50 tracks of tempa
50 Tracks of Tempa
Since its first releases around the turn of the millennium, Tempa has become a name synonymous with dubstep, both through the label's pioneering release schedule and its ties to seminal club night FWD>>. 50 Tracks of Tempa offers a perfect opportunity to get better acquainted with the label's formidable back catalogue for a great price, in either 320kbps MP3 or DJ-friendly lossless quality. Contained within are stone cold classics from genre innovators like Benga, Skream and El-B, accompanied by tracks from the label's next generation of new producers - plus a few lesser-known underground gems, waiting to be uncovered again. All purchases will be credited with 3 exclusive never-before-released digitally tracks from Horsepower, D1 and J:Kenzo
The moment Skream helped dubstep really reach anthem status.
‘Touch’ wired a new patch bay of tough rolling drums with infectious bass lines, the kind of template that helped inform a whole genre.
Coki’s wobble is the stuff of legends and ‘Tortured’ makes massive use of that parping b-line calling. card.
Like ‘Midnight Request Line’, ‘Night’ was one of the tracks instrumental in taking dubstep from basement clubs to National airwaves.
Benga’s first and proper ode to the both the handclap and the rhythmic properties of B-more.
One YouTube commenter describes ‘Amazon’ as a “BIG oldskool steppa” – nail on the head; it’s that perfect marriage of swing, bass force and tribal percussion.
Incredibly defined bass pressure from out of Bristol – a masterclass in layering bass tones.
Further proof, if it were ever needed, that Skream’s got the kind of simplistic riffs that stick in your head for weeks.
‘Sleep In Tokyo’ brought some of the more rhythmic garage properties back to Tempa as SBTRKT infused trad house chord progressions with a techy swing.
Early on in his career Martyn had the kind of clipped steppy rhythms that would force you to dance, this is undeniable evidence of that.
Dropping on the second edition of the Tempa Allstars 12”s, Loefah kept things chunky on ‘Truly Dread’, just oppressive bass, rolling percussion and that clipped snare.
From back when Kode9 was all about about that dread loaded dubstep, with bass power to make your jaw drop.
Horsepower Productions helped define dubstep and ‘Log On’ shows how important the interplay between drums and bass would truly become.
Modeselektor’s ‘Broken Handbrake’ remix of Headhunter breathed new life into an already rock solid tune and made whistling in a basement cool again in the process.
He who begat Rinse has a special talent and Geeneus’ old dubs, like ‘Congo’, remain just as tough and supple now as they were when he first bounced them out.
Like a lot of people his age, Skream has a passion for old jungle and d&b and ‘Listening...’ was one of the first times he applied those breaks to his own music.
As the title suggests, Benga took the gnarl factor of his bass LFOs and set them to absolutely disgusting.
The Mystikz helped define the physicality of dubstep with their DMZ raves, but this cut from Tempa Allstars 2 shows that they knew exactly how to work you in frequencial meditation.
The dub tendrils of dubstep influence made themselves real prominent early on in this collaboration but when that drop comes and the bass swoops ‘Fat Larry’s Skank’ goes pure step.
‘Golden Nugget’ isn’t complicated; it’s just real - the kind of looped intensity you can’t forget once you hear it blasted at you.
Simple bass riffs, little hints of stabbed melody and a beat that just truncates the more you hear it.
Polarizing the cockneyed brutality of Rusko’s output, ‘Jah Love’ is another one of those meditations that just finds it grooves and floats out forever.
J-Kenzo’s got solid beats that people overlook, like this one taken from TEMPA062 shows.
You can - and definitely should - defend wobble bass when it’s as well deployed as this, plus midi trumpets are the best thing in the world, ever.
Something anthemic from Truth & Yayne: just bass, a voice and simple drums.
D1 makes shapes with bass you never thought possible and ‘Crack Bong’ is an awesome example of precisely that.
Completely takes you back to sweaty nights lost at FWD>>.
It came from a harddrive clearout but this never named Skream tune sure knows exactly how to float of that single bass pulse at the start of every bar.
SP’s first track on Tempa sampled The Thing and found its groove stuttering perfectly in the 2nd snare.
It feels more energetic than the rest because of the phrasing of that snare but ‘Sholay’’s eerie vocal sample downplays the speed of it all beautifully.
D1’s dank and moody exorcism that’s a masterclass in keeping elements sparse.
Loefah always did have that low end cataclysm down pat and the basslines of his remix of Skream’s ‘I’ just bleed sine waves.
That perfect mixture of snarling bass, reverb tails and space.
When you hear a woodblock snare deployed with such subtlety what do you do? You play it again. That’s what you do.
As keen YouTube commentators like to point out, dubstep isn’t just all 3rd beat of the bar snares, sometimes its excessively steppy and overdriven like ‘Gorgon Sound’ is.
That classic Benga toting possibly the best bassline he’s ever written.
Languid halfstep and proper bowel shaking bass from SP & LX One on TEMPA52.
Like screams in the dead of night, ‘Filth’ has a riff that pierces through everything plus that iconic, sonic wave destructor type of endless bassline.
Skream’s collaboration with Warrior Queen on his debut album blossoms from slow skank to fierce roller and right back again.
Taken from D1:V3 ‘Ongie Bongie’ finds D1 toying with 4x4 in a brutally stylistic way.
A lot of great dubstep tunes manage to do one groove spectacularly well and then amplify the drop with oodles of sub bass, ‘Siren’ does it astonishingly well.
Headhunter’s Nomad album was a turning point, he’s a singular and playful voice who used tracks like ‘Physics Impulse’ to play with everything you thought you knew about how dubstep could sound.
Holland’s Proxima does that guilded metal snare and isolation chamber style of tension fluidly, ending up sounding pretty unnerving in terms of his production style.
Skream’s flowery digital melodies ended up becoming his touchstone and on tracks like ‘0800 Dub’ you can hear why: that effortless flutter.
When Dutch producer Icicle applied his production skills to dubstep after years of d&b the results were bound to be precise but ‘Anything’ is one of those perfect beats that kicks through its evolutions with gusto.
Next level production from Benny Ill and co. on this ocean deep refix of Lee Perry’s ‘Excercising’.
Spoken word samples add depth but the horror core vibes that ‘Hunted’ sparked talk of on the internet comes simply from those bass tones and the spicily EQed talons layered on top.
Back when Cosmin just went out as TRG he had an obsession with swung garage rhythms and ‘Decisions’ is a zenith in terms of how he made his early tunes skip with vitality.
Skream showed another, trancier side of his production on ‘Where You Should Be’ combining the depth of his early bass work with his ear for radio friendly squalling lead lines and that vocal from Sam Frank.
Some people spend Christmas day watching Dr. Who. Skream spends his building angry ascending basslines and putting heavily reverbed snares on top of them...