Twenty years after its inception, the UK label Hyperdub is still steps ahead of everyone else
. Goodman, who holds a PhD in philosophy from the University of Warwick, launched the now-defunct Hyperdub publication in 1999 to document the happenings of the scene that blended dark garage, a more experimental subgenre of UK garage which moved away from its pop R&B influence, and grime, its gritty emcee-centric successor that also draws from jungle, dancehall, and hip-hop.
Kode9’s ear is like a one-way time machine, always listening toward electronic music’s future. Hyperdub’s catalog, now hundreds of releases deep in its 20-year span, only cements that. “I wanted to create a space where long-form, unedited interviews and think pieces could exist that went beyond the packaging of the dance music hype press at the time,” Goodman tells.
Kode9 re-launched Hyperdub as a label the following year. “Sine of the Dub,” his collaboration with the Spaceape was its first-ever release. Hyperdub transitioned from documenting music history through Goodman’s writing to becoming a major contributor through his own music as well as Hyperdub’s growing catalog. Its third release, Burial’s debutEP, quickly helped strengthen its position as one of the most influential labels of the early dubstep scene.
Although releasing your own music couldn’t be easier than right now, electronic music is still largely a boys’ club—less thanof producers are women—but Hyperdub has its diverse roster of artists to thank for its eclectic collection of crates. In 2014, Goodman toldit wasn’t intentional. “There is still a huge underrepresentation,” he said, when asked about its of women. “If anything there’s not enough women in Hyperdub.
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