I haven't heard this yet, but I'm always excited when his name pops up on boomkat: http://www.boomkat.com/item.cfm?id=276387
My favourite song is Tomb, though all of his work is immense. I have an email from him about a Skull Disco t-shirt I was going to buy.
So it is :(
Dark, atmospheric, percussive as hell and often really beautiful.
Just sitting here listening to Three EPs, and wondering why he isn't more generally appreciated. There are so many aspects of his music that I imagine would appeal to people well outside the whole electronic music interest spectrum.
last time I was down there. It's some seriously good stuff!
from I Want To Eat You until the end its so beautiful.
But to be honest everything he and Appleblim have put their names to tends to be wonderful -- Soundboy's Gravestone, with Over Here, Death Is Not Final, Vansan and You Bring Me Down, is similarly brilliant.
Oh, and Shack's remix of Moderat's 'Rusty Nails' is incredible.
I think I've bigged them up a bit here before but he had so many good releases from last year as well.
Obviously 3Eps is boss. Picking O'er the Bones is immense and his Harmonia and Invasion remixes are really underappreciated, fantastic little tracks.
I suppose it's not entirely surprising that he fits quite well with the original record's aesthetic either, probably a large part of why it sounds so well realised.
I think he's the deepest darkest most intense thing I've heard on the Iration Steppas soundsystem. It wasn't even that harsh and not even the loudest thing I've heard there but the sounds where just insane. He is hella dark but there is some sort of twisted humour in there too, like on that 3EPs track that samples 'He's got the whole world in his hands' or lots of his track titles and the metal band artwork. I get drawn into his purcussion it's just brilliant. Plus he can build some really emotional stuff out of his dark melodies and basslines, some of those basslines are heart breaking. Others are just relentlesly hypnotic.
I was listening to the 3EPs the other night at quite a low volume, and yet the bass frequency was still so piercing and prominent..it's like he's tapped into a whole other frequency range or something. He just has this totally idiosyncratic style which completely transcends genre definition, there's an incredibly deep and dark tribal ritual feel to the music, futuristic and primitive at the same time. And like jimi says, there's this sick black humour at work, quite Chris Morris-esque, which you get from the song titles and the snippets of samples that are scattered throughout the tracks. It's incredible how manages to craft these songs which are simultaneously crushing, uplifting, bleak, liberating, depressing, beautiful and perversely funny. The guy is operating on a whole other plane.
And the bass on 3EPs -- I remember when I first got it, I was living in a tiny flat with a single room for living room and kitchen, and my speakers (which aren't particularly great) were sat on the opposite side of the room to the kitchen. When I put on Moon Over Joseph's Burial at a fairly low volume, it rattled all the crockery on the draining board. The frequencies are totally all-encompassing.
I keep getting bass complaints from my next door neighbour (unsurprising I suppose, given the sort of stuff I listen to). She must have hated me last night when I made this thread, I was a bit drunk and blasting out Three EPs at midnight...
I've said this so many times, but I don't get why he isn't more popular among people on here who are into really dark ambient and drone stuff. I imagine he'd be right up Saint_Cronin and onlyshallow's street.
It has so much in common with ambient experimental tabletop & noise groups in terms of slow progression / layered noise and Boredoms-style tribal ritual type stuff than it does with whatever we're calling this next wave of post-dubstep (??? Wot Do U Call It / Don't Know, Don't Care) music. I mean, that dude Family Battlesnake has really reminded me of Shackleton without a beat (i.e. tense, very oppressive, awesome) whenever I've seen him play, actually I think they might both be living in Berlin now (could be wrong about this)...Anyway, the point I'm struggling to make is that the worlds of experimental 'dance' (how about that Peverelist remix of Pixel Rainbow Sequence as another example?) music and experimental noise/drone are much closer to one another than you'd first think.
I feel really guilty about the bass abuse my neighbours suffer at the hands of my stereo. I'm really sorry neighbours. Please don't kill me / contact the council.
I kept reading 3Eps was headphone listening or something like that in reviews, and I can't agree with that. It's just more of a challenge.
But anyway, I think it's one of the unfortunate things about dubstep (as an all consuming term) that people imagine it's just dancefloor orientated, functional stuff, hence youtube remixes and shitty club-nights which see 'dubstep' as a quite functional sound that is just used in a certain way to make you dance. Whereas peeps were quite happy with techno having an experimental wing in the 90s with Aphex etc, when it was labelled under a silly name like IDM.
3Eps was pretty high in the Wire's list last year though, and I think it got more crossover appeal than Soundboy Punishments, or more straight dancefloor full-lengths like Unbalance and Jarvik Mindstate.
(I did try to get Saint_Cronin into it, but he wasn't having any of it I'm afraid (might have been poor choice of track, bad youtube quality though.) Maybe if he reads this thread he'll give it another go.)
I've found that I rarely tell people what 'sort' of music it is if I'm trying to get them to come out to a club. 'You'll really like it' is usually enough, as if I was to say dubstep to most people the automatic thought is chainsaw wobble.
Not that Shackleton is (or ever really has been, to be honest) dubstep in any meaningful way, except to have been nurtured within that loose scene.
dubstep is a strange one, its one of the only dance genres that I know that isn't always concerned with making you dance and I find that really refreshing. I think people get confused with the darker stuff like Shackleton and wonder how the hell its going to work in a club, which usualy means... how is it going to make people dance. Then just dismiss it as headphone music. Some of the time people just want to hear amazing music super loud in a club environment, you don't have to dance all night. Shackleton is made for the big big soundsystems and makes for a full body immersive experiance when you see him play out. You'll dance to some of it but not all, plus when the DJs are mad enough to drop strange stuff you find that all sorts of less obviouse stuff makes people dance like bastards. See Untold's Stop What You're Doing for example the beatless freak of the dance floor hahah
The dark room, the 'stand and listen or bruck out, it's up to you' vibe, the fact that its entire focus is on creating a wholly immersive environment -- that single room with its single light is largely responsible for why dubstep sounds the way it does, and why it's become popular largely on its own terms. It'd be gutting not to get lost in there again.
the West Indian Centre doesn't have any lights either, every once in a while they'll turn on the big main lights in the hall and turn them off again thats about as far as special effects go. Clubs don't need lights just a phat soundsystem and good music.
Do we know what's happening to Plastic People. It seems ages since the whole happened, but they're still putting nights right.
I'm really hoping to see Kyle Hall and Floating Points there in May, but will it still be open that long?
as being a massive influence on us, even though we don't sound much like him. still, his tunes are always welcomed with open arms at satan hq! live, he's absolutely incredible as well.
Bump, been having a Three EPs day, and it's about time for some Shack chat (just at the wrong time, considering how nice and summery it's starting to get).
I think his new remixes need some airing. This Badawi one is great (and the Badawi track on the A-side is incredible as well), really doom-laden arabesque stuff:
Badawi - Dstry<All>Prfts (Shackleton Remix feat. Vengeance Tenfold)
I wanted to post the other one which is even better, and probably fits into the top few of his finest works, but I can't find the damn thing to stream anywhere. Still, it's absolutely worth tracking down on wax - 'To Rococo Rot - Fridays (Shackleton's West Green Road Remix)'.
If the whole West Green Road reference didn't make it obvious enough, it's pretty much Shackleton doing London in a subtle but very tangible way, brimming with strange ripples of rain, found sound and melody that sounds as though it's just creeping into the edges of your consciousness out of shop doorways and car windows.
In other news, he's playing alongside Omar S, Ellen Allien, Ramadanman and DJ Sneak at Eastern Electrics in about two and a half weeks time. GET IN.
So far the line up is: Ramadanman b2b Ben UFO b2b Pangaea and Shackleton. Bound to be another big name at least.
I was listening to the clips of this: http://www.boomkat.com/item.cfm?id=294336 new T++ on Honest Jon's called Wireless it gives me that Shackleton vibe at times.
I still need to grab that Badawi.
I've been in Paris for the last week, and I almost got to see Monolake at some massive arena-type place but just missed getting tickets. Along with Mike Dehnert, probably my favourite techno-type producers about. His Death is not Final and remix of Shed's The Fall is amazing, but I guess you've heard that: http://www.youtube.com/watch?v=iCBtj-VXgcY
and Shack's new remixes are great as always.
Really gritty sounding, incredibly busy two-step infused with an African/Middle Eastern kind of vibe, taken from the samples he had access to from the Honest Jon's back catalogue.
Hell that Apple Pips T++ 12" came out in 2008, it doesn't seem that long ago at all and he's only done a couple of bits since. Plus he sounds like nothing else ever still....
its really unbelievably brilliant.. wonder if its still kicking around. the T++ record is similarly brilliant
is still in at Redeye, Chemical & Boomkat. I'd grab it if I didn't just get T++, Africa HiTech, Hackman, VVV, Starkey, Mount Kimbie remixes...
Blen is such a tune!
I can't be arsed making another thread. Its a Mark Pritchard project.
I love those two, this is one probably one of my favourite Dilla tracks: http://www.youtube.com/watch?v=kOYb3_lOm04
well I think he's one of those guys that have been around forever and I know the name of but I'm not sure I've really clocked much of his stuff. I bet I've heard more than I thought though, he's one of them lot...
he's done vocals on a couple of d'n'b records you've probably heard.
I just got a promo for a new Calibre bit on Deep Medi dubstep stuff. His rolling purcussion translates brilliantly still.
...well, I do. At least 3EPs anyway...absolutely incredible and one of my favourite records of the past 5 years. But I have no idea where to go next with him. Any suggestions? I like the dark, almost tribal aspects of his sound the best...
in fact 3EPs is the least Tribal he's ever been so far haha Its pretty much his techno record... kinda, techno thru Shack-a-vision. The two Skull Disco compilations: 'Soundboy Punishments' & 'Soundboy's Gravestone Gets Desecrated By Vandals' have most of his stuff on them. Then there is a Mordant Music & Shackleton comp called 'Picking O'er The Bones' which has some quality stuff on too as well as a few remixes. You might still be able to get some of the Skull Disco 12"s if ya lucky.
I might put Soundboy Punishments on now actually.
As I've said above, if you can get hold of the 12"s, his remixes are ace as well; especially the Harmonia ones: http://www.discogs.com/Harmonia-Eno-76-Remixes/release/2007452 as is this one: http://www.discogs.com/Invasion-3-vs-Shackleton-Wizards-In-Dub/master/201513
and I saw these two have just come back into stock on boomkat: http://www.boomkat.com/item.cfm?id=33159, http://www.boomkat.com/item.cfm?id=76060
Obviously the Villalobos mix is great, but as I was saying above the T++ mix is fantastic as well, and when you've exhausted Shackleton's back-catalogue, he might be a useful port of call, with some of the harder dub-techno stuff about Marcel Dettmann, Mike Dehnert, Mike Parker, Silent Servant or even Shack's Perlon label-mates like Anton Zap and Margaret Dyas. Peter Van Hoesen has just put ot a pretty good full-length and Scuba's new album is really very beautiful; if you've not heard any of that lot.
he's easy to get hold of unless you want the 12"s really. He's been pretty upfront with releasing everything on CD in the end.
There is no one quite like Shack but Mala is worth a look too, hell any of the early DMZ stuff is but that will be harder to get than any Shack. Mala has the rolling tribal darkness thing going on too but comes from a more soulful medatative dancefloor angle.
Soundboy Punishments is probably the most 'accessible' (though not exactly an issue if you're listening to Three EPs already, which is pretty much as deep and dark as you can get) and has a LOT of early Shack tracks on it - Blood On My Hands, Naked, Hypno Angel, Hamas Rule and I Want To Eat You are some of the most gorgeous things he's done.
Definitely about trying to get all the 12"s though :D I've decided this week, despite my lack of money, that I want to fill the holes in my Skull Disco collection. I've only got four, so that's a lot of records, but totally worth it.
and those can go for silly money: 001: http://www.discogs.com/sell/list?release_id=494172&ev=rb 002: http://www.discogs.com/sell/list?release_id=603961&ev=rb
I'll get them one day!
Oh my gosh. This goes along with the 'best basslines in modern music' thread very nicely indeed.
post-apocalyptic but still loads of fun, one day the world will end and it'll probably be durring a Shackleton set, due to basslines. My brian still aches from tuesday night but I'm glad that the world didn't melt after his set, mostly because Kode9 was one. We just had to remember how to dance like normal people again instead of the Shackleton post-apocalyptic voodoo skank.
But it might as well be here. Basically, massive love for Blood On My Hands.
I think the most moving thing about Blood On My Hands (and it's genuinely one of the saddest and most moving songs I've ever listened to) is the tiny, wispy melody that floats just above the bassline, but is so quiet you could almost not notice it there. And that gorgeous drum pattern...
Argh, I think it might actually be perfect. Shackleton operates on a level that's wholly separate from ANYONE else. All his Skull Disco stuff, especially the early material, is really melancholy, at the same time as being really warped and totally insane. The newer 3EPs material is on another planet entirely...
I love how he just plays live now too, when he comes on you know you're getting a good hour of solid shack that will sound like no one else at all and it'll be diffrent each time. He doesn't really play full tracks just mashes it all up together in one big re-inturpritation of his music, you never know whats coming next. Its awsome.
This ain't a Shack tune but I think it's necessary to add to this thread, I remember him and Appleblim both saying they were really influenced by it...
only_shallow, you must investigate this one.
pretty sure it goes for crazy money
The three records I want more than pretty much any other are Neverland/Stuck, Haunted/Anti War Dub, and Bury Da Bwoy/Hunter. Just Mala tunes, basically. So good.
got that one as it got a re-press not to long ago, like a year and a bit ago or something. The other two go for mad cash, so I'll have to wait until I'm minted for that haha.
But couldn't find Bury Da Bwoy anywhere. Cry, etc.
Yeah man, when I win the lottery I'm gonna get some next level collection going on. All of Skull Disco, all of Hotflush, all of Hyperdub, all of DMZ, etc etc. Plus pretty much every classic from the Detroit techno lot - everything from Drexciya, UR, Carl Craig, Derrick May, etc.
That's obviously a realistic viewpoint to take :)
It's more grainy and lo-fi, which are qualities that really suit his music, I think.
I think I do too, there isn't much in it really and I've prob listened to 3EPs more recently but only cos I've cained all the comps/12"s so much haha. There is something about the insane brain melting basslines on 3 EPs that isn't as appealing as the older bits. He's found this mad frequencie that gets right into the middle of your brain and shakes it, esspecialy when you go see him live or someone drops his stuff. It gets to much sometimes and you gota be in the mood for it. But the older bits are mostly just sub so its easyer on the brain, it just rattles the chest down haha. Its all gold though...
And those frequencies on 3EPs are utterly next level - how he's even created them is beyond me. The Skull Disco stuff, especially the earlier stuff, is almost cripplingly sad, whereas I think of 3EPs as being a little more doomy.
His Badawi and To Rococo Rot remixes are off on another thing entirely again, particularly the Badawi - it's fucking terrifying!
Review of Shack, plus a few others, at Fabric the other day...
Pretty rare to come by. He mentions Boris and Blackflag haha
Pretty rare he actually does 'em, so tis quite cool to see.
Shackleton this weekend at Freerotation, yesssss
BUT last evening to officially listen to his Mary Anne Hobbs mix. really amazing stuff
The finest thing he's ever put to tape. I shit you not. Absolute GENIUS.
are you going to review it then?
I'll be pitching strongly enough to do so...
I don't know if you've seen him live, but it's based on the set he did at the Nothing Special at Fabric earlier this year (which I reviewed for DiS actually http://drownedinsound.com/gigs/45261/reviews/4140481), and it basically sounds like his recent live shows. Stretched out for an hour and fifteen minutes of pure rhythm, essentially, it's got a real techno sort of pace when it's all mixed into a whole single thing. And some of the best bits of it are when older, recognisable tracks clash into new ones and create different things again.
The MAH show mix from the summer is similar, though a lot more densely packed, shorter and less danceable - http://tinyurl.com/3ydhcf4
man, it's cool.
and apparnetly he's on the cover of next month's Wire.
great to see he's starting out with his own label again. really looking forward to the fabric cd but i'll miss the real distinctive presentation of his best stuff.
like the Skull Disco stuff and to a lesser extent the Perlon release, whereas the fabric mix cd might have amazing music on it, but will probably look like a fabric mix cd with the word Shackleton on it somewhere.
actually, come to think of it the fabric cover's pretty nice: http://www.xlr8r.com/files/shackletoncover_102110.jpg but point sort of still stands, his artwork is better when he has full creative control, which is why this new label is a great idea...
He's hit the nail on the head with the way in which 'dubstep' has taken on a whole new meaning nowadays and that it's a bit of a misnomer. Where I am in Canada right now is probably the same sort of thing as the small clubnight he played - 'dubstep' nights seem to be on every night, and yet the dancefloors only get busy once the really distorted, Master P style shit turns on. Which is a shame, cos I went to one the other night and for the first hour or so there was some nice deep rolling stuff, and then it all kicked off, and some guy I was out with turned to me and said 'now THIS is dubstep'. It's getting to the point where the term is totally redundant I guess.
But anyway, I really really can't wait for fabric 55 now, the clip on Fact sounds fantastic. Every time I hear Shack now I'm transported back to his set at Wire earlier in the year which was far and away one of the most incredible performances I've ever seen.
(And that includes his performances at fabric and Freerotation, which were equally brilliant - three Shack gigs in a year, I feel pretty spoiled).
Absolutely unbelievable - he played that wonderful piece of Vengeance Tenfold spoken word that opens the MAH mix/the new Electronic Explorations mix, over the top of a thumping 4/4 warehouse techno beat, before peeling the whole thing away to nothing. Ultra percussive. And interestingly, though disowning dubstep to a certain extent, a lot of his new stuff has a really halfsteppy vibe to it, and is amazing.
Some thoughts on the fabric CD on tQ here, if anyone fancies a read: http://thequietus.com/articles/05423-shackleton-fabric-55-review
And the new EE mix is here, great stuff.
New stuff sounds excellent, especially when mixed with the older material (the Closeness to Nature/(No More) Negative Thoughts segue is brilliant). I like that he's going in a more techno direction without leaving the amazing percussion sounds and eastern samples behind.
Samples and review 'ere:
Best one since Omar S for me. I've seen him live twice this year both times on insane soundsystems and this CD takes me right back, you dont quite get the apocolypitc full body experiance you do in the flesh mind. The new single is brilliant too.
but it's great music. As pointed out before it's especially the intensely percussive element that's attractive. It's like it's muffled and yet viscerally audible.
that he's palying at Fabric again on 12th March, with Villalobos no less!
Jan 26th & Jan 19th.
looking forward to that a lot.
my 2 favourite shackleton tracks
ONe full on Shackleton double 12" by the looks of things and then this...
Shackleton / King Midas Sound
Deadman / Deadman (Death Dub Remix)
(Honest Jons Records) (12" VINYL)
Yeah, I thought I saw some other artwork for shackleton on the trilogy tapes blog, that's brilliant, a week apart.
saw that one I pasted above on the bleep news letter that came today it had the tree looking artwork thing on it. Cant find it ob the bleep on honest jons site yet mind.
Shackleton, T++, Mordant Music
HONEST JON'S RECORDS
* Shackleton - Fireworks
* / T++ - Fireworks, Aussen Vor Remix
* / Shackleton - Undeadman
* / Mordant Music - Undeadman, ReMMix
Shackleton, King Midas Sound
HONEST JON'S RECORDS
* Shackleton - Deadman
* / King Midas Sound - Deadman, Death Dub Remix
* / The Bug - Deadman, Crackle Remix (download only)
In Fireworks, the detonations are internalized, swallowed like the Establishment tongue at the start: the mood
is malevolent, not celebratory. Synth shrapnel criss-crosses a stately, choral progression, before ticking hi-
hats and plate-shifting bass count-down the percussion pressure-drop. Galloping kicks and clopping tabla
tussle with each other, in and out of alignment: the kind of ghosted Middle Eastern instrumentation introduced
by the Skull Disco classic Hamas Rule, seeping through. Soundsystem psychodrama in inimitable Shackleton
style.For T++, Shackleton's music seems a perfect foil, its fleshy, ultra-vivid drum constructions ripe for
demolition and rebuild; and sure enough this mix enacts a kind of rhythmic necromancy, its brittle, emaciated
breakbeats shunting forward nastily, ravenously.
- George Herbert, 1612
Gonna be great.
just ordered my copies of the Honest Jons 12"s. guessing they'll be getting an airing in some form tonight at the vortex. exciting times.
anyone else going?
About the records I mean, I'm not going to the show cos I suck and live up north lol. Just ordered my copies and the first proto merk from zeke cos I got the second mag with my last order and I was gutted I forgot to pick up the first way back, love his art. Shackleton!!!!!!!!!!!!!!!!!
going there tonight too. It's going to be spectacular in such a tiny room, just hope the Vortex soundsystem is up to it.
Just bought the records though, yusss
Vendicatrix was as weird/brilliant/terrible as you'd expect.
Shackleton was fantastic as ever but managed to play very little that I recognised. Virtually nothing off the fabric cd, which I thought was his 'new stuff'.
Also great to meet Baron Mordant. Total geezer!
They're, unsurprisingly, brilliant. 'Fireworks' might well be one of the finest things he's yet done.
they're sweet. Loving the Kevin Martin mixes most I reckon...
Only listened through once but agree it could be the best things he's done.
can't wait until it arrives
Its Zeke's drawings blatently I think the other dude just brought it all together.
I like that you see his usual Zeke scribbled mug at the top then you can scroll down a little and there's a pic of him with a big cheese grin.
when I read it in the news section of the April edition. Shackleton is not the first artist that springs to mind when you think 'West Country'.
belongs down there \/
anyone had a listen? pretty great. longform spoken word w/standard shackleton ominous dubby techno underneath. not sure how representative of devon that is, but as i say i've never been.
I do Exeter to Totnes quite often, it's some quite special scenery. Whenever they have shots of waves going over the train on very stormy days it's usually there.
and have loved it for a few months now. What next? I don't currently have a turntable, so CD/download only pls.
Three EPs next
Or/followed by Soundboy Punishments/Soundboy's Ashes Get Destroyed by Vandals. Not all Shackleton but all really great. Collects most/all? of his early Skull Disco/Hotflush/Mordant Music 12"s.
On d/l I'd also grab the Harmonia & Eno remix
From this years, Fireworks & Deadman are both great and downloadable
also this Invasion remix
and maybe download the free Devon train journey thing 6 posts above.
I think that's most of it.
a lot of this is on the fabric mix, but it sounds different out of context i guess.
*Soundboy’s Gravestone Gets Desecrated By Vandals
bad memory/i suck.
There are nice differing stages of progression there - start with Soundboy Punishments, which is dubby and hypnotic, then Soundboy's Gravestone, which is intensely minimal and really quite spooky, then Three EPs, which goes for a rolling techno sort of thing. Then Fabric/Fireworks/Deadman...
ordered it today the clips sound so damn good.
it did indeed. pleasant lack of hype. going to go see him tonight as well!
Can't believe I didn't know this was about to be released. Ordered.
The Forthcoming section on Honest Jons looks like the most exciting slice of upcoming music.
its quality as expected, so deep. they work really well together and the art work looks as sweet as.
for anyone not diggin thru the dance mongrel thread where its been chatted about already. I forgot there was a shackleton thread.
is fucking incredible. The box set's so beautiful too.
Also, anyone that's into this really should listen to Piotr Kurek's 'Heat'.
Is well nice, up there with Actress, LHF, Mix Mup & Kassem Mosse, Bass Clef as my favourite of the year so far easily. The boxset looks amazing too.
Seriously wonderful packaging. Looking forward to spending time with this later in the afternoon.
Second that recommendation for Piotr Kurek, got the tape early this year and it's excellent.
all his stuff reminds me of Muslimgauze really, in fact I found out about Muslimgauze via a shackleton thread on dubstepforum some years ago.
Such a perfect album for headphones, captivating stuff. Seems to be following on from Pinch and Shackleton with sparser beats that are less prominent in the mix, which I really like. The spoken word bit from about 40 minutes onwards is mindblowing too.
Bloody wicked. And check out the art work.
I'm keeping this thread alive.
Nice write up on RA...
show at St Johns in Hackney which is down as having 2 co-headliners TBC, however the WeGotTickets link when it was first posted stated it was Shackleton and Demdike Stare.
May be worth keeping an eye on, assuming the lineup hasn't changed -http://stjohnsessions.co.uk
A few months ago. Got very excited but then couldn't buy a ticket. Hadn't thought about it since. Might buy a ticket anyway. Laurel Halo is amazing live.
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