiest yet.

“I’m doing Bestival and We Love Sundays at Space in Ibiza is happening again for Apple Pips artists this year. It's shaping up to be a busy one but I’m just trying to push the music that I am lucky enough to be passed by all the super talented producers I know. I see that as my most important role really, spreading this music so more people can hear it and then the producers can hopefully step up and get a chance to rep it themselves round the world.”



1. Butahn Tiger Rescue - Beginner's Waltz - excerpt (Kompakt)
2. October & Borai - I Didn't Mean To (forthcoming Apple Pips)
3. Kowton - She Don't Jack (Idle Hands)
4. Axel Bowman - Naomi (forthcoming Glass Table)
5. October & Appleblim - NY Fizzzzzz (forthcoming Smorgasbord)
6. George Fitzgerald - We Bilateral (forthcoming Hotflush)
7. Al Tourettes - Badger (forthcoming Bloc / Baselogic)
8. SCB - Loss (forthcoming Aus Music)
9. Pulsar - Coconut Shuffle (unreleased)
10. Sunday Roast - Choices (Soulserious)
11. Arkist & Kidkut - Vanilla Imitate (forthcoming Hotflush)
12. Phat Chex - Can't Stop - (unreleased)
13. Paul Woolford - Let It Go - Komonazmuk & Appleblim Remix (forthcoming Intimacy Music)
14. Gatekeeper - Atmosphere Processor (forthcoming Apple Pips)
15. Gatekeeper - Let Us in (forthcoming Apple Pips)
16. Arkist - Fill My Coffee (forthcoming Apple Pips)
17. Gatekeeper & Kidkut – Alpha Apex (unreleased)
18. Gatekeeper & Kidkut - Code Red (unreleased)
19. Arkist - Rendezvous (forthcoming Apple Pips)


Info & Tickets available right here. It promises to be a very special night indeed....

Eprom - Pipe Dream EP



"San Francisco producer Eprom follows up his massive technoid monster “Humanoid” on RWINA with three tracks of bright pastel colours caked in dirt and grime. Bringing it right into the sewers, these tracks combine vintage grime and modern dubstep sounds for a volatile, liquid solution that writhes and squirms uncontrollably, splashing and sloshing in toxic puddles of LFO."

Eprom - Pipe Dream EP - RWINA415 by rwina_records

http://www.eprommusic.com/

October - Mix for Modyfier Blog

The newest addition to the Surefire family, Caravan Recordings boss October, dropped this heady mix of tracks, genres and styles that 'inspire him to make music' for the Modyfier Blog. Check it out...

"I decided to go with an all vinyl mix – all pitched down to minus 8 – and dig through my deepest vaults of Jazz, Africa, Space Disco, Rare-Grooves, Latin, Acoustic Tape Music, Easy Listening / Lounge, Weird stuff, Soul, Krautrock and some Buddhist spoken teachings talking about the happiness that can be found in sadness and how they are both the same thing. All this over Tangerine Dream’s ‘Hyperborea’.

It took me some time to write anything but I decided to keep it brief and to the point by simply saying: all elements in this mix are what inspire me to make music.

It’s the combination of the Soul, Jazz and Groove mixed with the sounds and rhythms of Africa, as well as the experimentation of tape recording and acoustics in the days of early recording – the most pioneering time in my opinion.

These are all elements that go into my process of music making.

I make music based on the sounds I hear. It’s sounds (like on this mix), that trigger something inside me, that means I must drop everything I’m doing, get down in the studio and start on something.

It’s rare that an emotional situation in my life can reflect on my music. Life certainly influences me but my ears are inspired and follow a completely different set of rules. They rule my process as a musician."

october - process part 253 by modyfier

01. Chick Corea - Magic Carpet (Warner Bros, 1980)
02. Vincent Montana Jr - A Dance Fantasy Inspired By Close Encounters Of The Third Kind - Second Movement: The Toys Come To Life (Atlantic, 1978)
03. Roberta Flack - Feel Like Makin' Love (Atlantic, 1974)
04. Deniece Williams - Free (CBS, 1976)
05. The Floaters - Float On (CBS, 1978)
06. Barry White - You're So Good, You're Bad (20th Century Records, 1977)
07. Pointer Sisters - Hypnotized (Planet Records, 1978)
08. Sarah Brightman and Hot Gossip - Do, Do, Do (Ariola/Hansa, 1978)
09. Quincy Jones - Tell Me A Bedtime Story (A&M Records, 1978)
10. John Cameron - Half Forgotten Daydreams (KPM Music Ltd, 1974)
11. Sabu and his percussion ensemble - Aurora Borealis (Columbia, 1958)
12. Wali And The Afro Caravan - Hail The King (Liberty/Capitol Records, 1974)
13. Cal Tjader - The Fakir (Verve Recordings, 1967)
14. Ron Carter - All Blues (Milestone Records, 1980)
15. John Keating - Space Agent (Columbia Quadraphonic, 1972)
16 Johnny Almond - Voodoo Forest (Decca, 1969)
17. Desmond Briscoe & Vera Gray - A Wish (EMI, 1966)
18. Tangerine Dream - Hyperborea (Virgin Records, 1983)
19. Unknown Artist - Sadness

Surefire UK / EU Newsletter Feb 2011

**NEW ROSTER ADDITIONS: SEPALCURE and OCTOBER**

We’re pleased to announce the addition of SEPALCURE and OCTOBER to the Surefire roster.

Sepalcure is the collaborative project of Travis Stewart (Machinedrum) and Praveen Sharma (Praveen & Benoît). From their base in New York they have been making waves on Scuba's Hot Flush label with their mix of tribal dub, house and 2-step beats, and Surefire are proud to welcome them to the roster. Touring their live set in the EU in May/June. Check their tunes here and their website at http://www.sepalcure.com.

We also welcome Producer, DJ and Caravan Records label boss, Julian 'October' Smith to the Surefire family. With a penchant for making and playing House, Techno, Deep House, Dub and Disco as well as a love of analogue synthesizers, tape machines, electric guitars and smoking, he should fit right in. Available for (strictly vinyl!) DJ sets worldwide. Check October's anti-NYE mix here and interview here.

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OUT NOW! - ILLUM SPHERE – Tectonic #47

One of bass music’s hottest properties right now, Illum Sphere recently dropped his latest EP on Pinch’s Tectonic Records. With two cuts from the man himself alongside an Indigo remix, it's a release that pushes boundaries and further enhances his already growing reputation. An essential purchase.


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SLUGABED signs with Ninja Tune

After much speculation we can announce that one of the brightest young stars on our roster, Slugabed, has signed an album deal with the legendary Ninja Tune label. With work already underway on this exciting project, be sure to keep your ear to the ground for what promises to be something a little bit special…


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HOTFLUSH wins ‘Label of the Year’ at Gilles Peterson’s Worldwide Awards.

At the prestigious Gilles Peterson Worldwide Awards ceremony at KOKO in January, Scuba’s Hot Flush Recordings came away with the ‘Best Label’ gong, beating off competition from heavyweights such as Warp Records in the process. A well deserved win for a label at the very top of its game right now.

Check out a video of the event here. There's a prize if you can spot Scuba smiling.

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SEPALCURE & EPROM to tour UK/EU

We’re excited to report that two of our North American based artists, EPROM & SEPALCURE, have announced UK/EU tour dates for this summer.

Eprom will be touching down on European shores from May 25th - June 13th, with Sepalcure following not too long afterwards from July 1st - 15th. Demand is sure to be high for these two exciting artists so don't sleep! For all enquiries please contact paul@surefireagency.com.

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Surefire US artists' releases

HxdB, Distal and Mayhem, three up-and-coming producers from North America, come together for Surefire Sounds' third EP. With two cuts of forward thinking, synth driven bass music, it's available on 12” and digital now, with an extra bonus track on the digital release.

Sepalcure return to Hot Flush, and more rave reviews, with their intoxicating ‘Fleur EP’.

San Francisco’s Eprom has announce he'll be dropping 3 bass heavy cuts on Holland’s Rwina label soon. These are gonna cause serious damage…