The Bug

For some, The Bug is a relatively new name. A producer, who as of late, has been associated with London’s (and now internationally) vibrant Dub Step scene. However for a lot of others, it’s the current state of mutation for rogue producer Kevin Martin, and his projects current association with Dub-Step is just a small and almost inconsequential detail in the greater lineage of his career, as his sound defies easy categorization and has been increasing in mass and imagination with each and every new decibel pumped recording.

Techno Animal/Ice/God (with Justin Broadrick of Godflesh/Jesu), King Midas Sound, 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. Bass booming remixes for Jon Spencer Blues Explosion, Primal Scream, Einsturzende Neubauten, Stina Nordenstam, Dalek, 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).

All these connections became the starting point for ‘London Zoo’, the forthcoming Bug album on Ninja Tune. Utilizing the aforementioned vocalists, along with UK reggae legend Tippa Irie, it’s a record grown out of the heart of London sound-system culture and multi-cultural meltdown. A record that although will be undoubtedly referenced to the dub-step scene will also redefine and stand on its own as a celebration of the capitals urban cultural clash, uniquely detonating dancehall, grime, hip-hop, and noise onslaughts.