Great. If the quality as is high as that of thie recent releases then this should be a definitive compilation.

Looking forward to this. Hyperdub's quality control has been impeccable so far.

I also saw that Warpmart / Bleep is running a pre-order special on the vinyl series. I may have to jump on that to save some dough. They have each vinyl release's tracklisting available for preview too.
bleep.com/index.php?page=dynamic&module=hyperdub5
5.1
Kode9 & The Spaceape ft ChaCha - 'Time Patrol'
Black Chow – ‘Purple Smoke’
Flying Lotus – ‘Disco Balls’

5.2
Joker & Ginz - 'Stash'
Zomby – ‘Tarantula’
Samiyam – ‘Roller Skates’

5.3
Quarta330 – ‘Bleeps From Outer Space’
LV – ‘Turn Away’

5.4
Martyn – ‘Mega Drive Generation’
LD – ‘Shake It’

5.5
Mala – ‘Level Nine’
Cooly G – ‘Weekend Fly’

this is gonna be really big release...

CD of the year

Pre-ordered it, and eagerly awaiting the material.

damn nice!

as g'n'b said, this has got the tracklisting of a 'definitive compilation'!

looking forward to this

nice!

pre-ordered... these ones are likely going to be on heavy rotation once they arrive back there... Hope the South London by Burial is going to sound as nice on cd as the 12' does !

hearing kode9 playing 'time patrol' @ mutant disco was kinda were i lost myself to hyperdub. i hope you all have read the interview form wired (i think it was published in may). straigh forward wisdom.

wow great! looking forward.. hyperdub is big!

this is just dandy

essential

Now I know what quintessental means...

"Originally they wanted to call this 5 Years of Low End Contagion. They were right not to. Contagions don't spread beneficially, or even neutrally: they pollute and toxify. They mutate only to keep eating. They pillage. But that's not the remit here. Assuming Hyperdub leads from the head—and there's no reason to suspect otherwise—then the ongoing mission is that of mutation without parasitism, an additive reshuffling of codes to create new behaviors and evolutionary lines within them. Hyperdub isn't a record label, or a virus, so much as it's a culture unto itself, and I suspect that at least some part of the appeal of digging through their progress to date is that it turns us all into anthropologists, tracing networks of links and gauging the distance we've traveled from the source."

What!? That is some of the most pretentious drivel I've ever read.

This was an interesting review. Hyperdub kinda cultivates 'pretentious drivel' - and for good reason. An amazing, extraordinary record label, one with fingers in many pies. But (and you knew there would be a but), I think that they have lost their way, blundering forward in a blizzard of sound, always seeking the new and the experimental. Why does music have to evolve? Why should a label deliberately forego the comfort of the tried and trusted - and strive to prove itself more 'cutting edge' than its competitors? Hyperdub already was cutting edge. We fell in love with Burial. Kode 9 was a master of refined intelligent dubstep. In LV and Dandelion they had the perfect antidote to the harder dubstep style, 'CCTV' and its fellows harking backwards to an earlier, more Jamaican age. I feel old before my time - bring back the old Hyperdub, the old DMZ and the old dubstep! Mah zimmer can take it! WAIL!

I personally love the evolution of the sound and the Hyperdub label in particular. Light years beyond most other labels. If you want the old dubstep sound, break out the old DMZ and Tempa plates. (Just remember to keep avoiding the new tear out / aggro / jump up stuff on nearly every other dubstep start up label.)

This compilation lives up to the hype!

evolution in commercial music is inevitable but, in a genre that relies on technology it should be even more pronounced. there is no reason why anyone should have to sound like anyone else. that's the allure of this type of music. well, for me at least.

I'm with GNB. Talk about mixing metaphors throughout. For all the sound and fury of a collegiate vernacular and a pitchfork style review, I'm not really sure I understand if you liked or hated the release. You gave it a 4.5 but you spend your 700 words pulling that hipster's chicanery of hiding an insult within a compliment within an insult. To paraphrase, the history lesson of disc 2 is a nice collection of classics but they're old and "stale;" we can sleep through it on the night train home. Or disc 1's unreleased material is good but ultimately exemplifies the "epic leftfield non-sense that's made Hyperdub's name thus far." That's like saying, "This comp is great as far as gassy antiquated knob-twiddling and overblown, vainglorious claptrap go <laugh-snort-laugh!>."

Darkstar's Aidy's... is good, sure, but it's pretty far from leftfield or experimentalism. It's a house track. What's special or surprising about that other than the fact that it's on Hyperdub, an amazing dubstep label? Why would the only real house track (despite Flying Lotus' awesome disco warrior hit) be the best of the batch? It's not even on the same boat with the rest of the comp.

Now take Black Chao or Martyn or Burial's unreleased tracks on Disc1. All build on the strength of Hyperdub's history, and sound unique, expert, and entirely current. Black Chao is everything Cappablack on ~scape wishes it could be. Martyn's Megadrive Generation is cyberstep that's totally now, totally spot on, totally spanks 2562's unbalanced ass. And "Fostercare." It's no "Etched Headplate," but it has just as much intensity and fragility with an added bonus of actually evoking the loss and loneliness a foster child might feel. Yeah, sure the middle stretch of the track is a tad drawn out, but artists on Hyperdub have made bigger mistakes before.

Yeah, I mean you, Cooly G. "Weekend fly. Baby. Fly-ay-ay! Baby. Fly." <snore> Whiskey Tango Foxtrot? Can't you give me something more to work with beyond a jilted crap drumline, 3 barely audible synth tones, and a pathetic three-word vocal echoing hollowly? My friend's five year old threw that shit together with my friend's Beatmaster iPhone app last Sunday, and we all had a good laugh. Jeez.

How does any of this hyperdub showcase imply anthropology? It's not a study of the sexual habits of Papuan tribes. We're not focusing on the behavioral science behind why a dominican immigrant joins a local gang to sling crack in the Bronx. History is not anthropology, and evolutionary science also is not anthropology. Darwin's point was that species survive in nature by evolving traits that increase their probability to propagate their own species. If they don't adapt they die off and risk extinction.

Anthropologists would never describe Hyperdub as its own culture. Hyperdub is a product of its surroundings, of trends in its environment, and of the influences of the people and communities involved. Isn't that a fundamental lesson of evolutionary science? It's not some isolated island of humanity high up in the Himalayan plateau undiscovered by 21st century man, nor are its artists a group of epicurians hiding in an ivory tower wondering if reality is a dream they're having or if I'm simply dreaming them. You hear all kinds of influences in this comp from atari and nintendo video games to rave to jungle to dub reggae, and many more. And you hear the influence on the culture that hyperdub has when you listen to labels like jahtari, tectonic, tempa, and apple pips making similar dance tunes all day long. It's not a culture unto itself, its a movement within a dance subculture.

I'd say if there's any evolutionary lesson hidden in this Hyperdub comp, it's that dubstep subculture (the kind that actually sounds closer to its roots than its more recent house mutation) risks extinction 5+ years after its birth because it isn't adapting to the changing sociocultural whims of the dancefloor's inhabitants. Hyperdub proves that it stands the test of time and is adaptable enough to add mutatted characteristics of shifting trends in dubstep subculture, like the Dark star, Martyn, Flying Lotus, and Black Chao tracks prove, to Hyperdub's original traits (aka artists roster) while maintaining its footing on its foundations of jahtarian dub and burial/ kode 9 sounds. In short, Hyperdub and "old skool" dubstep won't be on the endangered species list anytime soon.

definitvely very interesting

I'm with the reviewer, Darkstar's Aidy's the standout for me... But i like your style bareklik!

sorry, but i have no idea what this review is on about. is it possible you're being a little over-analyitical?

Bareklik: now THATS a review! Thanks dude, very well put. And I'm hearing Screendoor: just dug out Pinch and Skream's '28g' on Tectonic and am feeling the pleasure of well laid bass.

Loving this comp!

classic

Aidy is a house track??? And the Flying Lotus track is rumba, I see.

I'm with rapmaster2000...

Awful review. Not because I don't agree with what your saying, but because I have no idea what you're saying.

The comp is dope. The label is dope. Burial is king.

Nuff said.

awful awful review! What the hell is he actually going on about - has he actually listened to the CD? RA up its own backside again?

awesome comp, my fav zomby tarantula - what a track.

Burial - Fostercare. Wicked bass...