Artwork by Thomas Bergmann
Mastered by Shawn Hatfield
Brighton-based Jonny Wildey, whose twisted work as Alphabets Heaven has appeared on XLR8R before, is a producer with a truly kaleidoscopic take on hip-hop and post-Dilla beat structures. Straying from conventional methods, his music often switches direction mid-song to offer some pithy advice via a sample or to introduce a new instrumental tangent altogether. Like France’s Fulgeance and US juggernaut Araabmuzik, Alphabets Heaven’s weapon of choice is the MPC, and his sound on “Genggeng” reflects this chopped and rambunctious approach to production. Lifted from his second release for Canadian stable King Deluxe, Boosh (artwork above), Alphabets Heaven showcases whirring synths drowning under the pressure of heavyweight kick drums and a myriad of sliced samples; the vocals seem to be squeezed through the openings made between a bulbous sub bassline and flickering shakers to delirious effect.
“Coming from the beautiful boutique label that is King Deluxe is the May 1st release of Alphabets Heaven’s Boosh. Brighton’s own sovereign of the snares and kicks delivers a 7 track release featuring 3 works as well as 3 reworks, including one from Robot Koch. Though his modus operandi would indicate an EP full of clicks and clunks, Boosh beats to a different drum. Delivered is something much more rhythmic than just click and clunks. Thought there are some up tempo ditties, my personal faves are all of the slower tempo’ed pieces. The opener and title track does feature a steady measured and melodious piece full of efx, filters, still managing to creating a refrain from it all. But I found myself stuck on Deartentonine, drawn in possibly by the opening guitar sample, but then taken to this lavishly lush landscape conjuring images and sounds of wild flora & fauna, all done gracefully in an adagio pulse. YES.”
Brighton lad Alphabet Heaven is onto a winning formula with ‘Boosh’, blending the clippy Brainfeeder sound we all know and love with a Brit dance music knowhow that’s impossible to ignore. Just flip over to ‘Genggeng’ that sounds something like going clubbing in the early 90s with a bunch of reclaimed androids. Elsewhere Robot Koch turns in a killer 4/4 rework of ‘Woman’, giving it the silky flow that should have limbs twitching on the floor.
Sometimes you just want to hear beats that have an instant swang. As much as I dig trying to get under the skin of a record, sometimes it’s nice to have that kind of smash immediacy that just surmises a whole track in one 8 bar refrain. Obviously it should differ and build, break down and then re-construct, that’s just the nature of the music but like, sometimes you don’t want to wait and build anticipation through excessive layering; you just want to be rewarded from the get go. A record like Alphabet Heaven’s Boosh forthcoming on Canada’s King Deluxe label does just that – from the first drum stumble of the eponymous track you get that mood, that head nod and that retribution.
Its part of a four track EP from the Brighton based producer that only really stumbles once – the hyper editing of ‘genggeng’ tries too hard and could easily overshadow the level of soul and musicality that appears on the other tracks ‘Boosh’, ‘Soul Dancing and ‘Deartentonine’ if you let it. To be fair music of this ilk and quality is something Jonny Wildey has been hinting at for a while now with his limited run Rosewater cassettes and ripples of other material I’ve heard.
I was surprised to learn that Alphabets Heaven was from the seaside English resort town of Brighton and not the hills of Los Angeles, considering the jerky, glitchy hip-hop he makes. But while Jonny Wildey’s sound is as sample-heavy as any of the Brainfeeder crew, he doesn’t treat his snippets of sound as thoroughly. The tunes on Boosh are handfuls of gently knocking glass fragments, left (somewhat) untouched rather than filtered into fuzzy construction paper cutouts a la Samiyam. The result is dynamic tracks like “Boosh,” where melodies curl off the end of bars like smoke rings.
It’s not all jazzy synths and loping beats. The comparatively frantic “genggeng” sounds like it’s running into brick walls at every stop, with bizarre vocal syllables piling up throughout. Meanwhile, “Soul Dancing” uncoils harp scales and twists them into a driving melody that can’t help but shimmer even in its fits of stutters. The EP ends on the confusing “Deartentonine,” with Wildey turning everything inside out so that the bucking basslines are at the centre of the tune and the meaty midrange is stuck in peripheral earshot, only heard in fleeting gasps. The Alphabets Heaven material has always been intriguingly dense, almost dizzy, and while he’s still got a while to go before he truly stands out from the pack, it takes a certain amount of skill to juggle all these disparate sounds at once and not end up with a mess.
A twenty-eight-minute follow-up to last year’s Jay’s Odyssey, the debut release from Alphabets Heaven (London, England-based Jonny Wildey), Boosh features four new tracks and three remixes by Headshotboyz, Robot Koch, and wArkawArka. No better argument for the Alphabets Heaven project is needed than the title track, which dishes out four neck-snapping minutes of state-of-the-art bass science, all slow-mo rhythms, claps, and sci-fi synth swirl. By contrast, “Genggeng” finds Wildey frenetically weaving a wild mix of vocal samples into slippery stutter-funk, before the more controlled “Soul Dancing” and “Deartentonine” school us in the art of lo-riding bass funk and heady scene-painting. Though it totals a mere thirteen minutes, the original material speaks strongly in favour of the Alphabets Heaven detail-packed sound.
More than half of the EP’s made up of remix material, but you’ll hear no objections from this corner. In the release’s most seductive setting, Headshotboyz’s jazz-tinged take on “Darma” offers a deliciously warm and smooth bask in the sun, while Robot Koch turns “Woman” into a snappy, bass-powered swinger nicely sweetened by the presence of a female vocalist. The EP-ending deconstruction of “Arka” by wArkawArka is as addled as the remixer’s moniker, seeing as how it splinters the track into a multitude of equally hyperactive directions. No matter: it’s the original Alphabets Heaven tracks that are the main course here, even if the dish itself amounts to a relatively modest serving.
The first 4 tracks on the EP are new original tracks by Alphabets Heaven. “Boosh” is a heavy futuristic banger with filtered samples and synth melodies. The second track Genggeng is hinting at the chorus of Remember Me by Blueboy – amazing sampling. Soul Dancing is a multi-layered listening experience; I recommend you to listen to it through your headphones to enjoy it in full effect.
– The Find
I really love the Canadian label King Deluxe and I’m so happy to see this new EP by Alphabet Heaven coming out with such great tunes including remixes by Headshotboyz and Robot Koch! May starts in an heavenly way, that’s the least I can say. I’m recommending this to you all, get on it.
I’m a big comic fan, but I prefer real life superheroes over those who shoot spiderwebs, fly faster than bullets, etc. Why? I guess I think it’s cooler to see Michael Jordan soaring over his peers, hear war stories and general everyday badassery than reading about caped crusaders kicking peoples’ asses. (Is there a point to all this?) Yeah! Alphabets Heaven isn’t a hero, but he makes some beats that punch. He’s no caped crusader, just a producer from Brighton who creates audible collages. Like the title to his album suggests, Boosh is a smack to the dome. Its seven tracks stutter and robotically march forward stomping out bad vibes as it plays out. You’ll definitely want to peep this release if you’re into spastic glitch-hop. (Insert superhero quip here).
Recently a genre loosely labelled as “organic electronic music” has gotten some of my attention after accidentally buying and reviewing a record by Robot Koch. It’s not music made from organically grown products, but a variations of instrumental hip-hop, trip hop and similar genres which take advantage of the samplers. Their ability to record pieces of live instrumentals as well as redeliver them in live nature by the human touch instead of machine programming. All this contributes to the living and breathing, “organic” sound.
Apparently my review didn’t go unnoticed to the guys from King Deluxe (a great label publishing the aforementioned genre), and they notified me of their brand new release, digital mini album by Alphabets Heaven titled Boosh.
Although, Alphabets Heaven is mostly known for his rapid beat work, video game influences and some sampler mastery, this release is dominantly chilled downtempo music with juicy basslines, deeply layered textures and solid beats. Only track that actually goes more to the crazy side with the beats is the one called “genggeng” and it even feels out of the place compared to others. Not a bad song as such, but just bit out of the context with rest of the release.
Other thing definitely worth mentioning on the release are the three excellent remixes by Headshotboyz, Robot Koch and wAgAwAgA. Really chilled and atmospheric stuff in there. My favorite being the rework of Woman by none other than Robot Koch. The remix of Darma by Headshotboyz also ends up in my list of favorite tracks from this year so far.
If you get such solid releases from digital only label (they have had one vinyl release too, but still mostly digital), you’ll know that the digital music era is in full gear. Boosh by Alphabets Heaven gets my recommendation and I also suggest you check out other stuff released by King Deluxe, as they have several other pearls in their catalogue.
отрывок из короткометражки «Boosh» брайтонского продюсера Alphabets Heaven, чья работа вышла на канадском лейбле King Deluxe, подарившем нам Aleph, Evy Jane и многих других. И пускай сама EP пропитана машинным маслом и видениями роботов, видеоряд из фильма «The Private Life of Plants» 1995 года отлично дополняет механический звуковой ландшафт.
– Big Echo