Community Unity Love Truth Compelling Humanity's Abidance
CULTCHA Clash Outer National: Global-Community-Radio Broadcasting, Online Marketplace, Digital Zine & Subversive Propagandist Organization.
Combatting the mundanity and commodification of human existence with Art, Music, Comedy, Social-Criticism and the Promotion of Alternatives to Corporate Culture.
Fresh for 2022, Mark Stewart is at it again. This time in the form of a digitally released collaborative project with an all-star lineup of guests who are kindred in a free-thinking, status quo challenging aesthetic in art.
EBM commandos, Front 242 guest on the first track, 'Rage Of Angels' which hits as hard as a soup can chucked at a dome. The arpeggiated synths reminiscent of a slow-paced 'I Feel Love' by Donna Summer, the sample used on Mark's track, 'Fatal Attraction.' Stewart's cryptic lyrics delivered with an urgency that is reflective of the state of a world on the edge of destruction.
'The Last Enemy' is produced by West Coast stalwarts Mark Pistel / Consolidated, the heavy, Tackhead-esque beat is doubled up with a drum 'n' bass break to devastating effect.
'Ghost Of Love' is one of the standouts, featuring Eric Random, it's deranged techno sound is infectious, and is the perfect platform for Mark's heavily affected rant.
Previously released on 12" single, 'Outlaw Empire (Adrian Sherwood Dub Mix)' with Nun Gun is an excellent, abstract version on which Mark refers to "The collapse of everything."
KK Null, old-school Japanese noise artist guests on 'New Error,' which is spoken word over sonic terrorism, eventually morphing into a distorted breakbeat and what sounds like digital annihilation... "Fear is the weapon, no sanctuary."
KK Null appears again, this time with Mike Watt (Minutemen) from what is likely to be the most conventional rock song that one will find on the album, 'All My Senses' is its title. Being that Watt has been a known fan of The Pop Group, this is a logical collaboration that feels like the artists really enjoyed recording it. Null's contributions are surprisingly complimentary to the instrumentation and vocals.
More on the sonic terrorism front, Bristol's Ye Gods appears on two tracks, bringing the uncompromising noise to new levels.
The album closes with 'Alpha,' a project with the late, great Lee "Scratch" Perry and visual artist Peter Harris, mixed by Adrian Sherwood. Proceeds from the single's initial release went towards the famous Alpha Boys School in Jamaica, at which many of reggae's original players of instruments were educated. Perry and Stewart wanted to create a song for children with this one, which is evident upon listening, although it's thoroughly enjoyable by all ages.
The CD and Digital release are available at Bandcamp from eMERGENCY heARTS, an Austin, TX based label. There are four Lathe-Cut 7" Picture-discs of songs from the album available in limited quantities, as well. Get 'em while you can!
Thank you for viewing this feature, if you enjoyed it, please follow or subscribe to the following links.
All images and recordings belong to the artist and / or labels, used for promotional purposes.
For optimal functionality of links, view on browser rather than mobile.
This special feature puts a spotlight on the discography of the exceptionally talented producer, musician, writer, label owner and more... Kevin Richard Martin, also known as The Bug. His current Double LP release, Return To Solaris (Phantom Limb) is Kevin's recreation of the 1972 soundtrack to the award winning Russian science fiction film, Tarkovsky's Solaris, originally scored by Eduard Artemyev. The release date is June 25.
This will only be a summarized glimpse into this visionary noise makers many projects and collaborative efforts, which he's been involved with since the early nineties, beginning with industrial / hardcore / jazz fusion band, God, in which he is credited for production, samples, vocals and tenor sax.
I was not familiar with the band at the time (not until quite recently, in fact), but I was into some of the artists who were fans, or even collaborated with them, like John Zorn, J.G.Thirlwell, Bill Laswell and Ministry. His bandmate, Justin K. Broadrick, previously played in Napalm Death and Head Of David, as well as was currently involved with Godflesh. Broadrick and Martin's kinship for the concoction of extreme sonic assaults has resulted in collaborative endeavors between the two that still continue, today.
On a personal note, the early nineties was a time of great musical discovery for me (as was the mid to late eighties). By the end of high school, my "playlist" included Coil, Public Enemy, Meat Beat Manifesto, Lee "Scratch" Perry and Big Black; not as eclectic as I thought that I was, but still not a bad range for a teenager from the suburbs of the midwest. My musical diversity was, in many ways, a reaction to and a rebellion against the conservatism and backwards attitudes that were often present there (of course that isn't representative of the whole population). When I moved to Arizona in 1990, the grunge thing really got played out, here, and most of the "industrial" crowd that I had been hanging out with were listening to techno; which was cool, but the rave scene got me burnt out on higher tempos (I was always a little partial to dub and funk grooves, but I love thrash, too, diversity is key). Anyway, the point that I turned 21 I had started djing but wasn't super-skillful yet (not that I really am now!) but I was learning. I was buying pretty much all vinyl and playing at hip-hop and reggae clubs, so the music that I bought at that time was mostly dancehall. I got so deeply into reggae at that time that I virtually ignored alternative music (besides the occasional release from artists who I had grown up listening to or an occasional trip-hop release), and electronic music was virtually off of my radar if it wasn't a Jamaican digital riddim, or a Mad Professor or Adrian Sherwood production that made it's way into my collection.
Had I been more technically adept on the wheels of steel I would have dove deeper into the more experimental hip-hop sounds of the time, but I was struggling to juggle dancehall versions and boom-bap-hip-hop, still, occasional gathering the nerve to mix in a Portishead or Massive Attack record. Plus, vinyl was expensive and becoming scarce as CDs dominated the era. That's why I only peripherally knew of Martin's illbient, industrial hip-hop noisemaking project, Techno Animalat the time. The partnership with former Napalm Death guitarist Justin K . Broadrick began with his work with God. Multiple albums and singles were released from 1991 to 2001 by Techno Animal, including collaborations with Company Flow / R.T.J. member El-P and Dälek. The duo concurrently worked as free-jazz / industrial project, ICE, releasing two LP's and several singles, further incorporating hip-hop aesthetic into the sound.
In 1995, Martin compiled the amazing, Macro Dub Infection - Volume One, for Virgin. The collection spanned the variations and abstractions of dub in the realm of experimental, electronic music.
The Bug debuted on WordSound in 1997 with the full length, Tapping The Conversation, a self described "audio reinterpretation of Francis Ford Coppola's Thriller, 'The Conversation'" which involved Martin and DJ Vadim.
Martin would continue to release a string of singles on labels FatCat Records, Morpheus and Razor X before releasing 2003's Pressure, on Rephlex / Klein Records(rereleased digitally in 2020 on the Pressure label, https://thebugmusic.bandcamp.com/album/pressure-3). Inspired by the current dancehall that Kevin was hearing in the U.K., this one emulated those vibes and 'riddims,' featuring top shotta deejays, pushing the boundaries and incorporating jagged, cutting edge, electronic noise to the mix.
The Bug sound evolved with each oncoming release on labels like Tigerbeat6 and Shockout, engaging characteristics of dancehall reggae, (trip)hip-hop, grime, techno and digital noise. The tunes were voiced by dancehall veterans and up-and-comers, like Cutty Ranks, Daddy Freddy, Wayne Lonesome and Warrior Queen.
Martin used the alias, Pressure, for the 2005 Hyperdub single, Money Honey, with vocals by Warrior Queen. As The Bug featuring Warrior Queen, the relentlessly hardcore 7" single, Dem A Bomb We, came out on Ladybug Records.
In 2007, Hyperdub released dubstep killer, Skeng, which murdered on the sound system with it's sparse, flanging sub and cracking snare and bad-man lyrical onslaught from Flow Dan and Killa P. That same year, on Ninja Tune, the Jah War single dropped, featuring Flow Dan providing thelyric licking.
The following year on Ninja Tune, he released the crucial, London Zoo. A genuine masterpiece in futuristic dub, grime and dancehall.
This was around the time that The Bug first appeared on my radar when a friend shared "Poison Dart" on social media (see also, the Poison Dart single). Warrior Queen spits murderous lyrics in a hardcore, raggamuffin, rude gyal style over a wicked electronic riddim with pure-fire, dub-wise production, lightyears beyond most of his contemporaries in the field of dub-step. This digital dancehall cut was way more exciting than much of the mainstream reggae that was coming out at the time, there were plenty of hits but few as adventurous and ground-shaking as this.
The rest of the album is equally as impressive, and well worth the cost of an import three vinyl set, in deluxe fold out jacket. Sonically, it varies from ambient drones to industrial drum sounds syncopated to bashment party inducing, syncopated patterns and tempos. The lyrical guests vary from legendary toaster, Tippa Irie (who's "Angry" sets off the mood and demeanor of the album), Ricky Ranking and some of the top yardy-style emcees of the U.K's grime scene, Flow Dan and Killa P as well as the late, neo-dub-poet, The Space Ape, who's "Fuckaz" is one of the hardest tracks on the album.
"You And Me" features Roger Robinson, the 2019 TS Elliot Poetry Prize winning writer, whom Martin had previously worked with on Techno Animal's Dead Man's Curse (2001 Matador) as well as on Pressure (2003 Rephlex), and would continue to work with as King Midas Sound.
Cult Of The 13th Hour is an alias used by Martin and Stephen Samuel Gordon aka The Space Ape, the single release, Wickedness, was released on Soul Jazz in 2008.
The 2012 Ninja Tune 2 x 12" set, Infected, includes remixes of "Skeng" (by Autechre) and "Poison Dart" (by Scratcha DVA), as well as "Catch A Fire" featuring Hitomi, which utilizes the "Skeng" riddim, and "Tune In" which features Roots Manuva on the same rhythm version as "Poison Dart."
Angels & Devils, the long anticipated, double LP, follow up to London Zoo, dropped in 2014 on Ninja Tune. The incredibly well crafted, highly conceptualized work is divided into the more ambient / drone vibe on record one and more aggressive, dancehall / grime tracks on album two. This one saw the return of a lot of familiar artists and voices, as well as some different ones like Grouper, GonjaSufi and Death Grips.
Exit, a 2 x 12" that came out on Ninja Tune in 2014 has two collaborations with Grouper, including the non-LP track, "Black Wasp." Daddy Freddy makes another appearance on the single-exclusive banger, "Blaow."
Zim, Zim, Zim is a single sided 12" that came out on Ninja Tune in 2015 and features the dancehall don, Burro Banton, spitting hot fire on a blazing, buzzing, electronic rhythm.
The Bug vs Earth put out a double LP on Ninja Tune in 2016, called Concrete Desert. Atmospheric layers, ambient interludes, dirty guitars, synths and crushing beats make this one a killer all of the way through. JK Flesh provides some raucous vocal accompaniment on the bonus EP, Below Heaven.
Bad / Get Out The Way, released 2017 on Ninja Tune, is another next-level, hard stepper, with rude bwoy vocals from Flow Dan on the a-side, Irah & Killa P on the b.
Miss Red released the Under Attack EP on Sounds Of The Universe in 2017, produced by Martin. The Israeli MC rides the bass-in-your-face, distorted dancehall riddim like a champion.
The following year her LP, K.O., dropped on Pressure. The 12" single of Dagga / One Shot killer was also released in 2018, as well as the digital release, K.O. Dubplates.
The collaboration with Martin and Burial, Flame 1, debuted with the 12" single on Pressure, Fog / Shine in 2018. The creeping, dirty, droning, atmospheric grooves are spine-chilling. The subsequent project from the two, Flame 2, came with the 12" single, Dive / Rain, on Pressure in 2019.
Some non-Martin projects have also come out on Pressure, including Japanese electronic-dub anarchists, G36, with their Floor Weapons Volume 1, in 2018. Vex, by Nazamba, is a dire piece of dub-poetry, backed by an intense G36 riddim, also put out in 2018.
JK Flesh put out his In Your Pit EP on Pressure in 2019, which included a remix by The Bug.
2019 saw the Pressure release of Not Modular, by Mr. Mitch, including remixes by The Bug. Miss Red also came with a digital-only EP called The Four Bodies.
2019 proved to be an even more productive year for Martin, who released the intense and personal, ambient, synth laden LP, Sirens, on Room40 as Kevin Richard Martin.
King Midas Sound returned with an LP that year, Solitude came out on Cosmo Rhythmatic. Conceptualized, heartfelt and inwardly reflective words and sounds dominate this futuristic dub-poetry endeavor.
Pressure released The Bug's Pressure Versions and rereleased 2003's Pressure, digitally. The digitally issued, Burn, is a collaboration between The Bug and U.K. grime artist, Rider Shafique, of which all proceeds were donated to I-Dentity - a charitable group in South West England that gives books written by Black authors to children in the community.
"Beat A Racist Down" appeared on a limited edition (300 pressed), Gretchen x HHV 7" compilation released by German label, HHV, in 2020. It was the first in the For The Culture series in support of the Berlin club scene.
His most impressive output of the year, to me, was In Blue by The Bug & Dis Fig, on Hyperdub. Touting their 'Tunnel Sound', these two musical experimentalists created a work of beauty and depth, textural and layered without losing any of it's raw energy or dance floor appeal.
Blue Versions, the dub versions / instrumentals from that album, has been issued, digitally, on Pressure, in June of 2021.
Red Rhythms Volume 1 and Red Rhythms Volume 2 both came out earlier this year on Pressure, as well. These digital releases feature instrumentals from Miss Red's prior material.
Intercranial Recordings has had a busy 2021, as well. The back to back release of White Light and Red Light find Martin building lush, airy, soundscapes, using unconventional saxophone sounds, sampled from his earlier work as well as created fresh, chopped, looped and drenched in effects. Bedroom Loops followed, recorded in the span of a week, in the bedroom, this one is "Music composed horizontally, and best listened to horizontally."
This covers the thirty-something years that Martin has been making noise on records, thus far. Having quite the repertoire, it's obvious that there is a worldwide fanbase, already, but to many who confine themselves to musical deserts (or literal deserts), I don't think that The Bug is a household name, which is a shame because he is an artist who I believe that every music lover should hear. That's why I work some of these records into nearly all of my sets, and they never fail to captivate the crowd.
With such originality, talent an impressive catalog, there's little doubt in my mind that we'll be hearing his innovative sounds for many years to come.
Update: The upcoming, long awaited, LP from The Bug, Fire, will be released on Ninja Tune in August, available from Ninja Tune, Bandcamp or Rough Trade. Check out the first tune from the album, "Clash," featuring Logan.
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-586445-1134957906.jpeg.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-7580-1144694716.jpeg.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-30275-1478561244-4517.jpeg.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-81630-1185026961.jpeg.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-538216-1129808699.gif.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-548590-1143747052.jpeg.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-1360989-1327568890.jpeg.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-3114626-1408531854-4711.jpeg.jpg)
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-2458834-1285198384.jpeg.jpg)
:format(jpeg):mode_rgb():quality(40)/discogs-images/R-7737723-1447754922-2391.png.jpg)
:format(jpeg):mode_rgb():quality(90)/discogs-images/R-15799155-1598009596-4996.jpeg.jpg)
