The final compilation to emerge from Martyn's 3024 Mentoring Program, 'It Was Always There Vol. 3' features tracks from Molly Meet, Darsk, Shelly, Nabil Hayat and others.
While the pandemic strong-armed the majority of producers and DJs into a short-lived ambient career, for 3024 boss Martyn, it was the motivation he needed to build up a skill sharing community that was focused on exchanging ideas, techniques and creative energy. After two successful volumes with tracks from CCL, James Bangura, Anchoret, Dan Only and more, this third set finishes the trilogy, broadcasting yet again its contributors' attention to detail and skillful use of dancefloor mechanics.
Shelly's opener 'Rogues' is a slow-mo Analord-inspired acid jerker that sacrifices tempo in favor of pure, undulating groove. EM Fields nudges into more expectedly post-dubstep territory, using dislocated sampled vocals to set a mood, and building Shackleton-esque stepp'd rhythms over spooky ferric noise and zippy bass; Darsk's 'Lair' is more floor-focused, centering woodblock snares and propulsive zaps that buzz neatly around wobbly post-grime gliding squares. But Molly Meet's 'Swill' is the most unexpected move, a tense, jazzy atmospheric vignette that features a powerful vocal performance from Sarah Ourahmane.
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The final compilation to emerge from Martyn's 3024 Mentoring Program, 'It Was Always There Vol. 3' features tracks from Molly Meet, Darsk, Shelly, Nabil Hayat and others.
While the pandemic strong-armed the majority of producers and DJs into a short-lived ambient career, for 3024 boss Martyn, it was the motivation he needed to build up a skill sharing community that was focused on exchanging ideas, techniques and creative energy. After two successful volumes with tracks from CCL, James Bangura, Anchoret, Dan Only and more, this third set finishes the trilogy, broadcasting yet again its contributors' attention to detail and skillful use of dancefloor mechanics.
Shelly's opener 'Rogues' is a slow-mo Analord-inspired acid jerker that sacrifices tempo in favor of pure, undulating groove. EM Fields nudges into more expectedly post-dubstep territory, using dislocated sampled vocals to set a mood, and building Shackleton-esque stepp'd rhythms over spooky ferric noise and zippy bass; Darsk's 'Lair' is more floor-focused, centering woodblock snares and propulsive zaps that buzz neatly around wobbly post-grime gliding squares. But Molly Meet's 'Swill' is the most unexpected move, a tense, jazzy atmospheric vignette that features a powerful vocal performance from Sarah Ourahmane.
The final compilation to emerge from Martyn's 3024 Mentoring Program, 'It Was Always There Vol. 3' features tracks from Molly Meet, Darsk, Shelly, Nabil Hayat and others.
While the pandemic strong-armed the majority of producers and DJs into a short-lived ambient career, for 3024 boss Martyn, it was the motivation he needed to build up a skill sharing community that was focused on exchanging ideas, techniques and creative energy. After two successful volumes with tracks from CCL, James Bangura, Anchoret, Dan Only and more, this third set finishes the trilogy, broadcasting yet again its contributors' attention to detail and skillful use of dancefloor mechanics.
Shelly's opener 'Rogues' is a slow-mo Analord-inspired acid jerker that sacrifices tempo in favor of pure, undulating groove. EM Fields nudges into more expectedly post-dubstep territory, using dislocated sampled vocals to set a mood, and building Shackleton-esque stepp'd rhythms over spooky ferric noise and zippy bass; Darsk's 'Lair' is more floor-focused, centering woodblock snares and propulsive zaps that buzz neatly around wobbly post-grime gliding squares. But Molly Meet's 'Swill' is the most unexpected move, a tense, jazzy atmospheric vignette that features a powerful vocal performance from Sarah Ourahmane.
The final compilation to emerge from Martyn's 3024 Mentoring Program, 'It Was Always There Vol. 3' features tracks from Molly Meet, Darsk, Shelly, Nabil Hayat and others.
While the pandemic strong-armed the majority of producers and DJs into a short-lived ambient career, for 3024 boss Martyn, it was the motivation he needed to build up a skill sharing community that was focused on exchanging ideas, techniques and creative energy. After two successful volumes with tracks from CCL, James Bangura, Anchoret, Dan Only and more, this third set finishes the trilogy, broadcasting yet again its contributors' attention to detail and skillful use of dancefloor mechanics.
Shelly's opener 'Rogues' is a slow-mo Analord-inspired acid jerker that sacrifices tempo in favor of pure, undulating groove. EM Fields nudges into more expectedly post-dubstep territory, using dislocated sampled vocals to set a mood, and building Shackleton-esque stepp'd rhythms over spooky ferric noise and zippy bass; Darsk's 'Lair' is more floor-focused, centering woodblock snares and propulsive zaps that buzz neatly around wobbly post-grime gliding squares. But Molly Meet's 'Swill' is the most unexpected move, a tense, jazzy atmospheric vignette that features a powerful vocal performance from Sarah Ourahmane.