South London Ordnance Geeks Out on Autonomic Drum 'n' Bass

For the past 3 years, UK producer South London Ordnance has been steadily releasing some heady slabs of techno; kicking off on Well Rounded and Hotflush in 2012, landing on Aery Metals with last years twisted, T. S. Eliot-referencing He Do The Police In Different Voices EP, and at the start of this year with the 'Dead Cell' 12". South London Ordnance's sound is one we've found difficult to describe. He's been remixed by Optimo, Chris Carter and Factory Floor to varying, intriguing results, and he's flirted with house, techno, dub and drum 'n' bass in ways that piqued our interest on his latest effort for Hotflush, the Contact EP.

If he was flirting before, Contact sees him commit to a heavier, meaner sound that ever before. Trust us: have a listen, and try and hold back the screw-face. With such an interesting progression over relatively few releases, and with Contact on repeat in the THUMP office, we caught up with South London Ordnance about what he really likes to get stuck into. Turns out it's 170bpm drum 'n' bass tagged as and inspired by Autonomic: a label, club night and podcast series launched by drum 'n' bass producer dBridge in the 2000s. Ideal geekery.

Instra:mental - 'Thugtronika' (Exit Records, 2009)

Most of these tracks are from the Autonomic era, but this one makes me feel particularly nostalgic about that period. I picked it up in Tribe Records in Leeds when I was at university, and it was instantly declared "fucking boring" by my girlfriend at the time - not enough gunshots and ragga vocals, perhaps - which makes me laugh now. I always found this pretty raw. Different strokes, I guess.

System - 'The Voices' (Exit Records, 2010)

It's all very Dopplereffekt. I hadn't really heard anything like this when it dropped, which I guess was why Exit became one of my favourite labels for leftfield 170bpm tracks, and ultimately set the benchmark for the sound. 'Near Miss' on Digital Soundboy is also a personal favourite, but I seem to remember unwittingly picking it up on a picture disc, which had a ridiculous weight to it. Combined with that fucking picture, hiding the grooves on the wax, it was rendered completely unmixable.

Commix - 'Belleview' (Metalheadz, 2007)

A house party destroyer. My copy of this album is so cheddared, after years of being dragged around getting drinks poured all over it. The whole Call To Mind LP is full of bangers to be honest, with 'Be True' being the one people usually seem to know. See also: Re:Call To Mind for amazing remixes of LP tracks from Kassem Mosse, Sigha, et al.

Breakage - 'The Shroud' (Digital Soundbhoy Recording Co., 2007)

My favourite breakage track next to 'Staggered Dub'. An incredible atmosphere. It reminds me of some great Metalheadz events at Cable - and some great Loxy sets elsewhere, if my memory serves me correctly. The flip-side 'Clarendon' is probably a better known track, but this was the one for me.

Actress - 'Harrier ATTK' (Nonplus Records, 2011)

Nonplus has such a fantastic discography, and this is no exception. It's completely hypnotic. It's also not drum 'n' bass by any stretch of the imagination - and doesn't instantly lend itself to a 170bpm set - but sounds great in the mix if you're willing to push the boat out.

ASC - 'Moonraker' (Auxiliary Transmissions, 2011)

I guess this is more of a straight up ambient feel, really. I've never had a chance to hear it out in a club unfortunately, but ASC remains one of my favourite producers.

Consequence - 'Lyon' (Etcht Records, 2013)

This is a beautiful piece of music. Yhose crushed breaks really do it for me.This kind of track always makes me think of Cosmin TRG's current work; crunchy, toppy percs and beautifully tuned, warm mixdowns.

Stray - 'Can of Cancun' (Critical Recordings, 2011)

I met JJ at university, and we remain mates to this day. I guess this one of the first tracks that really pushed him to the forefront of the scene, and it perfectly showcases his stripped back aesthetic. It's great to see him smashing it with the proto-footwork and beats style material. It's well worth checking out his new material on Exit.

Alix Perez - 'The Observer' (Invisible Records, 2010)

In the words of MC Bassman, "Very, very (very) dark". Muffled Virus TI basslines, for the win.

Kid Drama - 'In Mind' (Exit Records, 2013)

Yeah, it's funny actually: I make a lot of music with Damon these days, though truth be told we're yet to actually finish anything. This is classic Board of Canada/Aphex Twin-inspired, 170bpm from one of the originators of the Autonomic sound. I know he's got some great stuff coming this year.

South London Ordnance's Contact EP will be released through Hotflush Recordings on May 19th. He is presenting and playing at Compound 001 on June 27 at Plan B in Brixton. More info is available here