SKENG MASHUP (Feat: The Bug/ Zack Christ/ T++/ Zomby) by Microburst_

Tracks used: The Bug – Skeng (Kode9 Remix)
Zack Christ – Koofpoin Low
T++ – Audio 19958_2
Zomby – Kaliko

Also check the review from Line Of Best Fit, they also made it their ‘song of the day’

Tell your friends!

Lineup includes Deadboy, BNJMN, Kelpe, Spatial, Brey, Donga, Microburst, Gongon, Thunderloops, Andrea3000 and Anthony GDLI

Resident Advisor write up:

“God Don’t Like It presents a special one-off event showcasing two of the most talked about labels currently emerging on the electronic music scene. Both were founded in 2009, Svetlana Industries in Belgrade, Serbia, and Well Rounded Records in Brighton, UK. While Well Rounded is more committed to the god of House and Svetlana has followed a more eclectic path, including dubstep, beats and Detroit influences, both are united in their consistent and courageous promotion of talented new artists, many of whom are subsequently pounced on by bigger competitors.

With eleven artists across two rooms combining hard hitting party house with more quirky and eclectic selections in the second room all for a bargain £5 advance this promises to be rare, interesting, banging and big all round.

Representing Well Rounded are: the star of their first ever release, Deadboy, Spatial, one of the pioneers of the fusion of house/dubstep sound that now defines UK Bass, deep house sounds from new signing Gongon and a vinyl purist’s set from label founder Donga.

Representing Svetlana are: BNJMN, fresh from a fantastic 4.5/5 review in Resident Advisor for his recent album on Rush Hour, Brey, the hotly tipped experimental house producer, new signing Microburst, with a deep and original sound reminiscent of Fourtet and recently described by a London reviewer as “a revelation”, label founder Thunderloops and partner in crime Andrea3000, adding the only female element to the line-up. Kelpe steps in as a long time friend of the label with his brand of hard hitting Technicolor hip hop.”

Here is the event on Facebook

“Microburst, meanwhile, is a revelation. Falling somewhere between a live performance and a DJ set, much of his show relies on a bank of faders, each of which is jabbed at furiously, offering a peak of another melody or a new rhythm section. The producer shifts between disparate elements with ease, introducing apparently incongruous new rhythmic ideas completely seamlessly. Some of his set brings to mind a slightly less scatty Lapalux, his focus falling more intently on crafting a perfect, rumbling bottom end than on quick-fingered Kaoss Pad work”

Blurb about the piece:

Tuning in 2075 is a highly complex sculpture, challenging sound art and sculpture today. The sound emerges from ambiguous jelly creatures. The speakers within the jelly act as the pulse of creatures, inducing actual movement and life. The wires and technology remain on show, demonstrating the jellies life lines. The function and technology is embraced, questioning where the art begins and ends.

The sound composition is sourced and recorded from everyday situations. The majority of the sounds are taken from 1960’s America. The creatures are tuning into the bleak world they have found themselves in, after discovering their new found world of 2075. Throughout the 10 minute looped composition they tune out of their previous world, slowing tuning into their new Minimalist cold life.

The sound references a Minimalist/futuristic style, introducing significant art history. The creatures depict American historical events. Despite these times of hardship, I induce irony into the sound though the jelly sculptures and choice of reference.

My practice is greatly influenced by Minimalism. The white geometric sculptures act as the creature’s playground. What are the white sculptures function; are they cabinets, a high fi storage cabinet or a sculpture? Leaving the technology on show, and the placement of the jelly creatures increases the question of function