the 21st Century so far

Talking about favorite records of the 21st Century so far...

I contributed, just barely, to Resident Advisor's Best of 2000-2025 epic with a mini-review of The Caretaker's Everywhere at the end of time.

Kieran actually contributed more blurbs, in both the albums and the tracks categories, including one for Joy Orbison's "Humph Mango" (RA taking the mickey a bit?)

So despite the enormity I thought I would give the entire list a listen, in both categories. (There's also a list of mixes). 

I got about a third of the way into the albums, skipping the ones I already knew. But then - as always seems to happen with such undertakings (e.g. the enormous playlists of an artist's entire discography that you might pull together yourself, or of a genre)...  inevitably the will to carry on crumbles away. It's just too daunting. It comes to feel like work. As a way of discovering things, it's not the way that the music you end up loving generally tumbles into your life. Especially not with dance music, which is most meaningfully encountered in a club and in the thick of a crowd. 

But I did hear some things I'd never heard that I really liked, along with quite a lot of things that were excellent but ultimately sounded like superior-sound-design updates of  sono-rhythmic ideas that existed in rawer form in the 1990s.  

As always happens with these canon-making pushes by publications, I was surprised by how few of the artists or works that I love figure in these lists. (And quite often when an artist I like did get mentioned, the track honored wasn't what I would have selected). 

But you know what - people are different!  

So much music - electronic, dance, everything else - came out in the 21st Century that entirely different cartographies and canons can be constructed that barely overlap with your own trajectory as a listener or personal pantheon. 

One new-to-me tune in the RA list that I really liked

Now if you know anything about where I'm coming from, in terms of what I like in dance music, it makes perfect sense that this is a tune that would appeal.   It's fresh and exciting but audibly in the tradition of "Party People". 

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I'm not sure how much this RA list is ultimately based on the votes of the contributors and how much determined by decree from above, but they did ask me for a list of nominations, albeit only in the overlapping categories of hauntology / ambient / conceptronica. This is what I suggested, which is unranked: 

ALBUMS

Boards of Canada – Geogaddi

The Focus Group – Hey Let Loose Your Love

Oneohtrix Point Never – Rifts

Belbury Poly – The Willows

The Advisory Circle – Other Channels

Mordant Music – Dead Air

Moon Wiring Club – An Audience of Art Deco Eyes

Rashad Becker – Traditional Music of Notional Species Vol 1

The Caretaker – Everywhere at the end of time

Debit – The Long Count

Runners up (unasked for, I couldn't resist supplying)

Lo Five – Geography of the Abyss

Dolphins into the Future – On Seafaring Isolation

Lee Gamble – Diversions -  1994-96

eMMplekz – Rook to TN34

Roj – The Transactional Dharma of Roj

Hybrid Palms – Pacific Image

ML Buch – Suntub

Second Woman - S/W

Huerco S – For Those of You Who Have Never

Burial – debut album

patten – Mirage FM

TRACKS

Mark Van Hoen – Holy Me

eMMplekz – Gloomy Leper Techno

The Focus Group – Modern Harp

Oneohtrix Point Never – Physical Memory

The Advisory Circle – Sundial

Holly Herndon – Fear, Uncertainty, Doubt

James Blake – If The Car Beside You Moves Ahead

Burial – South London Boroughs

Belbury Poly – Caermaen

People Like Us – World of Wonder (Why We’re Here)

Moon Wiring Club – Mademoiselle Marionette

 

MIX

bit stumped here, I don't tend to remembrance mixes like other folks do, but then I thought, "oh yes, there's - 

The Arkiteket - The Deep Ark

And then when I saw their list, I slapped my forehead with a 'gah' and realized I really should have - and really would have - included this mix: 

Fairlights, Mallets and Bamboo (Japan, 1980-86) - by Spencer Doran

And the follow up Vol 2 was great too. 

It's especially amnesiac of me given that in this big piece on Ambient / New Age as a phenom of the 2010s written for Resident Advisor, these mixes feature prominently (along with the Japanese interior music / 4th world compilation Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 plus quotes from Doran in his Visible Cloaks guise). 

Talking of those who remembrance mixes, here's mixologist (and RA 2000-2025 contributor) Michaelangelos Matos's faves 

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Maybe, maybe,  I'll go back and finish that 2000-2025 albums list... do it in stages... then do the tracks... and maybe even the mixes. 

I already tried and enjoyed this mix which sounded intriguing from the write-up and mixologist Nono Gigsta's side reflections

https://soundcloud.com/gigstab/freerotation-2024-the-house-of-crocodiles-part-2-live-recording

Amid the near-infinity of sources out of which it is woven, this new-to-me tune jumped out particularly

Which itself contains a sample of - or perhaps more accurately, is a re-edit of? - something I dimly recognise (from being sampled elsewhere - some track on Reinforced?) but the source song "Misdemeanor" is new-to-me and quite delicious, sort of avant-ized Jackson 5

Less delicious is learning about the actual misdemeanor the artist would much later commit.... Wiki Fear strikes again, or at least, it didn't, otherwise I wouldn't have read the offending entry 

Ah, Anon comes through in the comments with the ardkore jungle tune that samples Foster Sylvers - not 4 Hero and crew but M-Beat 

Here's another use (out of loads and loads in hip hop etc)

Here's a Misdemeanor sample-chain playlist

RIP Terror Danjah

Saddened to learn that Terror Danjah - grime's greatest producer  and co-founder of the Aftershock  label - has died. 

Here is the liner note tribute I did for Gremlinz - the Terror Danjah compilation that Planet Mu put out in 2009. There's also a longer length version of the Q + A with Terror that appeared in Gremlinz . There's also some Danjah-related entries from the Grime Primer I did for the Wire in 2005. 

TERROR DANJAH: THE ALPHA PRODUCER

By Simon Reynolds

Ninety-five percent of grime beats are strictly functional: they're designed as launching pads for an MC's skills rather than as showcases for the producer's virtuosity.  These tracks don't tend to go through a lot of shifts and changes but instead loop a drum pattern and a refrain (typically evoking an atmosphere that mingles menace and majesty, with melody and "orchestration" pitched somewhere between a straight-to-video movie score and a ring-tone).  And that's fine, you know: it's a perfectly valid and valuable craft making this kind of basic MC tool.  It's okay if the tune doesn't go anywhere, because the pirate deejay's only likely to drop a minute-and-a-half before cutting to the next track.  It's alright if it's  thinly textured, a bit 2-D and cheapo-sounding, because  it's going to be largely drowned out by MCs jostling for their turn to spit sixteen bars.  But it stands to reason that few of these tracks are going to be things you'd want to buy and listen to at home.   They're just not built for that purpose.

Out of the handful of grime producers who've made some beats that work as stand-alone aesthetic objects--Wiley, Target, Wonder, Rapid from Ruff Sqwad--the undoubted ruler is Terror Danjah.  But this 29-year-old from East London is not just grime's most accomplished and inventive producer.  He's one of the great electronic musicians to emerge in the first decade of the 21st Century, a figure as crucial and influential as Ricardo Villalobos or Digital Mystikz. Someone who's kept on flying the flag for futurism at a time when recombinant pastiche and retro-eclecticism have taken over post-rave music just like what happened with alternative rock a couple of decades before.

Like earlier artcore heroes such as 4 Hero and Foul Play (in jungle) or Dem 2 and Groove Chronicles (in 2step garage), Terror Danjah knows how to walk that perfect diagonal between function and form, how to maintain a tightrope balance between rocking the crowd and pushing the envelope.  He has made plenty of MC tools, tracks like his "Creepy Crawler" remix of "Frontline" or "Cock Back" that have become standard beats of the season on the grime scene, enabling MCs he's never met, on pirate shows he's never heard, to show off and sharpen their skills. Terror has also crafted beats tailor-made to a specific MC's talents, like "Haunted" (the instrumental for Trim's classic "Boogeyman") or "Reloadz", whose speeding-up and slowing-down-again rhythm is a perfect vehicle for Durrty Goodz's quick-time style.  (That track is also a kind of living history lesson, cutting back forth between grime's stomping swagger and jungle's breakneck breakbeat sprint, between 2008 and 1994.)

But on this all-instrumental anthology, with the pungent charisma of MCs like Bruza or D Double E removed from the picture, you can really hear all the work that Terror Danjah puts into his tunes.  On tracks like "Code Morse" and "Radar," the intricate syncopations and hyper-spatialised production, the feel for textural contrast and attention to detail, are comparable to German minimal techno producers like Isolee.  But all this sound-sculpting finesse is marshaled in service of a gloweringly intense mood--foreboding and feral-- that is pure grime.   This is artcore: a stunning blend of intellect and intimidation, subtlety and savagery.  Street modernism, in full effect.

Gremlinz is named after Terror Danjah's trademark:  the grotesquely distorted, gloating laughter that makes an appearance in all his tracks, a poisonous giggle that makes you think of a golem, some horrid little homunculus that Terror's hatched to do his bidding.  The gremlin audio-logo crystallizes the essence of Terror Danjah's work and of the London hardcore continuum of which he's such an illustrious scion. It's at once technical (the product of skilful sonic processing) and visceral,  funny and creepy.  Like the catchphrases and vocal-noise gimmicks that MCs drop into their sets or tracks (think D Double E's famous "it's mwee mwee" signal), the cackling gremlin announces that this here is a TERROR DANJAH  production you're listening to.  When a pirate deejay drops one of his tunes, when a crowd in a club hollers for a reload, that slimy little goblin is Terror marking his sonic territory like the top dog, the alpha producer, he is.

Q/A with Terror Danjah

You started out in the late Nineties with Reckless Crew, an East London jungle/drum'n'bass collective of deejays and MCs. How did that come about?

I formed Reckless in 1998. The other members were D Double E, Bruza, Hyper, Funsta, Triple Threat, DJ Interlude and Mayhem. We came to fame from being on Rinse Fm and playing at local clubs and raves including One Nation, Telepathy, World Dance, Garage Nation, and Slammin' Vinyl.

What did you learn, as a producer, from those drum and bass days? Who did you rate at that time and would consider an influence?

I wasn't much of a producer back in them days. I was absorbing the musical sounds from Roni Size, Dillinja, Shy FX, Krust, DJ Die, Bad Company, Andy C and DJ SS. I learned a lot from listening to their music. Jungle was the first British music we could say was ours. I'd grown upon on reggae, R&B, soul. And also house music, on account of having an older brother. I was deejaying on the pirates and I got into producing drum and bass, because I wasn't getting a lot of tunes from producers. They'd be giving me one or two dubplates, but they had the big DJs like Brockie to service first. So I started making my own  "specials" and did loads of tracks. But I didn't put them out, just played them on the radio. My own personal sound.  But DJ Zinc and a few others cut my tunes as dubplates.

When did you make the transition to UK garage and that MC-fronted 2step sound that was the prototype for grime?

 I did two garage tunes and they blew up so I decided to stick with that. In 2002 I did "Firecracker" b/w "Highly Inflammable" on Solid City, Teebone's label.  For a while I was part of N.A.S.T.Y. Crew,  because I'd been at St. Bonaventures [a  Roman Catholic comprehensive school in Forest Gate, London E7] with a couple of members of N.A.S.T.Y.  But all the time I was doing my own thing and eventually just branched off. 

Then in 2003 I formed Aftershock with this guy called Flash, who I'd met at Music House where everyone goes to cut dubplates.  The first two Aftershock releases were Crazy Titch's "I Can C  U, U Can C Me" and N.A.S.T.Y.'s  "Cock Back".  That got the label off to a flying start--everyone was buzzing after those two releases.  Then it was Big E.D.'s "Frontline" and then in 2004 I put out the Industry Standard EP. That’s the one where people thought "this label is serious".

Industry Standard is where you can really hear your three-dimensional "headphone grime" sound coming through, on tunes like "Juggling" and "Sneak Attack".  With those tracks and all through your  music, the placement of the beats, the way sounds move around each other in the mix--it's very spatial.

Some of that comes from listening to a lot of Roni Size and Andy C and producers like that. Lots of abstracty sounds rushing about, coming out of nowhere.  There's a sense of more life in the music.  That’s what I do in my tunes. Drum and bass gave me ideas about layering sounds and placing sounds. But it also comes from studying music engineering at college, doing a sound recording course.  I learned about mic'ing a drum kit and panning.  You've got the pan positions in the middle of your mixing desk, and the crash should be left or right, the snares should be slightly panned off centre, the kick should be in the center. So you've got a panoramic view of your drum structure.

Obviously I went beyond that, started experimenting more.  The bass stays central but the sounds always drift. So each time you listen you’re not just bobbing your head, you’re thinking  "I heard something new in Terror Danjah’s tune". So it always lasts longer.

Industry Standard was the breakthrough release, in terms of people realizing that here was a producer to reckon with. What came next?

Payback was the biggest.  That EP of remixes was one of Aftershock's top sellers. It was getting caned the most, especially my "Creepy Crawler" remix of "Frontline".   That cemented it for us.

Basically you took Big E.D.'s "Frontline" and merged it with your own "Creep Crawler" from Industry Standard.  It's got a really unusual synth sound, harmonically rich, with this sour, edge-of-dissonance tonality. It makes you  feel like you're on the verge of a stress-induced migraine. A sound like veins in your temple throbbing.

It's a normal synth, but where many people would just use it straight out of the module without any processing or texture,  I’ve learned some techniques to give it more.  I add that to it. I can’t tell you how, though. Certain producers might go "ah!"

Those sort of wincing tonalities are a Terror Danjah hallmark.  Another are the bombastic mid-frequency riffs you use that sound a bit like horn fanfares, and that sort of pummel the listener in the gut. They've got  this distorted, smeared quality that makes them sound muffled and suppressed, like their full force is held back. But that just makes them more menacing, a shadowy presence lurking in the mix.  Like a pitbull on a leash, growling and snarling.

That's like an orchestral riff.  Again, it's all about the effects I put on it. If you heard it dry you’d think "Is that it?"  It’s the same techniques I use for the giggle.

Ah, your famous hallmark:  the jeering death-goblin laughter.  How did you come up with the Gremlin?

I had a lot of drum and bass sample CDs back in the day and I had that sound from time.  I used it a couple of time in tracks, just to see how it sounds.  Then I stopped using it and everyone was like, "Where is it?!?". I was like, "I don’t want to use it no more".  But everyone was going like "That’s nang! Use it!".  So I switched it up, pitched it down, did all sorts of madness with it.

But Terror Danjah music is not all dread and darkness. You do exquisite, heart-tugging things like "So Sure," your R&G (rhythm-and-grime) classic. Or "Crowbar 2," a really poignant, yearning production draped in what sound like dulcimer chimes,  a lattice of teardrops. That one reminds me of ambient jungle artists like Omni Trio and LTJ Bukem.

I used to listen to Omni Trio and all that, when I was 14 or 15. That R&G style is more me.   Everything you hear is different sides to me, but that sound, I can do that in my sleep.  One day I can be pissed off and make a tune for deejays to do reloads with. And another day I'll do one where you can sit down and listen and relax, or listen with your girl and smooch her.

Do you see anyone else in grime operating at the same level of sophistication, in terms of producers?

I don’t think none of them really. [Aftershock producer] D.O.K. is the closest in terms of subtle changes, and DaVinChe. You've also got  P-Jam.   But I don't really look at anyone and think they’re amazing. Wiley at one point was the guy whose level was what I wanted to get to.  But I don’t think there’s anyone now who’s doing anything different. They’re being sheep.

After the very active 2003/2004/2005 phase, Aftershock went pretty quiet. There were just a few more vinyl releases and then a couple of full-length things.   What happened?  And what have you been up to in recent years?

The label went quiet due to the change of the climate--the introduction of CDs in the underground market place. Because we were so successful with the vinyl format, but it was time to move with the times.  So I released a CD called Hardrive Vol 1, which had ten vocals and ten instrumentals and featured artists like Chipmunk, Griminal, Wiley,  Mz Bratt, Wretch 32, D Double E, Scorcher, Shola Ama.  I also put out an instrumental CD called Zip Files Vol. 1. And I've been working on Mz Bratt's album.

I'm told this compilation was selected out of some 80 instrumentals. Which means 62 weren't used! Does this mean you are sitting on a vast personal archive of unreleased Terror Danjah material?

Definitely. I got billions of tunes stacked on a few Terra Bytes hard drive.

You have Industry Standard Vol 4 on Planet Mu soon, and you recently returned to deejaying with the Night Slugs appearance -- does this mean you are back in the game full force? Do you feel like grime is still an area you want to work within or are you being drawn to other areas, like funky, or the more experimental end of dubstep?

I've always made music what I like, and most of the tracks on 'Gremlinz' were made before there was a genre called  'Grime' or 'Dubstep'.  I started off in Jungle, so I'm not afraid of change! 

Talking of the wacked-out end of dubstep, I can see a lot of your influence with the nu skool producers like Joker, Rustie, Guido, and so forth. Can you hear it yourself and what do you think of this sound people are calling things like "purple" and "wonky"?

 It doesn't bother me, but I personally think a producer/artist should just make the music and let the record/marketing company name it whatever!

from the Grime Primer (The Wire, 2005)

TERROR DANJAH

INDUSTRY STANDARD EP

AFTERSHOCK 2003

VARIOUS ARTISTS

PAY BACK EP (THE REMIX)

AFTERSHOCK 2003

 

Judging by Industry Standard, you could justly describe Terror Danjah as one of the most accomplished electronic musicians currently active. On tracks like “Juggling” and “Sneak Attack,” the intricate syncopation, texturized beats, spatialized production, and “abstracty sounds” (Danjah’s own phrase) makes this “headphone grime”--not something that could be claimed for too many operators on the scene. Yet all this finesse is marshaled in service of a fanatically doomy and monolithic mood, Gothic in the original barbarian invader meaning. The atmosphere of domineering darkness is distilled in Danjah’s audio-logo, a demonic cackle that resembles some jeering, leering cyborg death-dwarf, which appears in all of his productions and remixes. “Creep Crawler,” the first tune on Industry Standard, and its sister track “Frontline (Creepy Crawler Mix),” which kicks off Pay Back, are Danjah’s sound at its most pungently oppressive. “Creep Crawler” begins with the producer smirking aloud (“‘heh-heh, they’re gonna hate me now”), then a bonecrusher beat stomps everything in its path, while ominous horn-blasts pummel in the lower mid-range and synths wince like the onset of migraine. From its opening something-wicked-this-way-comes note-sequence onwards, Big E.D.’s original “Frontline” was hair-raising already. Danjah’s remix of his acolyte’s monstertune essentially merges it with “Creep Crawler,” deploying the same astringent synth-dissonance and trademark bass-blare fanfares (filtered to create a weird sensation of suppressed bombast) but to even more intimidating and shudder-inducing effect. 

JAMMER featuring KANO

BOYS LOVE GIRLS

HOT SOUND 2003

WONDER featuring KANO

WHAT HAVE YOU DONE

NEW ERA 2004

TERROR DANJAH featuring KANO and SADIE

SO SURE

AFTERSHOCK 2004

 

The backing tracks are fabulous--Jammer’s frenetic snare-roll clatter, Wonder’s tonally harrowed synths, Danjah’s aching ripples of idyllic electronics--but it’s the MC who really shines. With some grime rhymesters, the flow resembles an involuntary discharge (D Double E being the ultimate exponent of MCing as automatic poetry). But even at his most hectic, as on “Boys Love Girls,” Kano always sounds in complete control. All poise and deliberation, Kano invariably sounds like he’s weighing up the angles, calculating his moves, calibrating which outcomes serve his interests.  That’s blatant on “Boys” and “What Have You Done”, both cold-hearted takes on modern romance that depict sex in transactional terms, a ledger of positives and minuses, credits and debits; a war of the genders in which keeping your feelings checked and maintaining distance is strategically crucial.  But it comes through even in the gorgeous ballad “So Sure,” on which Kano blurs the border between loverman and soldier drawing up plans for conquest: “ain’t got time to be one of them guys just watching you and wasting time/next time I’m clocking you I’m stopping you to make you mine.” As much as the acutely observed lyrical details, it’s the timbre of Kano’s voice that’s enthralling: slick yet grainy, like varnished wood, and knotty with halting cadences that convince you he’s thinking these thoughts aloud for the very first time. 

TRIM

BOOGIEMAN

AFTERSHOCK 2004

BRUZA

NOT CONVINCED

AFTERSHOCK 2005

 

Like most producers in most dance genres, grime beat-makers typically invent a striking sound, then wear it out with endless market-milking iterations. Terror Danjah has often approached that dangerzone, but on “Boogieman,” he shows how much scope for inventive arrangement remains in the “Creep Crawler” template. You can hear the cartoon-comical wooh-wooh ghostly touches best on the instrumental version, “Haunted” (on Aftershock’s Roadsweeper EP). “Boogieman” itself is a showcase for rising star Trim, here honing his persona of  scoffing imperturbality: “I’m not scared of the boogieman/I scare the boogieman.”

 

On “Not Convinced,” Danjah draughts a whole new template that reveals the producer’s roots in drum’n’bass (the track’s futuristic tingles vaguely recall’s Foul Play “Being With You” remix). Again, though, the MC makes it hard to focus on the riddim. More than anyone apart from not-grime-really Mike Skinner, Bruza incorporates British intonation and idiom into a totally effective style of rapping, in which the not-flow of stilted English cadences becomes a new flow. It sounds “brutal and British,” as Bruza puts it. As his name suggests, the MC has also perfected a hardman persona that feels authentically English rather than a gangsta fantasy based on Compton or Kingston. He exudes a laconic, steely menace redolent of bouncers. “Not Convinced” extrapolates from this not-easily-impressed persona to create a typology of character in which the world is divided into the serious and the silly, the latter lacking the substance and conviction to give their words authority.  Bruza addresses, and dresses down, a wannabe MC: “I’m not convinced/Since you’ve been spitting/I haven’t believed one word/Not one inch/Not even a millimeter/To me you sound like a silly speaker/Silly features in your style/You spit silly.”