Techno Nonsense: Hyperdub

Regular readers of my column probably need little introduction to the label that I concern myself with this week. Hyperdub has, with not a hint of exaggeration, been the most influential electronic music label to have come out of London in a long, long time. Why then, you may ask, has it taken me so goddamn long to dedicate some prime Felix real-estate to the imprint? Well Hyperdub is the music label equivalent of a seven foot, teardrop-tattooed, switchblade-wielding nut job: fucking intimidating.

This is the label that, in 2005, introduced the world to Burial; the elusive and outlandishly gifted producer hailing from the same South London school that produced Joe Goddard (Hot Chip), Kieran Hebden (Four Tet) and The XX. In all honesty, it was this man’s most recent release that prompted me to write this, and I could cover many columns in literary masturbation about the guy. But I won’t.

It’s eight years ago that Hyperdub released its first record, and in those early days the label was predominantly used by the owner, Steve Goodman aka Kode9, to put out his own material. Kode9 (often teaming up with MC The Spaceape) makes dark, jungle and dub reggae infused electronic music that can be both smooth and bitingly aggressive at the same time. Following the release of Burial’s Mercury nominated album Untrue (ultimately beaten by Elbow’s Seldom Seen Kid), Hyperdub added several new artists to its roster. Zomby, Samiyam, Ikonika and King Midas Sound all released music on the label in 2008 and since then output has only increased.

As the UK dubstep scene grew out of South-East London in the mid-late 00’s, Hyperdub began drawing fans from around the world. Kyle Hall (Detroit), Samiyam (LA) and Hype Williams (New York) have all put out EPs on the label, giving it, and the London scene it champions, further exposure to huge audiences. Despite this diversity that has spread across the label, Hyperdub’s output is still heavily London based with one of my favourite tunes of last year; Ossie’s ‘Set the Tone’ which layered meltingly smooth vibes over lively staccato percussion. Terror Danjah, the grime-rave producer from East London and part of the Butterz crew, has also seen several releases on Hyperdub, adding yet another side to label’s ever-expanding metaphorical music polygon.

And yet, I can’t resist. Some mention has to go to Hyperdub and Burial’s most recent release; the Kindred EP. This record sees Burial take a different path; yes the stuttering drum patterns and haunting vocal samples are still there but in the underlying feeling there is a stark difference. The tone is more aggressive, the songs are longer – pulling you further and further into the twisted and emotional soundscapes – and just when you think a song has finished, it evolves and spits something else out at you. The track ‘Loner’ sees Burial take influence from 90’s rave rhythms but layers them over a bass line so full of dread there’s no way those kids would have been able to drop a handful of pills to this without ending up curled in a corner, shaking with fear.

It’s taken me a long time to get this out of my system, and in a way it’s been therapeutic. I’m no longer scared but, boy, does Hyperdub demand respect.