Kode9’s grasp on the throat of bass music in 2010 is almost unparalleled. His trend setting record label, Hyperdub, is in its sixth year of viral contagion; he’s become a published author on the theory of sound abuse and sonic frequencies being used as weaponry in his book ‘Sonic Warfare’ and his production work has mutated from an almost simplistic marriage of beats and sine waves into a fusion of dancefloor Ebonics and discordant synths.
“Very simply, [the mix is] just a snapshot of my DJ sets at the first half of 2010,” he says calmly. “It’s definitely not an exploration of my musical heritage, but it’s not all new stuff. It probably signifies something about my relationship to dubstep that the mix only has a few dubstep tunes in it, and is instead a mix of UK funky, broken beat, dubstep, grime and some R&B. Unfortunately, I fear some listeners, because of my background, will think that all the tracks are just mutations of dubstep.I started DJing around 19 years ago and I don’t know… I just think that every few years I get a musical epiphany from an intense experience in a club or in something I hear that fills me with energy, information and inspiration to produce and DJ. After each one I spend the next few years trying to decipher what happened in that singular moment.”
And sonically that’s what Kode9’s DJ-KiCKS does: attempt to decipher the tangled state of UK dance music in 2010.