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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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Looking at Jeremiah Jae’s 'studio', a tiny room in his Bridgeport apartment, one is struck by the relative scarcity of recent technology on the room’s low coffee tables. There’s a small synth and a tape deck that looked like it might’ve been copped from Walgreen’s sometime in the mid-’90s. A guitar rests in the corner, and there’s a rusty old pocket cornet that will need some fixing up before it’ll play. The digs are humble, but it’s from this studio that Jeremiah Jae has produced beats that have earned him—at the age of 21—a deal with Los Angeles-based Brainfeeder Records. 

His mother sang gospel and his father was a musical director for Miles Davis during the late, jazz-fusion period of Davis’s career. In high school, Jae listened not to hip-hop but to glam rock, and cites Placebo as a favorite. Groups like Souls of Mischief and Wu-Tang Clan introduced him to hip-hop, and at that point Jae began rhyming.

Together with brothers Tre Smith and Aaron 'Projeck' Butler, he founded a group called the Young Black Preachers, produced YBP’s EP, and continued working on his own projects, while making his own videos and cover art. In 2007, Samiyam, an Ann Arbor-based producer, noticed Jae’s 'Lunch Special Part I' and passed it onto Flying Lotus, the founder of LA’s Brainfeeder record label. A post on Jae’s MySpace wall came first; a private message soon followed. Not long after, Jae was flown to LA to work with FlyLo and was signed to Brainfeeder; his first release, 'Rappayamatantra', is scheduled to drop in early 2011. 

From under a layer of gauzy, lo-fi production, Jae is able to conjure the off-kilter beats and ethereal voicings characteristic of a mature producer. A track like 'Police Ball State Disco' might induce trances with its 7/8, world-music feel. On 'Money Huggers', Jae samples the theme to 'Shaft', but eschews extensive drum programming in favor of the original simple hi-hat slowed-down-a -few beats-per-minute. The result pays homage to wah-wah-driven funk, but the minimalism of the beat gives the track a more modern feel. The diversity of influences in Jae’s work speaks not only to his appetite for various genres of music, characteristic of any producer worth his salt, but also to a personal history forged primarily outside of hip-hop. Jae’s musical philosophy is drawn from many sources. He is the rare young emcee who channels jazz improvisation into delivering rhymes. “It’s all about timing,” he says. “Space is important. I try to do it like a trumpeter playing a solo.” 

When Jae brings social commentary into his work, the thoughtfulness with which he does it is unusual. “Rappers try to romanticize the hood,” Jae says, so the task is to find a way to critique while staying true to one’s own conception of one’s home. On the FlyLo-produced anthem' Jackson Park', instead of outsized proclamations about his native South Side, Jae opts for understatement and a critical message about his home. The song, which opens, “Mr. Mayor don’t care,” isn’t meant to describe an overtly political stance. “I didn’t want to hate on anyone,” Jae says. “It’s just, there aren’t a lot of good vibes on the South Side, you know? I’m not out to make political statements. I just want to stay rooted in what’s going on around me.” 

All of this is, of course, in the service of a single goal, Jae says: “At the end of the day, I want to make music that’s dope.” An ability to manipulate synthesizer and drum tracks into dark, airy atmosphere; a voice that’s all his own, understated despite his youth—it’s all there, and it’s landed him on the brink of fame. When asked if the sudden success has gone to his head or made him at least want to quit his day job at a Bridgeport café, he comes across as both confident and humble: “Until the day Jeremiah Jae has a billion hits, I’m not going to care.”

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[image_upload_id] => 16860 [label_id] => 7 [twitter_username] => jeremiahjae [instagram_id] => [instagram_username] => [link] => [listed] => 0 [sortname] => Jeremiah Jae [created] => 2011-02-22 14:28:37 [modified] => 2013-01-08 14:25:18 [slug] => jeremiah-jae [fuga_id] => [description_clean] =>

Looking at Jeremiah Jae’s 'studio', a tiny room in his Bridgeport apartment, one is struck by the relative scarcity of recent technology on the room’s low coffee tables. There’s a small synth and a tape deck that looked like it might’ve been copped from Walgreen’s sometime in the mid-’90s. A guitar rests in the corner, and there’s a rusty old pocket cornet that will need some fixing up before it’ll play. The digs are humble, but it’s from this studio that Jeremiah Jae has produced beats that have earned him—at the age of 21—a deal with Los Angeles-based Brainfeeder Records. 

His mother sang gospel and his father was a musical director for Miles Davis during the late, jazz-fusion period of Davis’s career. In high school, Jae listened not to hip-hop but to glam rock, and cites Placebo as a favorite. Groups like Souls of Mischief and Wu-Tang Clan introduced him to hip-hop, and at that point Jae began rhyming.

Together with brothers Tre Smith and Aaron 'Projeck' Butler, he founded a group called the Young Black Preachers, produced YBP’s EP, and continued working on his own projects, while making his own videos and cover art. In 2007, Samiyam, an Ann Arbor-based producer, noticed Jae’s 'Lunch Special Part I' and passed it onto Flying Lotus, the founder of LA’s Brainfeeder record label. A post on Jae’s MySpace wall came first; a private message soon followed. Not long after, Jae was flown to LA to work with FlyLo and was signed to Brainfeeder; his first release, 'Rappayamatantra', is scheduled to drop in early 2011. 

From under a layer of gauzy, lo-fi production, Jae is able to conjure the off-kilter beats and ethereal voicings characteristic of a mature producer. A track like 'Police Ball State Disco' might induce trances with its 7/8, world-music feel. On 'Money Huggers', Jae samples the theme to 'Shaft', but eschews extensive drum programming in favor of the original simple hi-hat slowed-down-a -few beats-per-minute. The result pays homage to wah-wah-driven funk, but the minimalism of the beat gives the track a more modern feel. The diversity of influences in Jae’s work speaks not only to his appetite for various genres of music, characteristic of any producer worth his salt, but also to a personal history forged primarily outside of hip-hop. Jae’s musical philosophy is drawn from many sources. He is the rare young emcee who channels jazz improvisation into delivering rhymes. “It’s all about timing,” he says. “Space is important. I try to do it like a trumpeter playing a solo.” 

When Jae brings social commentary into his work, the thoughtfulness with which he does it is unusual. “Rappers try to romanticize the hood,” Jae says, so the task is to find a way to critique while staying true to one’s own conception of one’s home. On the FlyLo-produced anthem' Jackson Park', instead of outsized proclamations about his native South Side, Jae opts for understatement and a critical message about his home. The song, which opens, “Mr. Mayor don’t care,” isn’t meant to describe an overtly political stance. “I didn’t want to hate on anyone,” Jae says. “It’s just, there aren’t a lot of good vibes on the South Side, you know? I’m not out to make political statements. I just want to stay rooted in what’s going on around me.” 

All of this is, of course, in the service of a single goal, Jae says: “At the end of the day, I want to make music that’s dope.” An ability to manipulate synthesizer and drum tracks into dark, airy atmosphere; a voice that’s all his own, understated despite his youth—it’s all there, and it’s landed him on the brink of fame. When asked if the sudden success has gone to his head or made him at least want to quit his day job at a Bridgeport café, he comes across as both confident and humble: “Until the day Jeremiah Jae has a billion hits, I’m not going to care.”

[links_clean] =>

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Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

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[image_upload_id] => 19016 [label_id] => 7 [twitter_username] => teebsio [instagram_id] => 3173632 [instagram_username] => teebsio [link] => [listed] => 0 [sortname] => Teebs [created] => 2010-11-05 16:40:14 [modified] => 2014-02-06 23:18:29 [slug] => teebs [fuga_id] => [description_clean] =>

Photo by Theo Jemison

Hypnotic. Warm. Organic. Tumbling. Pastoral. Ramshackle. Blissful. Expansive.

These are just some of the words that have been used to describe the work of Mtendere Mandowa, better known as Teebs.

A producer, a painter, and a key member of Brainfeeder clan, recent years have seen Teebs surge toward the top of the so-called "beat scene", and though his affiliation with Flying Lotus certainly has something to do with his ascent, it's ultimately the music - a billowing brand of beautifully off-kilter, hip-hop-colored beat construction - that has set Mandowa apart from what has become an increasingly crowded field of like-mind producers.

Teebs now makes his home in Northeast Los Angeles, but the 26-year-old producer wasn't always an Angeleno. Born in the Bronx, Mandowa's childhood also included time spent in Georgia and Hartford, Connecticut before his family switched coasts, stopping in Monterey Park, California before settling into the cozy LA suburb of Chino Hills. It was there that Teebs first truly took shape as an artist; he began painting in 2005 and started making music shortly thereafter, both by himself and as part of a collective known as My Hollow Drum.

It didn't take long for people to take notice. Around this time, Teebs linked up with online radio stronghold Dublab, and quickly saw his network increase exponentially. In 2008, he was invited to come to Barcelona and participate in that year's edition of the annual Red Bull Music Academy. This prompted fellow RBMA alum Flying Lotus to look him up; the two actually met at the now-legendary Low End Theory party in Los Angeles, and within six months, Teebs was living in the same apartment complex as FlyLo and sharing a spot with fellow LA beatmaker Samiyam. Watching those two work fueled his own creative impulses, and he began assembling what would eventually become Ardour, his first full-length album.

Ardour may have properly put Teebs on the electronic music map, but the somber release - the LP was partially inspired by the death of his father, which took place in the middle of the record's genesis - was just one of his many noteworthy efforts. He teamed up with fellow LA beatmakers Daedelus and Jeremiah Jae for split releases; he collaborated with UK producer Jackhigh (who now goes by BNJMN) on an intriguing EP called The Tropics and later joined forces with leftfield beat pioneer Prefuse 73 for the Sons of the Morning project and the Speak Soon, Volume One EP; Brainfeeder offered up the explorative and vaguely defined Collections mini-album; and the label arm of My Hollow Drum dropped limited runs of both Ardour B-Sides and the Cecilia Tapes Collection, the later of which collected music pieces that originally soundtracked one of Teebs' art exhibitions. He's also been busy on the road, frequently touring the globe, often in the company of his fellow Brainfeeder affiliates.

Despite all of this activity, on a personal level, the last couple of years have been a time of relative calm for Teebs. It was during this time that he put together E s t a r a, his second proper full-length. As opposed to the turmoil that accompanied the creation of Ardour, his new album is an effort inspired by his life as it stands now, and represents a time when Teebs has finally been able to make music completely on his own terms. The record takes its name from the house where much of the music was created, and it finds Teebs filling his sonic canvasses with the same kind of lush, textured sounds he's always used; the key difference is that he's now operating with a renewed sense of purpose and a streamlined musical narrative. The techniques haven't changed, but Teebs' mastery of them certainly has. In short, he's grown as an artist, and continues to confidently forge his own path forward. 

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) [2] => Array ( [id] => 74 [name] => The Bug [description] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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(Standard weekend pass inc. booking fee)

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(Standard weekend pass inc. booking fee)

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

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The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links] => [image_upload_id] => 4101 [label_id] => 1 [twitter_username] => [instagram_id] => [instagram_username] => [link] => [listed] => 1 [sortname] => Bug [created] => 2010-07-17 22:15:59 [modified] => 2012-06-22 11:04:26 [slug] => the-bug [fuga_id] => [description_clean] =>

The Bug : Main mutation of producer Kevin Martin who over the years has been, and is also currently, known as...

King Midas Sound, Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), Razor X Productions (with The Rootsman & various M.C’s), Pressure, Ladybug, the man behind Pathological Records, compiler of various compilations for Virgin Records (Macro Dub Infection, Jazz Satellites), production work/collaborations with noise-jazz outfit 16-17, Pete “Sonic Boom” Kemper’s E.A.R projects, John Zorn, Kevin Shields, El-P, and Anti Pop Consortium, to name just a few. Has provided bass booming remixes for Grace Jones, Thom Yorke, Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, Two Fingers, Beastie Boys, etc… really far to many to list here. A discography spanning labels as diverse as Ninja Tune, Virgin, Rephlex, Position Chrome/Mille Plateaux, Word Sound, Hyperdub, City Slang, Tigerbeat 6, Grand Royal… all of which shouts loud that Kevin Martin is a credible sonic survivalist and not some come lately producer. 

The Bug first came to be in 1997, when Kevin collaborated with DJ Vadim on ‘Tapping The Conversation’. Released on N.Y’s Word Sound label is was conceived as an alternate soundtrack to Coppola’s ‘The Conversation’. No thought was given at the time that a collaboration with DJ Vadim would be a precursor to working with Ninja Tune 10 years later. 

From 2001-2004 The Bug teamed up with UK dub veteran The Rootsman for a series of singles under the name Razor X Productions. The early productions of which would frame the template for the first proper Bug full length, 2003’s ‘Pressure’. The Razor X material was some of Kevin’s first foray’s into what would become a signature head-sheering apocalyptic dancehall production style. This was continued on ‘Pressure’ but also with an ear to balancing out the sound with headier dubs. Classic dancehall M.C Daddy Freddy was brought in, New Flesh’s Toastie Taylor, along with The Rootsman, Roger Robinson, Paul St. Hilaire (aka. Tikiman), Wayne Lonesome, and more… 

Towards the end of this period some crucial connections would come about that would shape The Bug’s work in the later half of this decade, one of which, was being interviewed for XLR8R Magazine by Steve Goodman, aka. Kode 9. Finding they had a lot of similar music taste and interests Steve recommended a new crop of producers in London that he was hanging out with that were revolving around the Fwd Club at Plastic People. Discovering that these people shared the same hunger for bass, space, and unaligned sonic trajectories, The Bug felt right at home alongside Loefah, Digital Mystikz, Skream, etc… Over time this group of people would shape what would be commonly known as Dub-Step. Through his work with Wayne Lonesome, Kevin was turned on to the work of Warrior Queen. Instantly blown away by her delivery he made contact and the ensuing releases ‘Aktion Pak’ (Rephlex) and ‘Money Honey’ (under the moniker ‘Pressure’ which was released on Kode 9’s Hyperdub label) further shaped the musical direction of The Bug. The final piece of the new incarnation of The Bug came about when Kevin was booked for a Mary Anne Hobbs session of BBC Radio 1’s Breezeblock. Two of the main vocalists requested were Roll Deep’s Flowdan, and Ricky Ranking (best known for his work as vocal foil/inspiration to Roots Manuva). 

"It's angry and ferocious, but always triumphant: When it threatens to bust out your windows and rip holes in your speakers, it crackles with the kind of force that makes you want to punch the air as hard as your subwoofers do" (Pitchfork : London Zoo 8.6)

All these connections became the starting point for ‘London Zoo’, his critically acclaimed debut release for Ninja Tune which dropped in 2008. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it was a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although was referenced to the early dub-step scene, also busted outside of any of those narrow definitions and stood on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts. A record campaign that culminated in a personal invite from Trent Reznor to blow up stages in some of the most unlikely reaches of America on the Nine Inch Nails "Lights In The Sky" tour. 

"After 'London Zoo' I wanted to come with something intense and fresh, and the ACID RAGGA label is it." Kevin Martin, The Bug 

Having spent the years since London Zoo dropped alternating between Bug live shows, and concentrating on this apocalyptic lovers rock project King Midas Sound, The Bug is remerging, and he's back with a Roland TB-303 in hand, and an 808 under his arm, detonating a new genre and sub-label : Acid Ragga. 

But this isn't your parents second coming of the summer of love acid. This time there will be no smiley faces, no ecstasy, and no future. The world is truly fucked and Kevin Martin can always be relied on to soundtrack armageddon time. Rather, this dystopian acid takes influence from pioneers like Stakker's 'Humanoid' , Plastikman, Phuture's 'Cocaine/Your Only Friend', Aphex Twin etc and twists it into Kevin's own perverted take on classic dancehall. Harkening back to when Sleng Teng refined Jamaican music as we know it, the Acid Ragga imprint will forever scar the face of raggamuffin reggae. 

The first Bug track, scheduled for release in June, is "Can't Take This No More" which finds the legendary Daddy Freddy slowed down to a menacing crawl, on a countdown to self destruction. Whilst the flip ft. Inga Copeland (Hype Williams) on "Rise Up", sounding like Donna Summer on smack, crooning inna deeper shade of blue. 

The debut Acid Ragga release will be swiftly followed by single 2 by The Bug, "Ganja Baby" ft. Daddy Freddy, which is a body breaking, robo-raggamuffin, weed anthem (think 'Witness the Fitness' remixed by Richie Hawtin in cold crush mode). 

Watch for a continuing series of Acid Ragga singles throughout the year. Leading up to the next Bug album proper 'Angels & Devils'. Names that The Bug is working with on the project, in addition to Inga Copeland and Daddy Freddy include Death Grips, Gonjasufi, Grouper, JK Flesh (Godflesh/Jesu), The Spaceape, Flowdan + Warrior Queen. 

[links_clean] => ) ) ) )

Events

<< Previous
Artist Date City Venue Buy
Iration Steppas Sound System, Flow Dan, The Bug, O.B.F Sound System, Mala Friday, Apr 25th London, GB Coronet Theatre Buy
The Bug Saturday, May 3rd Leeds, GB External Buy
The Bug Sunday, May 4th London, GB Electrowerkz, Koko Buy
The Bug, Teebs and Jeremiah Jae Wednesday, May 7th Brussels, BE VK - Vaartkapoen Buy
The Bug Saturday, May 24th Belgrade, SB Mad, Belgrade Festival
The Bug Saturday, Jul 5th Bury, GB The Flying Shuttle
Soundwave 2014 Thursday, Jul 17th Tisno, HR The Garden Buy
The Bug Saturday, Jul 19th Sibinik, Croatia, HR Soundwave Festival
The Bug Friday, Aug 15th London, GB Excel Center, Buy
The Bug Saturday, Aug 16th London, GB Excel Center Buy
The Bug Saturday, Sep 6th Outlook Festival, Croatia, HR Outlook Festival (Clearing Stage)
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