One of the many paths towards the future

A little over a year ago, Antony Williams made me care about dubstep in a way none had before. With the B-side to his opening Addison Groove 12″ for Loefah’s Swamp 81 imprint, the Bristol producer mostly known for his Headhunter project fused most elements I’ve been interested in for the past few years from different styles but that back then hadn’t clicked right yet, to me anyways. While the A-side gained all the attention (“Footcrab”), “Dumbshit” was paving the way for the recent Juke craze, staying true to the chicago ghetto hectic rhythms while winking at Miami and respecting the early Chicago house custom Roland sounds in a way that was quite new whithin dubstep.

Nowadays, Addison Groove has made his mark and is fronting a british take on the Juke scene with his current many releases (Tectonic, 3024, Swamp 81). Some other acts such as Boddika kind of are following his steps, but so far I’m still waiting for more to make me jump boat, for real.

While his music definitively has “tool” roots, it indeed is one of the few current sounds apart from house has brought back the joy of “real” mixing when I’m djing. It has space and room to breathe, it is weirdly sensual in that it moves your body in a much different way than electro or techno, but still retains a lot of tension, which is the best if you ask me if you intend to make people dance to music they know shit about.
Maybe this will fade, but so far, it is one of the few serious music acts that gives me faith in the current dance music spectrum. ‘Nuff said. Go check his old and new stuff out and make your mind.
Bertrand Delanowave

PS – Oh, and if you’re in Paris in June, you should check that out :

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