Pressa releases more new music in the form of the brilliant ‘Canopy’ EP

Pressa - Canopy EP

The London based producer continues his monthly release series in fine form

Breaks producer Pressa has picked up some momentum since the turn of the year, releasing an EP every month, the latest of which comes in the form of ‘Canopy’.

Released on 1st March, Pressa has seen ‘Canopy’ pick up heavyweight support, notably scoring a massive 9.0 in DJ Mag – a rating that is unsurprising considering the quality of the productions.

‘Canopy’ itself is dreamy affair at 135bpm; lush, fluttering pads weave in between a heavy, pulsing sub and immaculate drums. Every sound is perfectly placed and the little rolls throughout are like subtle ear porn to us. There’s an element of underlying grit to ‘Spiralling Out’, which has a sense of UK Funky influence in the drums. The bassline is more frantic than the title track, as it bubbles away under yet more sumptuous pads and reverb smothered, crunchy hats.

If this is the standard of his monthly output, we’re going to be keeping a sharp eye on Pressa – his music is fresh and exciting and he’s clearly a talented producer. You can listen to, and buy, Pressa – ‘Canopy’ EP below:

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KXVU – Empire EP [Southpoint] [Review]


Eighteen months since his last Southpoint release, KXVU returns back to his proverbial home. Keeping himself in shape with a series of remixes and releases on compilations, KXVU has been using the time away from the STPT family to further progress his production skills and work hard on his sound. ‘Empire’ is the result of that work, with 5 originals and 2 remixes on the EP.


From the very first second, you know the title track is going to be a heavy hitter. Epic stabs of choir set the tone as hats and percussion wriggle away underneath, before crisp breaks and sinister horns push their way to the forefront. We can 99.99% guarantee the drop is not what you’re expecting – a huge, rasping Reese that could straight up take your head off leads the way, teaming up with a deeper pulsing bass hit. The drums sit immaculately in the mix; anchored by a weighty kick, the aforementioned breaks and percussion work together to create the underlying momentum that pushes ‘Empire’ along. How satisfying is that cowbell too? If KXVU was hoping to kick things off strongly, he couldn’t do a much better job than this!

Tekki (feat Writz)

Even though it starts with flowing influences from the East, don’t expect ‘Tekki’ to be a subtle mover – the vibe is quickly flipped into a Trap inspired, 808 rinse out.  Writz glides effortlessly over the rolling kick / bass combos, scattershot claps and snares, triplet hats and flourishes of breaks, with gritty, hi passed Reeses haunting in the background. The breakdown is perfectly placed, allowing listeners to catch their breath before dropping into more of the same, making ‘Tekki’ 3 minutes and 30 seconds of high energy bass driven madness, suitable for any kind of rave centred around Bass music.

Hex (ft Shana Stuart)

‘Hex’ sees KXVU team up with another vocalist, though this time it’s the gorgeously pure, floating tones of Shana Stuart. A sparse intro builds tension as atmospherics covered in reverb and subtle percussion echoes and pans. Another flute riff inspired by the East is the main motif,  twisting around more thumping 808s, though the percussion in ‘Hex’ is definitely more Breaks focused than that in ‘Tekki’ with the tribal drums creating a brilliant, natural rolling rhythm. Regular intervals really allow for the track to breathe and help to achieve maximum impact as everything comes back in at once, and means Shana’s brilliant vocal gets full focus. Again, credit to KXVU on his drums – from the silenced gunshot to the ride cymbal, everything sounds incredible.


If you weren’t already impressed by KXVU’s drum work and sense of space, then Koya should definitely win you over. The intro is wide open as vinyl crackles, sound effects and a thin square lead, all absolutely soaked in reverb, bounce off each other before rapid fire breaks add a sense of drive and direction. As soon as ‘Koya’ drops, the previously mentioned breaks cut through everything else, backed now by a punchy kick and rumbling bassline with some very slick fills. There is still background atmospherics, but now the space seems to be much smaller; at least until the breakdowns anyway. If there was a track on this EP that indicated that KXVU has been working on his production, as far as we’re concerned, this is it.


‘Ratisu’ is the last original track on the release, and is the piece that relates most to Dubstep. Centred around eerie, plucked strings and a haunting vocal, half time claps and a bumpy, rolling sub/kick combo make up the bulk of the rest of the track. This allows everything else to have a heap of space and, as you’d expect, means there’s heaps of reverb. ‘Ratisu’ shows that there’s more to KXVU than frenetic breaks and attention grabbing basslines; he’s also perfectly adept at working with the bare minimum.

Hex (ft Shana Stuart) [Mr B Remix]

First up on remix duties is Mr B, who flips the flute motif and Shana Stuart’s vocals from  ‘Hex’ into pulsing Dubstep territory. There’s almost a Funky rhythm to the way the snares have been programmed, and the tribal percussion adds to that vibe. A metallic hit adds interest as the drums switch between stripped back half time and moody carnival and Shana’s vocal teases and pans in the background. The bass line is a simple pulse, adding some low end rhythm too. Classily done, and very effective.

Ratisu [JFO Remix]

Continuing on the Dubstep theme is JFO who has grabbed ‘Ratisu’ by the balls and helped it realise it’s full potential as a Dubstep track. The drums are on point (the snare is as crisp as it gets) and there’s plenty of tension created by reverb tails and atmospherics but the real draw is the intense, fluttering sub that pairs up perfectly with the triplet hat pattern as the original string plucks act once more as a lead line.

Selecta’s Favourite Track: Koya

Overall: 9/10

KXVU’s journey since his last Southpoint release has clearly seen him take in a heap of different influences and they’ve translated brilliantly in to his music. He said in a recent interview with us that he wanted to use this EP to show off not only the sheer amount of variety in his own productions but also that of Southpoint’s output and we think he’s succeeded. Every track on ‘Empire’ has an immediate genre you can place it in, but listen deeper to the different rhythmic elements and the sounds being used and you start to realise there’s so many different genres in play; we heard elements of Dubstep, Grime, UK Funky, Jungle and Breaks. To be able to hint at such a huge amount of diversity and still reach the end of the project with 5 cohesive, original pieces of music is incredible – let alone also having 2 remixers on board who seem to fully grasp the idea of the EP. We can’t help but feel ‘Empire’ will go on to be a seminal release in KXVU’s career. 

You can buy Kxvu – ‘Empire’ here.

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Premiere: Zemon – Atoms [Forthcoming Raw Tactics Records

Zemon Atoms cover

Zemon continues his hot streak with 3 huge new tunes as Raw Tactic’s resurgence continues.

Just over a month has passed since Zemon’s brilliant ‘Bosh, Dinner!’ EP and he’s back again with some more gritty Garage, this time on Raw Tactic’s – who themselves are on good form after Tigs’ ‘Don’t Get Rude’ EP. 

The title track (premiered by ourselves) opens with tense, rumbling basses, sketchy percussion and a sampled vocal as a simple lead filters out ahead of the drop. Choppy drums and really dark, dangerous basses provide the main section meaning you can’t help but skank out and screw your face up. The second drop is similar, bar the addition of bigger, fatter bass to the mix. Extra credit to Zemon for the pitched Timpani drums too – they sound sick!

On the rest of the EP, ‘Rough Sea’ sees Zemon opt for a pounding 4×4 drum pattern and a combination of rattling chainsaw basses whilst ‘Stroll’ is made up of a chunky rolling bassline, scattershot snares and a haunting, soulful flash of vocal.

Zemon – ‘Atoms’ EP is out on Raw Tactics Records, 5/3/18. Listen to the premiere of the title track below:

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The freedom of Battle Rap, developing his production style and the sheer importance of rhythm; catching up with KXVU [Interview]


After a year and a half since his last outing on Southpoint, KXVU is back with an EP due out on home turf. He’s not been slacking in those 18 months, with a string of remixes and compilation features, gradually mutating his sound and drawing inspiration from the many roles he has within various scenes. We thought we’d mark his return to the label he co-founded with an quick interview.

You’ve been active in a load of different areas within the industry for a while now but when was it you first realised you had a connection with music?

The first time I found any interest at all in music in all honesty was when my friend Ntokozo showed me a JME track called ‘Deadout’. The vocal wasn’t what got me it was the instrumental, which Davinche had produced. There was something about the rawness of the horns and the layout that instantly hit me with inspiration and made me say “I want to do this”. From there I went to Mcing with friends and learning to produce instrumentals on FL and it’s all come as a progression from that really. 

As someone who is active in both the UK Battle Rap community and the dance music side of things, what were your biggest influences early on?

I’d say my early influences that have stayed with me are definitely producers like Wiley, Davinche, PJam, Terror Danjah etc. Essentially the grime producers that knew how to bring original flavour and sound design without compromising rhythmic energy. To this day for me it’s all about energetic rhythm over everything else. Later on, producers such as early Redlight, Toddla T on the funkier, carnival side of things and people like Ben Verse and Kryptic Minds became the influences I followed.  

You DJ for most of the big Battle Rap events these days – how did that come about and is there a crossover with your other work?

I’d been following the UK battle culture for a hot minute before I ever got involved. I found it really interesting how innovative and original people could be in their writing. Eventually I ended up trying out and battling myself for a few years. At an event called Sunburn 2 at Brixton Jamm, one of the DJ’s pulled out last minute and my name got thrown into the conversation by a friend of mine called Callum who was very involved with running the events at this point. From there people seemed to enjoy what I did with it and it’s just kind of stuck. I find the battle events, DJ wise, are the only time I’m able to play everything I want. Obviously radio stations have certain rules on swearing and in the dance it’s got to stay high energy so it’s quite refreshing. 

With so many different interests – Southpoint, producing, DJing, and Battle Rap – what tips can you give for staying organised and maintain a consistent work rate?

Get a calendar and put everything in it as soon as you find out with no exceptions. I’ve always liked to stay busy and I’ve found that having one location where I can see everything I need to do and everything I have done already keeps me motivated. I find being able to look back and say “I did all of that today” genuinely inspires you to want to beat that level of output the next day. 

 Since we were first made aware of your productions when discovering Southpoint back at the end of 2016, you’ve released a fairly varied catalogue of music including Dubstep, Grime, Breaks, UK Funky and even some Trap-ier sounds. When you sit down to make a tune do you have an idea in your head of the direction you want it to take or is it a more natural process?

In 100% honesty, I tend to find that when I sit down to make a tune I have a rough idea of the vibe I’m going for. I never have any clue on melody or musical ideas, but I always have a rough idea of the rhythm I’m going to be working with. I think this is why a lot of my stuff would fall outside a typical genre bracket because I like to experiment and play with sounds. 

How has your production style developed since you first started out?

I think everything has got a lot cleaner overall. I think also that the addition of breaksy drum patterns as either sprinkles or leads into most of my tunes tends to add an extra layer of rhythm. It’s all about rhythm. 

Your next EP, ‘Empire’, is wide open in terms of genre but is really cohesive as a body of work. Could you explain the process a little bit behind writing it?

Whenever I build a project I try to work to an overall theme. As this was my first solo project on Southpoint since my album I felt it was a good idea to express the overall journey of what I’ve been inspired by across multi genre influences. The two things that have mainly been inspiring me recently have been breaks and dubstep, so I think the fusion of those two styles became the spine of the project with everything else trickling off in different tangents. I like to think that Southpoint as a label is very multi directional in regards to the music we release, so it was also a homage to that ideal. 

As co-founder of Southpoint, things must be pretty intense but motivating right now! What’s your role within the label?

It’s super motivating, pretty much all of the producers we work with inspire me musically every time we are working on a release. My roles within the label vary but primarily I’m the content manager and lead A&R. This essentially means I tend to organise the release process, working closely with the producers with both feedback and as a mastering engineer to get the best product possible. I also tend to handle the promotional material such as written content and promotional video animations. Myself and Josh tend to find ourselves crossing over a fair bit especially on the promotional campaigns as we tend to work best when bouncing ideas around. 

What do you think it is about Brighton at the moment that has caused this huge, exciting scene to explode there?

I think a lot of clubs and venues have wised up to the fact that there was an entire scene that wasn’t being tapped into. Brighton is a super student heavy city so we rely on staying ahead of the curve. I also think the musical community has reforged over the last 2/3 years which makes so much difference to how the scene is perceived. 

Finally, what’s next for yourself and for Southpoint? Any big news you’re able to lift the lid on?

I can give you a little exclusive right here. From March, the Southpoint: Introducing series will also be available to stream exclusively via Spotify as well as SoundCloud free downloads! We’re very much looking forward to having the material available to as many people as possible! 

You can pre-order KXVU’s forthcoming EP, ‘Empire’, here; it drops on Southpoint on 2/3/18. Also be sure to listen to the very first mix in our brand new ‘In The Mix’ series, mixed by KXVU, below:

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Premiere: Arridim – Giving You Up (Ghost Remix) [Forthcoming RDWRK]


Arridim is back with his brand of intense, weighty Bass music for RDWRK003

Arridim is quickly notching up a discography of releases on the scene’s biggest and best labels and for his latest EP he’s teamed up with RDWRK – though relatively new, a label fully capable of matching his ambition.

‘Giving You Up/ Everything’ has had a huge amount of support across the UK underground scene and it’s easy to see why. The dark, brooding atmospherics on the intro of ‘Giving You Up’ is typical of Arridim, and the tension is relieved through the driving 4×4 drums and raw Reese bassline, the chopped vocal haunting in the background, all working together to create one of the darkest Speed Garage tunes of late. ‘Everthing’ is more in the vein of the current UK Bass sound, with gritty, distorted basslines chugging away over another chunky 4×4 drum pattern. The pitched percussion is incredibly satisfying, especially on the fills.

We’ve premiered the remix of ‘Giving You Up’, which sees garage legend El-B acting under his Ghost alias, creating suspense with a sparse intro before dropping into a stop-start, choppy 2step flip on the original. As if ‘Giving You Up’ wasn’t instant pullup material already, this takes the track to new levels – there’s just something about that long drawn out reese giving away to the fragmented drums.

You can stream the premiere of Arridim – ‘Giving You Up’ (Ghost Remix) below and remember to make sure you cop this massive EP in full when it drops on 23/2/12.

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Premiere: Kazumi Anzai – Beehive (Context Remix) [Forthcoming Downplay Recordings]


Young London based producer Context adds to his growing list of remix credits

Since being launched as a sister label to Slime Recordings at the start of the year, Downplay are almost 2 releases deep, with both EPs featuring vibrant UK Garage from refreshingly creative artists, the second of which is Kazumi Anzai’s ‘Beehive’, which is due to drop on February 23rd.

Featuring 2 originals and a remix from 18 year old Londoner, Context, the title track kicks things off with dreamy chords and string plucks before dropping into a combination 2 basslines; one chunky stab and the other a more elongated wobble. ‘Cinnamon’ starts in a similar fashion to the previous track but the main sections are more focused around syncopated 2 step drums and a popping, bubbling sub bass.

We’ve been given the remix of ‘Beehive’ to premiere, and Context has done a great job of keeping the essence of the original intact whilst providing a fresh vibe; the intro is stripped back but still melodic, and there’s still plenty of wobble in the bassline, though it’s been beefed up considerably. The shuffling 2step drums switch out for a 4×4 pattern on the second drop, which will definitely provoke a second reaction when played out.

You can stream Kazumi Anzai – ‘Beehive’ (Context Remix) below:

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Mind of a Dragon continues his soulful UKG endeavours on ‘vibes & that (volume one)’


The London based producer is on a great run right now, cementing himself right at the forefront of Garage.

In August last year Grant Dragon released his debut album; 10 tracks of melodic, soul drenched UK Garage that defined his sound of bubbling, popping basslines and syncopated drum work with a healthy dose of work on the keys. The title of that album was ‘keep cracking on’, and that is exactly what MOAD has been doing.

Since the album release, we’ve seen the Londoner put out a steady stream of high quality UKG as well as announce he’s finished up a second album, this time focusing on UK Funky – something we can’t wait to wrap our ears around.

Not content with all that music, MOAD has just released a brand new 7 track EP, entitled ‘vibes & that (volume one).’ and as you can imagine, it’s full to the brim with vibes (& that).

Each track centres round a vocal (which is when we think MOAD’s at his best), covering a multitude of themes and feelings with each one being an indication of his versatility whilst being easily identifiable as a piece of music from Mind of a Dragon. Daniel Caesar & H.E.R, Krept & Konan, Sampha, and SZA’s voices are all used with Sinéad Hartnett featuring twice, including on standout track ‘Unconditional’, and Drake on ‘Hype M8’ – the one track on the release that feels 100% focused towards the dancefloor.

If volume one isn’t enough to satisfy your craving for beautifully crafted UKG then don’t panic – ‘vibes & that (volume two)’ is already available for pre-order on Bandcamp. Until then you can buy the first instalment here, and stream it below.

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