Athamé is a bass realm sorceress, situated in Brisbane. She’s known to weave together dark, atmospheric yet heavy jungle, techstep, neurofunk & drum & bass with an enchanting and euphoric essence. She draws from influences of both the light & dark feminine while experimenting with and infusing together sounds with soul and emotion to conjure together soundscapes that create a journey of passion and expression. 

Athamé had her debut over 2024 NYE at a local festival, yet has already been making her mark with supporting international’s like, Screamarts (EU), Euphonique (UK) + Dolphin (NZ), seen with a guest mix on 4ZZZ’s Brisbane Drum & Bass Show as well as other SEQ festivals. 

Athamé is continuously working towards pushing the original sounds of bass genres and has a passion for expressing creativity and showcasing the art of smaller producers as well shining a spotlight on female producers in the scene. With Athamés extensive range of bass music and its niche sub genres, you can expect to be put into a new experience at each of her sets.

Bedroom producer, grew up with 80 90s UK underground music. My music is just me messing around and having fun with samples and synth sounds as a hobby.

A connoisseur of the dark undertones that form the BASS of countless genres that spans from jungle to dubstep to psych to house to techno, kRym is a young turntablist, musician and budding producer with a healthy fascination with the unmistakably downbeat. Yet his simple and sincere love for music as an outlet of expression in his life has made him attached with a wide range of sounds, aural schemes and audio palettes, from the antediluvian art-forms of jazz, soul and ambient to the blue-tinged sounds of hip hop, funk and disco as well as everything that dwells in-between. 

As of 2011, kRym has transferred his love of the aforementioned styles of music into DJ sets that encompass performances at clubs, bars, underground parties, radio shows and art galleries to name but a few. Throughout the years, he has also had the distinct pleasure of performing with as well as supporting a whole host of local and international acts, including Tessela [R&S], Detroit Swindle [Heist Recordings], Percy La Rock (I.N.T.), Alan Llewellyn (Future 10), Dr. Satomata [Mondo], Wahono [Divisi62], Logic Lost [N-C.S], Archie Dennis [Darker Than Wax / Fraktal], Elfa Zulham [Azura Records], Joe Million [Medium Rare / Space Kidz] and many more. 

If it’s highly original left-field takes on well-loved underground sounds or unpredictable open-format sets that you want, then he’s your man.

Collabs -> RHYMizm@gmail.com
Bookings -> sharinkachandrastari@gmail.com

A collection of tracks recorded and mixed by Nico No U Turn featuring collaborations with DJ's mainly from  Barnes, London.   

Most uploaded tracks are from the original DAT masters.  

The 'No U Turn sound' known throughout the drum and bass scene was the culmination of a recording process, honed in over 4 years from 1992 in one room - a studio on the third floor of an industrial building in Acton, London.  

The repetition of DJ's making tracks at No U Turn, often cutting them as exclusive dub plates, playing them out in clubs then seeing the audience reaction before returning to base to try out another idea, led to the creation of a 'new bass sound’.  This essentially involved adding distortion to an already popular bass sound form the world of Jungle/Drum and Bass.  Nico got the idea of adding distortion to the bass from Larry Graham, the great American bass player.  By adding a little distortion to often deep bass lines, the bass could now be heard on even the smallest speakers.  
This bass sound, made No U Turn records stand out from the rest.  You could 'hear' a No U Turn release in a genre where a lot of records often sounded very similar.  

Another feature of a No U Turn record was the final mix down, which was always a live recording of the computer playing back the track whilst Nico 'dubbed' at the desk.  Minimal flicks of eq's and mutes, reverb splashes and sweeping of the bass frequencies were all done live during the final mix down.  
This is why the end of No U Turn record often sounds different from the beginning.  
Things have changed along the way.  
The dubbing process, added a dimension to these drum and bass records.  It made them a bit different. 

All the No U Turn records were completely inspired by the great records of the time.  
Doc Scott’s records in particular.  

BACK IN THE DAY
Nico: “Ed Rush grew up across the street.  His parents had jukebox and encouraged Ed’s love of music.  One summer Ed started playing me all these crazy records, unlike anything I’d ever heard.  These were UK hardcore records.  He had two turntables?  I thought it was weird.   I’d knock on Ed’s door and his mum would say:  “He’s upstairs….he’s in the mix.”  This must have been 1990.  
Ed Rush: “I just want to play out to a live audience, but it’s so hard to get a booking when no one knows who you are.”  
Nico: “How about you have a record with your name on it?  People might get to know you for the music you make and then you’d be nearer to getting a booking because people might have heard of you.”
Nico: “I’ve made records before but never this sort thing!  Let’s give it a go.  I’ve just bought a sampler.”

We made our first record.  Our third was a tune called Bludclot Artattack.   The plan worked.   

The No U Turn ethic was, and still is, about the power of effective collaboration.  
Nico:  “It's just more fun and often turns out better to make music with other people and a computer, rather than alone with the machine. “

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