Back to Back Special
After a hot minute, Dylan Richards’ HOBL leans into dark garage/proto-grime/dubstep on his first physical release in seven years - a big look for anyone into Low End Activist, El-B, Filter Dread, Dusk & Blackdown
Over 20 years since his Zilla mixtape with Buddy Peace, and subsequent forays as King Cannibal, Dylan Richards dons the House of Black Lanterns hood for Bristol/Berlin’s Sneaker Social Club, and nearly a decade since he appeared on their sister label, Hypercolour.
This time jungle is out, dark UKG is in for four cuts that dial up the steez of late ‘90s / early ‘00s pirate radio and specialist raves. All gully bass, flinty snares, tense strings and spinbacks, peppered with sampled MCs, it’s properly locked on to that era’s underground sound, transmitting veritably darkside 2-step dread in ‘Back to Back Special’, its slightly sweeter, dubbed out variant ‘Out to the Private Number’, and the ice cold bass and ragga bark of ‘Slew’, whilst trimming back to darkest feminine pressure like El-B meets Hatcha in ’Summon Like This’.
Rude as fuck.
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After a hot minute, Dylan Richards’ HOBL leans into dark garage/proto-grime/dubstep on his first physical release in seven years - a big look for anyone into Low End Activist, El-B, Filter Dread, Dusk & Blackdown
Over 20 years since his Zilla mixtape with Buddy Peace, and subsequent forays as King Cannibal, Dylan Richards dons the House of Black Lanterns hood for Bristol/Berlin’s Sneaker Social Club, and nearly a decade since he appeared on their sister label, Hypercolour.
This time jungle is out, dark UKG is in for four cuts that dial up the steez of late ‘90s / early ‘00s pirate radio and specialist raves. All gully bass, flinty snares, tense strings and spinbacks, peppered with sampled MCs, it’s properly locked on to that era’s underground sound, transmitting veritably darkside 2-step dread in ‘Back to Back Special’, its slightly sweeter, dubbed out variant ‘Out to the Private Number’, and the ice cold bass and ragga bark of ‘Slew’, whilst trimming back to darkest feminine pressure like El-B meets Hatcha in ’Summon Like This’.
Rude as fuck.
After a hot minute, Dylan Richards’ HOBL leans into dark garage/proto-grime/dubstep on his first physical release in seven years - a big look for anyone into Low End Activist, El-B, Filter Dread, Dusk & Blackdown
Over 20 years since his Zilla mixtape with Buddy Peace, and subsequent forays as King Cannibal, Dylan Richards dons the House of Black Lanterns hood for Bristol/Berlin’s Sneaker Social Club, and nearly a decade since he appeared on their sister label, Hypercolour.
This time jungle is out, dark UKG is in for four cuts that dial up the steez of late ‘90s / early ‘00s pirate radio and specialist raves. All gully bass, flinty snares, tense strings and spinbacks, peppered with sampled MCs, it’s properly locked on to that era’s underground sound, transmitting veritably darkside 2-step dread in ‘Back to Back Special’, its slightly sweeter, dubbed out variant ‘Out to the Private Number’, and the ice cold bass and ragga bark of ‘Slew’, whilst trimming back to darkest feminine pressure like El-B meets Hatcha in ’Summon Like This’.
Rude as fuck.
After a hot minute, Dylan Richards’ HOBL leans into dark garage/proto-grime/dubstep on his first physical release in seven years - a big look for anyone into Low End Activist, El-B, Filter Dread, Dusk & Blackdown
Over 20 years since his Zilla mixtape with Buddy Peace, and subsequent forays as King Cannibal, Dylan Richards dons the House of Black Lanterns hood for Bristol/Berlin’s Sneaker Social Club, and nearly a decade since he appeared on their sister label, Hypercolour.
This time jungle is out, dark UKG is in for four cuts that dial up the steez of late ‘90s / early ‘00s pirate radio and specialist raves. All gully bass, flinty snares, tense strings and spinbacks, peppered with sampled MCs, it’s properly locked on to that era’s underground sound, transmitting veritably darkside 2-step dread in ‘Back to Back Special’, its slightly sweeter, dubbed out variant ‘Out to the Private Number’, and the ice cold bass and ragga bark of ‘Slew’, whilst trimming back to darkest feminine pressure like El-B meets Hatcha in ’Summon Like This’.
Rude as fuck.