REVIEWS FOR ‘Dirty Remixes’ EP
[Release date 12 November 2012]
Fin On A Hill (Lamis remix) in Extra Music New’s Top 100 Tracks of 2012 (click for link)
Music At The Digital Fix (click for link)
Simon Harrison, The Basic Soul Show (Dinamo 103.8 FM / Radio Pellenera / Samurai FM)
REVIEWS FOR ‘That Dirty Echo‘ LP
[Released 14 November 2011]
Panda Vs iPod
Two tunes for the first week of 2012. Slightly selfish context for choosing these two. I must’ve listen to these two 30 or 40 times each since Christmas, let me tell you why. I was recently the lucky recipient of a pair of House of Marley earphones, which are insanely good and I really cannot recommend them highly enough. One of the primary features of these earphones is an incredibly rich, well balanced bass sounds. These two tunes put the House of Marley earpieces to exquisite use. If you happen to be in possession of a piece of apparatus with a hefty bass sound, you’ll wanna stick these tunes on. Just got to love the marriage of hefty bass and dancing brass on this tune Rude Audio – Lufbra Vigil. The slightly aloof way the beat drops in means your right in the middle of the jam before you realise it, and suddenly you become aware of the grin spreading across your face. Just class. I could go on about Chinese Man at length, believe me, and sometime in the next couple of weeks I will sit down and do so with the time and attention they deserve. But if I could condense the way I felt on January 1st, 2012, into 4 minutes 5 seconds, this would be it. Just class.
ComfortComes BY ADMIN | DECEMBER 13, 2011 This album is a sheer delight to listen to.For those new to electronica/dubstep/techno,here is a fizzy mix of tracks to initiate you.This album,the debut from Rude Audio,consists of 13 tracks.Rude Audio are from South London,and they include musicians,vocalists,producers and engineers.They have been active for three years,releasing music under the name Unusual And Electric,and winning praise from BBC Radio DJs Nemone,Rob da Bank and Gideon Coe.Also Drowned In Sound and Clash Music have praised their work highly.The music is best described as 90s nostalgia,plus techno and dubstep influences.This album is original and refined. Released on 14th November 2011,That Dirty Echo lives up to its name.I loved the opening track,Now It’s Light-with its revitalising “wake-up”sound.Sleep Delays My Life is excellent.Funky and chunky,its repetitive theme persists on the ear. Lufbra Vigil sounds like Madness on a trip. Lush,lively and polished,best describes Streatham Rising.A neat piece of work here,and not too harsh on the ear. A favourite track of mine.Now Its Dark sounds like a GOOD remix;which of course it isn’t.Not so keen on Rise In Peckham though,although it has a message. Hippy House I did like – pure techno pleasure.Fin On A Hill is in the same vein ….nice and lightweight techno listening,crystalline and classy with it. Matty Dub is fun;reggae-style and cheerful,short and sharp. Wise Blood is a bit jagged on the ear,but it nevertheless fits in to the Rude Audio slot.Undertow Experiment is a bit Dr Who theme-y,with a spot of Hank Marvin style dubbed guitar thrown in.Mmm,intriguing! Fever Scientist,the penultimate track,is very dreamlike and haunting,yes its the most haunting track on the album,sounding like a Twin Peaks theme. The last track,Cutter And Bass is a perfect ending to a brilliant first album. by Juliet Robertson
Rude Audio – ‘That Dirty Echo’
December 2, 2011
“Lufbra Vigil”, the third song and the first dub track on the record and again changes the pace and style of the album for a third time in three songs. Such quick sequential differentiation can often be disjointed and leave you wondering where this album could be going but not Rude Audio. The flow from eighties synth to fast bass electronica and into dub seems to work for this particular ensemble, highlighting there range, there ‘rude boy’ underground background and ability to compose a structurally intricate album and not just a recorded collection of tracks. There are two more predominantly dub tracks on the record “Now It’s Dark” and“Matty Dub” which are interspersed between the techo and dub-step songs to the album. “Rise In Peckham” takes the album right back to the streets of modern electronica with it’s gritty dub-step synth which is completely becomes contrasted by the floaty and atmospheric “Fin On A Hill”. “Wise Blood” is a much trashier number than anything else before it. It has a techo element, nostalgic in parts of Balearic or nineties dance floor fillers and sets a tone for the albums closing tracks. Ending in esoteric style is “Cutter & Bass” which is a contemporary mix of modern dub-step melodic electronica. The album does appear to loose a bit of steam in it’s final three tracks, the tempo and style not as interchangeable as earlier parts of the album but it does allow for a smooth sign off to a well composed record. As a whole it feels like floating across a sea where the waves crash and rock before rising you up to the crest of a high and spectacular wave, where upon it’s apex, all is calm before crashing down again to be jolted and moved by all engulfing waves of electronica.
Album Review: Rude Audio / ‘That Dirty Echo’ (Rude Audio)
Rude Audio THAT DIRTY ECHO RUDE AUDIO 14.11.11 @www.vanguard-online.co.uk This is the first album from Rude Audio – a collective of vocalists, musicians, producers and engineers – although they’ve been recording with one another for a long time under various guises. The music is electronic/dance, but that’s simplifying things a little…While a majority of the tracks are instrumental, they have very distinct sounds. From the fitting lightness of opener “Now It’s Light” we are thrown straight into the grittiness of “Sleep Delays My Life”; the sort of track that you’d find playing behind the credits of an action movie.The album feels like it’s been arranged in a democratic way. Divided up and spread across the 13 tracks we have a diverse range of genres; from the reggae of “Lufbra Vigil” (complete with yardie sound effects) and “Rise In Peckham” (which also squeezes in some breakbeat) to the 8 bit samples of “Streatham Rising” and “Fin On A Hill”, which sound like Sonic The Hedgehog getting a powerup and the soundtrack to one of the boss levels respectively.Some tracks don’t try hard enough though. The vocal repetition in “Now It’s Dark” gets old fast, with the other vocals feeling rather bolted on, like a drunk girl’s invaded the studio and they had to do something to keep her amused. “Wise Blood” sounds like an electro mix of chopsticks.
Others simply wear their hearts on their sleeves. “Hippy House” is typical 90s house, “Matty Dub” is, well, dubstep and “Cutter Bass” only differs because it has the ‘Drum &’ missing from its header. This may not be my kind of thing, but I can see where it works – and overall it does. Sure, there are high and low points, but, in the words of Zane Lowe, you’ve got to respect what they’re doing. Simon Middleyard www.rudeaudio.net
Panda vs iPod
That Dirty Echo – Rude Audio
- Now It’s Light
- Sleep Delays My Life
- Lufbra Vigil
- Streatham Rising
- Now It’s Dark
- Rise In Peckham
- Hippy House
- Fin On a Hill
- Matty Dub
- Wise Blood
- Undertow Experiment
- Fever Scientist
- Cutter & Bass
Peterborough Evening Telegraph
November 29, 2011
Turn On: Biro on a banana. Turn Off: Return of the class system. Worst thing to happen to music is: The fact that it’s so hard for something to flourish in the underground without mass media attention. Best thing about the current music industry: Flourishing electronic underground in UK, Germany, etc. Biggest influence: Dub Childhood hero: David Bowie When I was younger I wanted to be: An explorer
Your thoughts on AltSounds.com: Does what NME should be doing. Anything else you would like to say: Check out rudeaudio.net for the chunkiest, dubbiest, Balearic disco biscuits and download your actual mixes from Rude Audio – Music – Mixes | Rude Audio - lashings of the aforementioned.
Music at the Digital Fix
There are other reference points too: ‘Sleep Delays My Life’ has that dance-music-for-rock-fans feel of earlyChemical Brothers; ‘Hippy House’ nods to early 90s pumpin’ house music. There’s plenty to take in here, although it perhaps plays better as a series of tracks than an album. With more than ten people creatively involved here, it’s proof that too many cooks can create an interesting brew rather than spoil the broth.
South London`s Rude Audio Release `That Dirty Echo`.
“Rude Audio’s broad musical inspiration stems from its members’ presence within the underground scene. Through regular work as engineers for other electronic acts and organising parties and raves, Rude Audio have materialised over the years to become an elusive presence within Electronic music. Progressing from such experiences, the collective now aim to re-introduce themselves having enlisted a collection of new and “old school” digital and analogue electronic equipment for a more sophisticated take on their unique sound. ‘That Dirty Echo’ may be the refined package of the Rude Audio sound, however the album’s bold showcase of various underground styles maintains, it does not lose its originality”.
Rude Audio in total represents the efforts and work of 13 people who’ve decided to collate their individual experiences from the heart of London’s urban scene. The rulebook’s been thrown out of the window for this record. That Dirty Echo is about free expression and transitional sounds. The record starts atmospherically. It’s pleasantly distant – drawing listeners in. The galactical tones took me right back to queuing up for Space Mountain at Disney World, surrounded by a minimally absorbing space-related environment. I couldn’t help but feel relief that the second track kicks into gear straight away and the album didn’t continue for too long in a mystical manner. Exploration makes way for solid electro relevant to the style of such featured in early noughties football games and racing simulator menu screens. As the album continues, as does the change in sound as clear Jungle influence develops a sense of variety and exploration. The bassier ‘Streatham Rising’ is vibrant and the effective breaks make it a truly contemporary track. Zoning in and out of the beat gives it a much greater edge compared to what’s come before it. Additional spiritual vocals make all the difference too as an escapist, haunting vibe is created as soon as the gripping, fearful voice empowers the beats. It’s highly effective. ‘Rise in Peckham’ continues to shake things up – literally with its wobbly nature coming in with a fiercer, nastier edge. This is a true sound collection of electro beats covering various influences and portraying them well. There’s a track for everybody almost. Such exploration is something not often found within an electronically lead record. The fact it’s been curated and produced by a collective truly shines through. The vastly underground urban sound of Rude Audio is as impressive as it is authentic and by the end of the record I can’t help but be grateful to making reference to video game relevance, as some of these tracks could prove very useful and see the group going a very long way. Release date – 14th November 2011 – James Uden
The Crack Magazine
Rude Audio – That Dirty Echo “Rude Audio’s debut shows some promise… crisply produced and buffed to a smart sheen… there are some great standalone tracks not the least of which is the dubbed out techno of Hippy House”
I love the idea of a whole load of people all piling in to a project and it actually working. Music should be a communal thing sometimes, it’s one of the best things about it, a sense of connection through music.
Rude Audio are a collective based in London who are about to release their album That Dirty Echo on November 14th. It’s a pretty interesting sounding recording, with some old school flavours mixed up with big dubby basslines, intriguing vocals and lovely atmospheres. I love the idea of a whole load of people all piling in to a project and it actually working. Music should be a communal thing sometimes, it’s one of the best things about it, a sense of connection through music. Not that individual production has any faults, sometimes it can produce the best results, but all too often electronic based music misses out on that shared ethos. Anyway, the album is sounding great. Here is a little interview conducted via email with the crew to give us a bit of an idea of what goes on in those sweaty and claustrophobic multi – bodied studio sessions: Igloo :: Well, firstly, who are you? Rude Audio :: We are Mark Ratcliff – producing and arranging, Lamis Harper – piano and keys, Tony Shea – guitars, Alice Billerey and Amanda Greatorex – vocals, Owain Lloyd – mixing, Dave Brennan – engineering. At least that’s the core, there are others who float around or drop in to trade insults or help out on the DJ’ing front. Adam Whitaker and Amanda Wasielewski are pretty key too but they look after things like the website, album design, photography and that kind of stuff. Adam DJ’s with us as well. Igloo :: And where do you all come from? RA :: Well we now all live in London but various parties are originally from Newcastle, the bleakest county in the country (Lincolnshire), as well as London – primarily sarf (that’s South to any non UK readers) Igloo :: There’s loads of you (13), how did you all get together? Did you all live in a crazy house or something? RA :: Some of us did actually – there was a house in Kings Cross that quite a few of us were all connected with back in the day, we would all meet up before venturing forth to various sweaty raves and the like. And then others kind of got involved via friends of friends, work, DJ’ing and the like. Igloo :: I love the idea of a collective. How does this work? Is there a core group who do quite a bit of leg work with other members coming in to do their bits, or is it a truly communal effort with songs being made by different people? RA :: Yes, there is a sort of core revolving around Mark, Lamis, Dave and Owain – Mark and Lamis get the bare bones of the track together using keyboards, other equipment, samples and so forth and then Dave comes in, scoffs at our attempt at engineering and thinks about what effects we can utilise to really bring out the best elements in the track. And then Owain comes in, tells us that what we’re doing is completely wrong, turns everything down and makes us re-record it. Vocalists come in after we’ve laid the bare bones of the track down and improvise over our melodies. Mark and Lamis cannot write lyrics.
As far as we’re concerned there is an underlying ethos which pulls it all together and that is its Balearic, in the traditional sense of being open-minded, eclectic but committed to the use of electronics to explore where you can go with sound.
Igloo :: This album is really diverse, was that the intention, or is it just the result of having loads of members? RA :: As far as we’re concerned there is an underlying ethos which pulls it all together and that is its Balearic, in the traditional sense of being open-minded, eclectic but committed to the use of electronics to explore where you can go with sound. And by Balearic we don’t mean whispy acoustic guitars and a chill-out sensibility, we mean chunky, dubby, riffy… more Andrew Weatherall than Alfredo. We also are suckers for a thunderous dub bassline. Igloo :: What’s you’re set up? Do you have a studio somewhere? RA :: Yep, in the wilds of South-East London… we initially started putting the LP together in Mark’s home studio but we’ve graduated to a proper-ish setup. Igloo :: What about live performances? How do you go about it? I mean, it can be pretty tricky translating recorded productions into live performances both technically and conceptually… RA :: Live performance, yes we’ve been thinking about that, Owain has been responsible for getting people like Lemon Jelly out of the studio and onto a live stage and we’ve asked him if could he do similar for us. He doesn’t think it’d be a problem. Tony is itching to cut some Jimmy Page shapes in horrible South London pub back rooms, Lamis is a classically trained pianist who is well up for live stuff, we’re just checking out some propositions at the moment.
Igloo :: What are you listening to at the moment?
RA :: All sorts. Weatherall is on fire at the moment with his remixes for people like Steve Mason, Toddla T and Soft Rocks… we’ve always got an eye open for a Subscape remix, that man knows how to apply leverage to a dramatic hook, been reacquainting ourselves with latter David Bowie, his 2003 LP Reality has got some of the best tunes of his career on it. Best band Mark’s heard all year is Big Black Delta, you have to check out I Fucking Love You, devastating. Recently dug out the old Dr John LP Gris Gris, nothing beats it for dread and atmosphere. Lamis is obsessed with Julio Bashmore – Battle For Middle Youat the moment, and generally likes deep and dark tech/house. Tony is on a big Tony Bennett jag at the moment. Igloo :: Do you all hang out together, or is it just when you’re making music or doing band stuff? RA :: Yeah, we do, some of us work together, we’re regularly to be found loitering at Flaxon Ptootch in Kentish Town on the 2nd Thursday of every month. Some of us have known each other since the mid-90s and we’ve hung out at pubs and clubs since then. Some of us were probably still at junior school at that time, it should be noted. Igloo :: Who’s the best cook? RA :: Mark or Tony. Mark’s a demon at interesting fish dishes and slow cooked hunks of animal. At the LP launch party on November 12th Mark is cooking 2 pigs. Tony is a genius at stews and soups. Igloo :: Who is the most untidy/dirty member? RA :: Owain’s flat is in an appalling state. There are more broken up synthesisers and old keyboard bits around his place than there are in the whole of Denmark Street. Lamis thinks her bedroom might have residual food stuffs in there dating back 18 months. Tobacco and rizlas have replaced carpet. Igloo :: Who is the best drinker (important questions…)? RA :: Dave B loves a pint or 10. Igloo :: What next then after this album? RA :: We’re going to be doing a regular monthly clubnight in Hoxton, looking to record an EP very early new year, gigs late spring. Lamis to tidy her bedroom.
Kick Out The Jam
Rude Audio – That Dirty Echo [Review]
With members from Newcastle and London, their disparate hometowns inform an eclectic, varied sound from Dub to Acid and just about everything in between. Rude Audio are a collective of producers, DJs and vocalists drawing together a colossal array of influences and passions. Opening with a beautifully serene ambient piece that evokes the high points of AFX’s ‘Selected Ambient Works’ before the next track explodes into a romp through Roland TR-808 samples, drums and bass loops. The latter track must be an homage to 808 State and Altern8 and anyone else with an 8 in their name. But from then on the tempo’s slowed down to full blown Dub. ‘Lufbra Angel’ is a haunting, yet weirdly danceable lament of something I can’t for the live of me understand. It’s Dub in a wider sense, incorporating elements of Acid House and Techno in tracks like ‘Hippy House’ whilst still gently bobbing along in that bouncy but considered pace one would expect. ‘Wise Blood’ is another highlight, sounding like Massive Attack had they grown up in Kingston, Jamaica instead of Bristol. I haven’t heard such perfectly produced drums since the late nineties and I’m sure there’s a sample from ‘Helmut Mein Helmut’ by KMFDM in there. I’m probably wrong. In a way, this album is sort of a collection of songs exploring the peripheries of Dub rather than solely a Dub record. There’s Breakbeat, Techno, Acid, Trip-Hop all vying for supremacy. And that’s only a positive thing; a reluctance to adhere to one genre or style has served a lot of artists well recently. Artists like Diplo, Modeselektor, Chrissy Murderbot and Christ-knows-who-else have all darted between a multitude of disparate influences to create something new that’s all their own. Potentially Rude Audio will be able to do the same and achieve the same levels of success and critical acclaim. ‘That Dirty Echo’ comes out November 14.
Shout 4 Music
The South London collective, Rude Audio, have come up with something rather pleasing over the course of this record’s thirteen tracks. As you might expect from the first part of their name, there’s a fair element of dub to be enjoyed on ‘That Dirty Echo’; see, most obviously, ‘Matty Dub’, but also the infectious beats and brass of ‘Lufbra Vigil’. This is only part of the story though. The album embraces much more than ska and reggae: the sounds of early 90s house infuse ‘Sleep Delays My Life’ while some of the more relaxed tunes here reflect something of an Ibizan chill out vibe (‘Now I’ts Light’, it’s partner piece, ‘Now It’s Dark’ and ‘Fin On A Hill’). Elsewhere, tracks like ‘Wise Blood’ nod towards Faithless. But ‘That Dirty Echo’ never wanders too far away from its South London roots, as track titles like ‘Streatham Rising’ and ‘Rise In Peckham’ testify. Despite the greenery on the album’s cover, this is very much an urban record, celebrating a melting pot of diverse musical and cultural ideas from the Caribbean, the Balearics and the Far East, melding and merging in the space of a postcode or two.