1. Fabriclive 37
2. Fabric Live 64

Galaxy of Music: Artist: VA Title Of Album: Fabriclive 64: Oneman Year Of Release: 2012 Label: Fabric Records (cat#: fabric128) Genre: Dubstep, UK Funky, UK Garage. Oneman - Fabriclive 64. Jackmaster used that reputation to craft a brilliant slice of exuberance with his Fabriclive, and now it's Oneman's turn. FabricLive 64: Oneman. Jun 27, 2015 06/15. Eye 864 favorite 0 comment 0. Cover Art Archive. FabricLive 79.

Fabriclive 37

There are DJs that are heavily tied to styles, people who go on to become figures synonymous with a certain sound or a particular approach to mixing; and then there are DJ’s DJs – a different breed of people who manage to make the whole process of blending records from disparate genres look (and sound) seamless. Often, it’s not just about beat matching perfectly, it’s as much about capturing a mood and evolving it through your record selections as it is locking on to a consistent rhythm and that’s something that Streatham bred DJ, Steve Bishop, has proven himself to be mightily adept at over the years.

As much as his sets under the Oneman moniker may have started turning heads by melding old school UK garage with DMZ style dubstep, he’s proven through his regular presence on London institution Rinse FM that he can do so much more than just marry classics with current beats. 'I wanted the mix to primarily be a representation of what I would typically play at fabric in current terms, so bearing that in mind I decided to draw on a lot of new house crossover stuff. The beginning of the mix is kind of a throwback to 2010, where I felt this UK Funky sound really started developing into another darker strand of UK dance music. The rest is really a mix of 128-134bpm music through the years; there’s some old Locked On garage classics in there too I never really think out these things too much, it just has to make sense when I listen back to it.' Oneman has rightly become an essential part of the station’s roster, broadcasting his own agenda for two hours every Sunday night. He’s already known for his flawless mixing, his impeccable selection and his old meets new school mergers - that’s why he’s already a lot of people’s favourite DJ – but his FABRICLIVE mix manages to cement all of the above in an incredibly understated way. The selection bounds through choice cuts from the last couple of years by Joy Orbison, Fis-T, SBTRKT, Grievous Angel and Mosca to current productions from Pearson Sound, Lando Kal, Teeth and Thefft, all the time peppered by garage classics from Nu Birth, Steve Gurley, Tuff Jam and Youngstar.

Fabric Live 64

Mark Pritchard -? There are DJs that are heavily tied to styles, people who go on to become figures synonymous with a certain sound or a particular approach to mixing; and then there are DJ’s DJs – a different breed of people who manage to make the whole process of blending records from disparate genres look (and sound) seamless. Often, it’s not just about beat matching perfectly, it’s as much about capturing a mood and evolving it through your record selections as it is locking on to a consistent rhythm and that’s something that Streatham bred DJ, Steve Bishop, has proven himself to be mightily adept at over the years. As much as his sets under the Oneman moniker may have started turning heads by melding old school UK garage with DMZ style dubstep, he’s proven through his regular presence on London institution Rinse FM that he can do so much more than just marry classics with current beats.

Oneman has rightly become an essential part of the station’s roster, broadcasting his own agenda for two hours every Sunday night. He’s already known for his flawless mixing, his impeccable selection and his old meets new school mergers - that’s why he’s already a lot of people’s favourite DJ – but his FABRICLIVE mix manages to cement all of the above in an incredibly understated way. The selection bounds through choice cuts from the last couple of years by Joy Orbison, Fis-T, SBTRKT, Grievous Angel and Mosca to current productions from Pearson Sound, Lando Kal, Teeth and Thefft, all the time peppered by garage classics from Nu Birth, Steve Gurley, Tuff Jam and Youngstar. Additional Information Artist Name Oneman quote I wanted the mix to primarily be a representation of what I would typically play at fabric in current terms, so bearing that in mind I decided to draw on a lot of new house crossover stuff. The beginning of the mix is kind of a throwback to 2010, where I felt this UK Funky sound really started developing into another darker strand of UK dance music. The rest is really a mix of 128-134bpm music through the years; there’s some old Locked On garage classics in there too I never really think out these things too much, it just has to make sense when I listen back to it.

Quote Attribute Oneman.

Revelations are hard-won in mixes these days, so when a jewel of inspiration catches your ears, the impact is that much greater. Witness, for instance, what happens around the halfway mark on south-west London DJ 's nearly 70-minute blast for Glasgow label-of-the-moment last year, when the immortal rush of Prince's 'I Would Die 4 U' hits the speakers. An expertly selected smattering of bass and dance precedes the refreshingly not-so-deep cut, so the immediate familiarity of a selection so tied to a monoculture feels jarring for anyone not sitting in front of a tracklist.

Then, the Purple One's proclamations lead into a different kind of Purple- specifically, of the Bristol kind, as the tart synths of 'She Wore Velour', a highlight from the -released, sole EP by Bristol boys and 's Velour project, The Velvet Collection, luxuriously unspool atop a jet-black surface. It's an inspired match-up, as well as a pretty good audio-chromatic joke (even if Bashmore's been leaning more towards proper house and pop these days). The willingness to extend beyond beat-matching and showing off a personal bounty of unreleased dubplates, to create a narrative and mine unexpected sources, is precisely what's earned Oneman, aka Steve Bishop, the 'DJ's DJ' tag from those in the know. His label (which put out a short run of unbeatable singles in 2011 and more or less hasn't been heard from since) deals primarily with bass music, and the last few years have seen his name rise within the community as an expert spinner.

So the opening cut of Bishop's Fabriclive mix, the 64th in the famed London club's ongoing series, is a mighty clever selection, as the thickness of Mark Pritchard's '?' , carrying a brown sound-worthy low end, cuts an imposing figure (try it at any volume and avoid feeling disoriented- I dare you). The proclamation is hard to miss: You want the bass? Of course, mere wit isn't enough- especially when concerning the visceral pleasures of dance music- so Fabriclive 64 proceeds to dispel such arch notions, as Bishop stretches his legs and dazzles by weaving cut after choice cut seamlessly. The writeup that accompanies the LuckyMe mix refers to his mixing style as 'techno-tight,' and indeed what's on display here is nearly seamless, an hour of perfectly stitched-together body music that's so airtight that when the beat drops ever so briefly, on the VIP mix of Grievous Angel's rowdy 'Move Down Low', I still check my iTunes to make sure it didn't freeze. The overall mood varies from hard-hitting to spacious to enormously elegant, but there's seldom a place to wander, a point where you're anything less than in-the-moment.

The steady energy means that you're there, you're captivated, and you're locked. Possibly the most exciting aspect of Fabriclive 64 is how it functions as a fascinating survey of what's been taking place in the ever-mutating UK bass scene over the past few years.

It's not comprehensive (with the ever-changing face of bass, how could it be?) but its selection of sonic permutations- the colorful swarm of, MikeQ's heavy-hitting ballroom fire, Night Slugs co-head Bok Bok's house-infused work with Dutch producer and Rush Hour affiliate Tom Trago- more than communicate the scene's constantly shifting eccentricities. Referring to Fabriclive 64 as a snapshot, though, would be doing a disservice to Bishop's expressive blend of past and present, as the dusty UK Garage of Dem 2 and Steve Gurley's gorgeous 2-step rework of 's 'Red Alert' (easily the mix's most surprising source of elation) fit perfectly alongside more current fare.

So there's history here, represented both distantly and in the type that's been made before the eyes and ears of those who have been watching over the last few years. Applauding Fabriclive 64 for its potential didacticism, though, would be unjustly ignoring just how much fun it is to listen to, how easily and pleasantly it moves, how Steve Bishop is playing to the rafters and pulling out all the stops when his name alone represents a seal of approval for many.

An ironic occurrence regarding the meteoric rise of what the mainstream media calls 'EDM' is that the massive popularity accompanied by the boom has only caused folks to draw deeper lines in the sand. Here's my music, the real kind, enjoy whatever it is you're listening to.

That isn't what you're calling it- this is more like what you're referencing, and you probably wouldn't get it, anyway. This snobbery has existed in the dance community for eons (and its gatekeeping fires have been stoked by the wonders of the internet, naturally), but it seems especially dangerous- and, it must be said, staunchly classist- in recent times. I'd like to think that anyone would like Fabriclive 64. Not because they'll learn something, or because it's impeccably hip. Simply, rather, because it's good music, and it doesn't take a genius to see the value in that.