April started with DTR taking it back to the roots with the release of 'Upsteppers in Dub'. Ten solid dubs from Brisbane producers/engineers of local heavyweight roots crew, the UPSTEPPERS.

DTR founders 8man and Grimes introduced the first installment of SCIENCE PROJECT's 'Foundation Sounds' series, with Vol. I up for free download as of April 20. The single 'Beat Boppin' features vocals from Monk of Melbourne's Ethiopian-Jazz crew THE BLACK JESUS EXPERIENCE and CULTURE CONNECT.

May 4 will see the release of the single 'Tooth and Claw Dub' by the Upsteppers, with remixes from  HOPE ONE, VOODOO DRED, SCIENCE PROJECT & WALRII.

We're launching the single May 6 @ The Joynt, with a special performance by the UPSTEPPERS of their album 'Upsteppers in Dub' with guests SCIENCE PROJECT. SCIENCE PROJECT will aslo be collaborating with VOODOO DRED for the first live VOODOO SCIENCE set.

Come May 11 VOODOO DRED will be dropping his next release followed by remixes of the GREEN NOSE album 'Hyper Colour T-Shirts' later on in the month.

March is turning out to be a mammoth month here at Dub Temple Records. Starting with the debut release from Brisbane’s DATAPARTY we also have the much anticipated follow up EP ‘Loop Experiment’ from 1988 (USA) coming March 23.

In our endless endeavor to bring bass culture to the streets of inner city Brisbane, Dub Temple Records in conjunction with the 4C Arts Collective presents the third SIDEWALK SOUNDSYSTEM Friday April 13. Selectas: VOODOO DRED, SPEAKER WRATH, and SAMEDI SOUNDSYTEM

Our very own 8bit master GREEN NOSE was featured on themeanderjournal.com, check out the photoblog of his studio here...

Heavy Hong Kong celebrates its 6th Anniversary with the return of Bristol's Legendary Dub Innovator: RSD (Smith and Mighty) UK(More Rockers/Tempa/Tectonic/BlackBox/ReggaeRoast/SteppaRecords) Supports from Hidden Dragon, Blood Dunza, Sensi Lion and Hope One.

The first ‘House of Shaolins’ presented by Dub Temple Records and Dank Morass is set for Thursday April 19. Come see the exciting talent on Dub Temple’s roster with sets from heavyweights SCIENCE PROJECT, SPEAKER WRATH, VOODOO DRED, and WALRII as well as from the nu blood SAUCE and ATLASt.

_Its been a busy few weeks here at Dub Temple as we gear up for a big year. Last week saw the release of the 'Pack up and Walk', the first single by Dub Temple's resident graphic artist/vj ATLASt. ATLASt kicks off the single in his jazz -tipped, future beat style, followed by remixes from Dub Temple regulars SAUCE and 8MAN, as well as a footwork remix from newcomer PROV!$.

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Yesterday HOPE ONE dropped the first installment of his beat tape series based on the work of the dub innovator 'Scientist'. The beat tape captures the character of the Scientist, while adding to the growing beat based dub sounds which have been coming out of the Temple as of late.

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Coming up in February we're looking forward to releases from the Gold Coast's SAUCE and Brisbane heavyweights SPEAKER WRATH. As usual they'll be up for free download, so be sure to watch this space. To stay up to date with all the latest from Dub Temple including previews of future releases make sure to 'like' us on facebook. Big thanks to all.

Sauce

Speaker Wrath

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Just before Christmas ATLASt was in the NTS studio for their weekly radio show; The Jus Like Music Show. ATLASt was over visiting from Brisbane, Australia and played  a deep selection of beats-oriented music from artists and labels based in Australia.

Jus Like Music crew also had a chat on air with ATLASt, aka Warren Handley, about his involvement with the scene is Brisbane as a producer, DJ and multi-talented visual artist. check out the Stream and download via the Jus Like Music podcast…

One year ago, we here in Brisbane were blessed as the gentlemen from DANK MORASS brought us FLYING LOTUS with THUNDERCAT, GASLAMP KILLA, and HERMITUDE to bring in the new year at the Tivoli.

It was a stellar night bringing out the best of Brisbane. Among them was Dank Morass Dj's , ATLAST and ARCHIE LANCASTER on live visuals, while 8MAN, GRIMES,WALRII & VIVANDIERE brought it home at the After-party.

For the full story of that night, check out this write up from our friends at THE BOOKERY COOK, who hosted the BRAINFEEDER crew during their time in Brisbane. you can also check the video of the night here

photos by Megan Cullen

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Bunda’s self titled, debut release on Dub Temple Records had me sold at the first listen. The whole project is a great mixture of boom bap stylistics and wonky effects, all of which are approached by the Brisbane producer in a spacey, borderline lo-fi manner that allows the tape to drift along inside of a strange, distant soundscape. This tape honestly feels as if it should be played out of a boom box in the middle of the desert, with each beat seeming to have a vast feel that adds a bit of atmosphere to the tracks. I’m personally a big fan of the beat music that is coming out Australia at the moment, with producers like Electric Sea Spider and Option Command creating some really great material to contribute to the Australian beat scene. This is also just one in a nice little cove of gems Dub Temple Records is slowly compiling on their bandcamp and aside from this release I would strongly encourage listening to some of the other tapes they have curated. Check out the track “Bouncefort” and grab the rest of the album here.

Respect: Dub Temple Records

_Photography By David Spiers Interview By Rebecca Florence Ablett

__ Brisbane’s burgeoning underground hip-hop scene continues to give us some stellar artists, one such act emerging from the shadows being Science Project. Comprising of 8man and Grimes (or Jad Dapat and Andrew Grimes to their mates), the duo run Dub Temple Records, releasing beats and mixes that smoothly transcend the hip-hop, dub and electronic genres. They’ve played gigs around Australia and are setting their sights on touring overseas. Science Project talks to ACCLAIM about how growing up overseas has shaped their sound, the current Brisbane beat scene and what’s next for them.



With the scene for alternative dub and future beats in Australia growing to reach bigger audiences, what is unique to Science Project’s sound?

Jad | I guess both of us being from overseas brings certain advantage in terms of knowledge of other musical cultures and styles.

How did you guys end up forming Science Project, did you have any previous musical experience?

Andrew | We met playing in the rhythm section of Aussie/Afro hip-hop crew Culture Connect back in 2006 when they were based in Brissie.

When my family came to Australia, we were living in Darwin. I got pretty active playing in the scene up there, and got to know all the Culture boys pretty well. When I moved to Brisbane for uni they were all down here and needed a drummer, so I took the job.

Jad had just migrated from the Philippines, where he was playing rhythm guitar for a well-known dub/reggae band called Jr. Kilat. Not long after he moved here, he started playing with Culture Connect. During that time I was obsessed with the old Dub Masters like Lee 'Scratch' Perry, King Tubby, and Linton Kwesi Johnson. Jad had come from a really strong dub background and he was always throwing these crazy dubs my way and suggesting tunes to check out. At the end of ‘08 the rest of the Culture crew had moved down to Melbourne, we just started making beats together and that was the beginnings of Science Project.

You’re both from overseas, but why the move to Australia? And do you think it has influenced the way you sound at all?

A | I'm originally from the United States, but I spent my childhood growing up in eastern Indonesia mainly in Maluku and around West Timor. My mother is an anthropologist and my father a linguist, and they'd been doing fieldwork throughout Indonesia since well before I was born.

In 1999 we were living in Kupang, the capital of West Timor, when East Timor was finally successful with their independence referendum.  After the Australian troops went in, the TNI and the Indonesian-backed militias were chased over the border into West Timor and they were pretty furious. Things got pretty real, and we had to get out of there fast. That's how I ended up in Darwin.

As a kid I was pretty musical, and fortunate ‘cos the islands are a great place to grow up – you’re always surrounded by music. I happily absorbed all the sounds around me. We spent several years living in a village called Wa Ha Olon on the Island of Buru, where traditional music was used as part of everyday village life. As a small child I used to join in with the old men playing rhythms on dear-skinned drums and gongs. Then there were the times when we'd be in the provincial capital and I'd be bombarded with all the classic island sounds, UB40, Marley, Shaggy, Michael Jackson. These things have absolutely shaped the music I'm making. 

J | I moved here with my family in 2005 from Cebu City, Philippines. I grew up with a really musical family. When I was growing up, my mum was in a choir from church, my dad is a jazz guitarist and my grandma was a piano teacher as well. So I grew up with people who are really staunch about their music. Also in school, I learnt some traditional Filipino instruments and was exposed to traditional Filipino music. When I was at uni, I was exposed to dub music, and couple of years after that I started making beats and started mashin’ my influences.

You’ve supported crazy acts like Mount Kimbie, Gaslamp Killer, Tokimonsta and Nosja Thing – what was it like to meeting international artists and playing for other crowds?

J | Yeah, I feel blessed to meet and share a stage with those guys; I’m a big fan of their music.

Everyone describes the whole ‘beat music’ ‘underground hip-hop’ scene a different way – but what does the music mean to you?

A | To me it’s essentially a return to first principles at a time when hip-hop has been so utterly absorbed by the mainstream. In the way that the rhythm and bass is put front and centre you can also see it as an evolution in dub culture. It’s about taking the principles of hip-hop and dub and applying them to who ever, where ever, and when ever you are.

You recently played at Horse Bazaar and Section 8 in Melbourne, how did it differ to playing in the scene in Brisbane?

J | I used to live in Melbourne a few years ago so I know Melbourne’s always got mad love for new shit. Brisbane is really interesting at the moment because it’s growing, it’s fresh and there’s a different kind of excitement. While in Melbourne you know there’s already a large group of people who support these kinds of things.

You’ve recently released the 1988 EP for free on your bandcamp page – what’s next for you?

A | Well we just released Jad’s solo stuff 8man - Loops last week which has gotten a lot of interest both here and overseas, then in a few weeks we’re releasing some Hong Kong future roots from Blood Dunza. Also there’s a coming release from Kirvy, who’s based in the Philippines, dropping some lush soul beats. And from here in Queensland we’re releasing an EP from local beatmaker Bunda. With our own productions we’re in the process of finishing up a collaborative album called Voodoo Science One, involving Science Project, Hope One and Voodoo Dred.

You guys also run Dub Temple Records, which is “conceptualising the roots of remix culture in a series of beat tapes that pay tribute to the greats of Jamaican music”. What made you create it other than a love for dub music?

J | When it started I was just reading some blogs and came across some free beat tapes, and thought this is sick, I’m gonna do this. That was around February 6th, Bob Marley’s birthday, so I decided to make the beat tape as a tribute to his work. Later I was talking to Hope One, who does A&R for Dub Temple, and we decided to make it a collaborative compilation. We put the word out to the different beatmakers we knew and that’s how it happened. 

Your influences seem to range from dubstep and post-dubstep to Jamaican reggae, but is there something that inspires you the most?

A | The music we make is inspired and informed by so many things both musical and non-musical. Natural things, cosmic things, social things, future things, ancient things, sound system things, and of course beautiful women. Musically speaking, everything we do is grounded in dub, hip-hop, roots traditions (soul/reggae/jazz), and tribal sounds. I’m mostly inspired by the way these things blend together, not just musically, but also how these cultures blend with time and place.

When I was at your gig in Melbourne, even the bartender said to me that you guys ‘moved together’. Do you put a lot of work into how your live show will be received by an audience?

J | Definitely. We try to keep as much of the set as live as we can, but with electronic music, that requires a lot of preparation. You have to plan out every sound you want to use, then arrange them as effectively as you can, then practice the routines, then figure the best way to piece the whole set together. By the time we get to the stage, we pretty much know what both of us are supposed to be doing at every point in the set, which I guess to the audience translates as us bobbin up and down in eerie unison.

We’ve also had the good fortune of working closely with some pretty talented VJs, namely Warren Handley and Joe Baker. Their work with the live visuals contributes a lot to the way Science Project sets come across.

What do you see for the future of Science Project?

A | There are so many exciting things on the horizon. By the end of the year we’ll have released Voodoo Science One, as well as the third Science Project EP. 2012 we’ve got big things planned, including an Asia tour and the release of our first full-length album.

Check out the music of Dub Temple Records here and Science Project’s EP Under the Sun is available for free download via bandcamp.

_Promo video made by Warren Handley for the collaborative EP 'Voodoo Science One', involving Voodoo Dred, Science Project and Hope One.
Voodoo Science One will be released the 4th of November, 2011, through Dub Temple Records, and will be
available for free download at
dubtemplerecords.bandcamp.com/​

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Blood Dunza - A Change is Gonna Come
Wednesday, 26 October 2011
RAVE Magazine
Written by James Farell
Blood Dunza | A Change is Gonna Come | Dub Temple Records

A Change is Gonna Come, the latest in a string of heavyweight releases from independent Brisbane Label Dub Temple, sees Heavy Hong Kong’s Blood Dunza dropping a punchy and nicely varied platter of Dub rooted beats. As his name would suggest Blood Dunza has one foot firmly planted on island soil, with beats littered with classic reggae samples, dub echos and easy skanking vibes, but there’s also a sophisticated, forward thinking approach to these productions that set them apart in a way somewhat reminiscent of releases from the likes of Jahtari and Deep Medi.


The eponymous opener sounds like something Quest or Silkie might cook up for a heaving London dancefloor. The percussion is particularly on point, forgoing the balls-out-heavy kick snare standard dominating today’s stagnant Dubstep Scene, choosing intricate tribal patterns and percussive swing instead. Poor Man Stands Strong is laser targeted and locked on to the dancefloor, upping the tempo and bringing in Jungle snares in to great effect. It comprises the most upfront cut on this E.P and would be a handy tool for anyone looking to get a crowd moving, as well as proving that big impact needn’t rely upon massive wobbles and over serrated bass lines. The latter two tracks take a step back into more reflective territory, coming home far more on the Dub side of Blood Dunza’s approach, but are no less potent for it. Silver and Gold is particularly on point; perfect hypnotic head nodding material for end of the night skank out massive.


Whilst it’s only his debut release, A Change is Gonna Come is an impressive opening statement for Blood Dunza, ably demonstrating a wide range of influences without making concessions to genre or style expectations. This is the sort of musical approach that other less scrupulous producers would do well to heed, and as such seems right at home on Dub Temple with its current trend of forward thinking, reggae infused party music. Highly recommended for those that like their bass music with a bit of character and class, get on it!

A Change is Gonna Come is out now and available for free download on Dub Temple Records: http://dubtemplerecords.bandcamp.com/

_Promo video Warren Handley made for 8man (one half of Brisbane's Science Project) EP "Loops"
forthcoming on Dub Temple Records which can be downloaded for free over at >>>

dubtemplerecords.bandcamp.com

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8man 'Loops' (Monday, 17 October 2011)
RAVE Magazine
Written by Phoebe Baker
8man | Loops | Dub Temple Records

Roll yourself in the blanket of soothing sounds that is 8man’s Loops and you will find surreal pleasure.

All four flawlessly composed tracks are a welcome escape with its relaxing waves of pleasure, in this too-short compilation. The obscure yet serene opener “Relax” sets the tone for 8man’s first ever solo release, as you journey through the loops.

What is interesting is that Loops’ tracks are short in length. These tracks are like teasers, getting a taste of each unique hip hop variation throughout the total seven minutes of the EP. 8man seems to effortlessly string together an array of different hip hop styles which bring forth a comforting aural bliss.

The first track featured on the album, “Take Your Mind Away”, certainly achieves that; softly plummeting into a calming hip hop-based track and making you absorb its serene sounds. “Layers” then takes you to an entirely different plane with its abrupt shift into a jagged, but chilled hip hop tempo.

Once more, you are unexpectedly driven into a different hip hop landscape, with the introduction “Nova”- undeniably his best track. “Nova” takes you on a secluded journey through calming island vibes, with its myriad of varying percussions that is bathed in cool double-bass rhythms and swaying vocals.

At the eclipse of Nova’s waves, Loops then transcends into its final track, “Africa”, which plays up to the gentle but powerful effects a simple piano chord progression can have on a person’s state of utter relaxation. Reminiscent of the styling of J Dilla, this track is beautifully composed and has all the elements of sublime tranquillity – soothing vocals, rhythm shaping keys, and a steady swaying beat.

So lie back and think pleasant thoughts as you absorb the relaxing sounds of the mind drifting surreal pleasure that is Loops.

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Voodoo Dred
DANK MORASS
Written by: Isaac Ismail
Voodoo Dred | Voodoo Dred  | Dub Temple Records

We here at the Morass, having followed the merging of hip hop and electronic music for many years, are extremely excited to see this EP released in a world where so much music lacks a lasting resonance. The Voodoo Dred EP is deeply personal and conceptual, put together with spirituality, soul and intelligence.

Born in Mexico City to Haitian parents, VOODOO DRED a.k.a. Vadim Juste-Constant moved to Australia when only 3. Music was a major part of his family life, his father being a well renowned touring singer throughout Haiti and Mexico. Mainly growing up in Sydney, Brisbane and later Darwin, all impacting on the developing artist VOODOO DRED. In 2007, he arrived in Melbourne, looking for a new channel for his compelling/dynamic love for music. He has been touring as a diverse artist since 2000 not only as VOODOO DRED but as an MC/singer and musician playing instruments from drums, guitar, bass and percussion in bands such as Culture Connect and Gorilla Step with DJ Dexter.

“The concept of what I want to create is to continue the west African tradition of a Griot but in an urban, contemporary sense. Going back to traditional African beats and translating them into a hip hop context, I believe traditional African drumming is the original “trance” music because back in the day they would play these rhythms for days on end and literally get into a trance.” – VJ

Damn DT you’ve done it again…

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Science Project - Under the Sun
SCENE Magazine
Written by: Jonathan Schrauwen
Science Project | Under the Sun | Dub Temple Records

Stepping up with a very mature offering for what is only their second EP release, ‘Under The Sun’, are the Brisbane-based two-piece, Science Project.

The duo, formed in 2008, meld their diverse musical backgrounds in production and performance to create a truly winning blend of dub, hip hop, bass and electronica. This variation of style is evident across the five tracks of their EP with the boys successfully mixing up the moods, tempos and tones of each of the tracks while deftly maintaining an element of cohesion throughout the release.

The EP’s title track opens proceedings with a percussion-driven, hip hop beat that nestles amongst a barrage of sci-fi synths to create some seriously cosmic overtones.

Pitching it up a notch, ‘Another Spring’ is a simple but effective, bottom-heavy, dub jam that’s destined to inspire much dancefloor skanking while ‘Dawn’ sees the group on a more relaxed tip, complete with echoed vocal snippets and a warm bottom-end.

The centrepiece of the EP, though, comes in the form of ‘Waves’, a sweet, soulful tune that drips jazzy keys and a mesmerising Billie Weston vocal contribution over a gently rolling, bass swell that’s should become a live favourite.

Weston’s guest spot, in particular, is a somewhat inspired contribution that suitably complements the aesthetics of the instrumental track by channelling the vocal stylings of regular FlyLo and Bonobo collaborator, Andreya Triana.

Rounding out the EP is a smooth drum & bass remix of ‘Waves’, much in the same vein of LTJ Bukem or Calibre.

‘Under The Sun’ is continuing proof of the burgeoning Brisbeat scene that’s spawning a stream of talented local artists (Blunt Instrument, Speaker Wrath, Tigermoth to name a few) producing world class material.

Available as a free download on Bandcamp through the group’s label Dub Temple Records – be sure to get your hands on this EP!

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