The Bug featuring Dis Fig
In Blue
Boomkat Product Review:
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
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Boomkat Product Review:
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
Boomkat Product Review:
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
Boomkat Product Review:
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
Gatefold 2LP.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
Out of Stock
Boomkat Product Review:
The Bug darkens Hyperdub’s doorstep proper for first time since ’Skeng’ with a dead strong new album of mutant dancehall and dread trip hop voiced by Dis Fig.
Currently in fecund form after a series of superb solo albums, Zonal with JK Broadrick, and his modern classic with King Midas Sound, Kevin Martin aka The Bug now finds another ideal foil in Felicia Chen aka Dis Fig, who appears to leave her production hat aside in favour of intimately hushed, almost opiated vox that provide the perfectly possessed counterweight to the musick’s low frequencies and noctilucent timbres.
For the majority of the album Dis Fig is a central, if elusive, presence strongly channelling a certain sort of late ‘90s trip hop and pop ennui that can’t help but remind us the tone to classic Massive Attack, Depeche Mode or Sneaker Pimps from that era, while The Bug’s production subtly elides the aching poetic, liminal nocturnal space of KMS into his more typical dancehall-mowing rhythms with irresistible effect.
The 12 tracks play out like a hymn book for the deserted, haunted dance floors of 2020, tempering the subs and drums to a ghostly, just-outta-reach middle distance, rather than in-your-face, and leaving acres of room for Dis Fig’s vocals to haunt, variously radiating from the core into infinity as on ‘End In Blue’, or hidden in a psychedelic stereo haze of ‘Forever’, while the ohrwurming cadence of ‘Destroy Me’ will likely be echoing in your head for days, weeks after, and you can find K. Martin at his instrumental best on the nerve-gnawing grine of ‘Blood’.
Call us fanboys, but the whole album is just fucking outstanding, really. Bravo.
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