I'm arranging some dates for Scuba.
He's available in January on 21 + 22 + 28 + 29
In February on 4 + 5 + 11 + 12 + 19
In March: The whole months.

Please find here some reviews and also please visit Scuba's Myspace:

I hope to hear from you asap.



When the numerous permutations of dubstep are discussed, Paul Rose (Scuba)
is usually credited with steering the genre toward softer, more musical
arrangements. Scuba has done this both through his own work and through
his stewardship of the almost bulletproof Hotflush label, home to 2009's
nominally dubstep breakouts by Mount Kimbie and Joy Orbison. On
Triangulation, Scuba continues his label's thrilling run with a proper
full-length of fluid, melodic dubstep that sounds beautiful and aggressive
in equal measure.

If Scuba's name doesn't resonate quite like those of his labelmates, it's
likely because through one full-length (2008's A Mutual Antipathy) and an
armful of singles, Scuba has yet to stumble into one breakout track (his
remix of his own "Hard Boiled", under his SCB moniker, came closest).
Scuba tracks tend to fall into one of two camps: bass-heavy thumpers or
slow, melodic cut-ups that often sound like dubstep's version of a ballad.
Scuba's dance numbers have a tendency to lie in the weeds and lurk; where
a song like "Hyph Mngo" sounds like a siren, Scuba's are the glue that
hold a mix together. (See: DJ /rupture subtly weaving Scuba's "Braille
Diving" into the second half of Uproot.)

This seamless construction defines Triangulation. What Scuba lacks as a
dance hit-maker he makes up for with careful pacing and an ever-present
tension between dark, tech-y sounds and inviting melodicism. These sorts
of daring sleight-of-hand tricks are Scuba's specialty. "Before" sounds
like Boards of Canada covering modern R&B, and it leads into "Tracers", a
pounding, industrial-strength romp. "So You Think You're Special" plasters
an echoing, hopeful loop ("Here you'll find the one/ Here in the sun")
over ominous, pulsing bass. It's not a comedown so much as club music for
those who never make it out of the apartment.

Had "dubstep" never entered the lexicon, it would be easy enough to label
Triangulation house music, but without the implied build-ups or ecstasy.
Triangulation ultimately falls into the dubstep camp because of its mood
and temperament. By expertly juxtaposing the dark with the romantic, the
hectic with the serene, Scuba's produced a triumphant, balanced album.
It's also one that can feel too well adjusted. It's easy to hear parts of
Triangulation as clay for bridging DJ sets or potent source material for
remixers. But Triangulation is also worthy of attention in its own right,
a cohesive record whose complications lurk just under its surface.

Scuba finds his bearings amidst the pillars of dubstep, garage, techno and
electronica on his outstanding second album. The last two years since the
release of the landmark 'A Mutual Antipathy' album have been something of
a golden period for the head of the Hot Flush clan and resident at
Berghain's Sub:stance event. With a probing curiosity and focussed remit,
he's matched a clutch of previously incongruous dancing styles with a
subtlety and class that's ensured respect from all corners of the club.
'Triangulation' guarantees that position with a superior set of future
classics, connected thematically by impressive levels of electro-acoustic
spatial technicality and divided only by an insistence on exploring
multiple tempos and the freshest riddimic functions. 'On Deck' for
example, is his nod to the burgeoning Afro-Funky house germ that's
infecting everyone, executing kinky kick/snare syncopations with typically
Scuba-styled reinforcements. Everything here just feels like it's been
engineered to some highly exacting standards, the shuffle-tek garage
engines of 'Three Sided Shape' and 'Glance' have been tuned to the nth
degree, while dynamic synthlines open and unfurl with precise movements on
'Heavy Machinery' and the masterfully spacious mixing throughout proves
that the devil has been well worked into the detail

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