Denver has long been a nexus point for the ley lines of global bass music. Home to a wealth of talent and an essential stop for artists both homegrown and international, now it’s the turn of nomadic label DNO Records to touchdown in the Mile High City, as rising stars Trisicloplox & Sectra join the roster.
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Presenting the Dark Guru EP from Toulouse’s favourite quartet - Visages. This is their 2nd EP on the label to date. Their deep melodic and dark sound has helped them to truly make their mark on the genre. Also unrestrained by tempo or genre, Visages are prone to writing at various bpm’s, as is evident in the dubstep (title) track Dark Guru. Visages have a special talent in creating music that is perfect for dancefloors, and for listening at home. No stone is left unturned in their compositions, and their style is truly unique. The Dark Guru EP is out on 30th April on vinyl and digital.
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Keysound are proud to announce the third installment in their Rollage sub-series. Following on from the first ltd edition black label and the recent volume two Keysound Sessions Anthem,' the C-troit' EP, is a 12' from Blackdown, with Dusk joining on co-production duties. C-troit' is a name revived from a lost, unfinished track by Blackdown in the very earliest roots' years of dubstep. A hybrid of the words Croydon' and Detroit', it's a heuristic for the place between Greater London's bass-lead music and the halcyon synths of early Detroit techno. Now that there's a growing body of dark, 130bpm-ish rollage, from within the Keysound camp and crews beyond (Jelly Bean Farm, Durkle Disco, Swamp81, Version & Kaizen), the EP seeks to throw warm light into the shadows, with the tracks Godlike Power', Clueless ft Dusk' and Halcyon Skies (Rollage mix).' The EP's closing cut The Greatest Concert (RIP PMC)' was written by Blackdown in the days immediately following the passing of his father. The first two installments in the Rollage series shared a common dark, tense mood but explored divergent energies levels and percussive possibilities whilst constrained by the same sound palate and tempo (130bpm). The tracks in the third edition, however, retain the same tempo, share a common pad-lead mood and percussive approach, but are not cut from exactly the same soundbank. As ever, all the 12's in the Rollage series are designed to be mixed together as one flow.
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Keysound Recordings are excited to announce a jungle double pack from Sully. Four sides of warm vinyl dedicated to classic break-based rollage 'n' choppage: less 'where were you in '92' rather 'who wants more from '94' One title seems to sum it up best: 'Simple Things.' This double pack is not a statement about 2014, it is not trying to be a new sound, scene or development. This is just seven tracks of uncomplicated, intensely emotive, rhythmic fun - as MC'ed over by original-junglist-at-heart Riko on a recent Rinse FM show. It is concluded by a beatless 'vapour dub' from Logos, as he sublimes the title track 'Blue.' 'The inspiration for these tunes essentially goes back to the free parties I spent weekends chasing in the early '00s,' explains Sully. 'Youthful optimism put an almost spiritual spin on what were sketchy, chaotic, DIY happenings. Vision blurring subs felt like epiphanies. The EPs raw, chopped up sounds reflect that feeling: thrown together, reckless, but elevating with it.' 'Blue' is definitely a theme that runs through many of the tracks, a kind of synth-lead wistfulness. 'Solitaire' riffs around the vocal fragment: 'remember we like lone ranger: we ride alone, man', while the title track timestretches 'no man test' to form a kind of emotional push back, keeping all comers at arms length. 'M141', perhaps the ruffest of the EP, speaks of intoxication and submission: 'taking... me... over.' Apart from the guest feature on E.m.m.a's 2013 album 'Blue Gardens', Sully last contributed to the Keysound Recordings release schedule with his well received 2011 album 'Carrier', which interwove 2step and UK funky flexes with 160bpm juke experiments. Here he returns to the tempo of the latter but with the UK not US in mind. Listen:
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It’s been a busy eight months since Dampé’s debut on Dirt Crew Recordings. That time has seen the producer hold down monthly slots on Rinse FM, contribute a downtempo electronica/jazz edit to the S3A ‘Pages Remixes” EP as well as open big rooms for the likes of Surgeon and Blawan.
The intervening months have also seen the producer set up camp in the Rhythm Section studio in South East London, and the result of new access to studio gear can be heard all across ‘Garden’. Compared to the debut ‘Peach Shuffle’ this is a far more machine-led and darker listening experience. Snatches of acoustic instruments and space remain, but it’s never long before the disembodied vocals and oversaturated classic drum kits return reminding you this is music best enjoyed in the club.
‘A Basement, 10 Years Ago’ started just there. A bass line dimly recalled from a long-lost 6am jam is sequenced on a weighty analogue keyboard, while syrupy R&B vocals dance around mbira and gangsa, all slowly building and building together. ‘727 and Arp Breaks’ is a love letter to two of the producer’s favourite instruments from the studio. A TR-727 and an Arp Odyssey collide across dubbed out stabs to form some very rolling breaks.
Sunday Night Machines’ sees Dampé tame the box-of-physics that is the Arp Odyssey again with a sprawling meditation on two repeating arpeggios.
‘Garden’ is the one for the dancers. Four variations play with the same melodic theme in distinct sections, with the second variation being the deepest and most floor-ready the whole record gets. ‘France’ is a warped dub-come-hip hop beat that manages to conjure both Lil Jon and Yusef Lateef. We approached Liverpool’s finest ASOK (Lobster Theremin, M>O>S Delsin) for remix duties and to close out the record with a twisted bang. He turned in a propelling weapon that brings a whole new texture to the track listing. It’s very 90’s, very ravey and very raw, in a true IDM style.
With this eclectic mix of sounds we are entering another chapter of the Dirt Crew story and we hope you dig it as much as we do!
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'I wrote these tunes in one of these creative moments where everything was flowing so well it felt like the tunes actually made themselves. A lot of analog jamming to give the Ep that distinctive sound and Hermetica was born. Since then the music has been part of many gigs and travels while reading ancient books on Hermetism and symbolism and i'm happy that the learnings come together on this Ep' Von D 2020
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*REPRESS*
Dub-Stuy Records welcomes a new artist to its ranks, California's Dubamine. The young producer has been active since 2009, with a string of digital-only releases, and String Up The Sound marks his vinyl debut with four tracks that trace direct links between roots, reggae, hip-hop, and bass music. The EP features the vocal talents of Jamaica's Blackout JA, London's Brother Culture, a long-standing voice in the sound system community, and DC-based Carlton Livingston, a Jamaican legend best known for his work with the Greensleeves and Jah Life labels. String Up The Sound is a meeting of styles and generations.
The EP's three vocal tracks -- 'Nicodemus', 'String Up The Sound', and 'Good Morning Jamaica' -- offer sureshot summertime anthems with memorable hooks over production that blends the best of DMZ's eyes-down philosophy with vocal-driven contemporary dub reggae in the vein of Mungo's Hi Fi. The release is completed by the instrumental 'Murda Style', a subtle and powerful forward riddim inspired by dub techno and a minimalist aesthetic reminiscent of Rhythm & Sound. This debut by Dubamine combines bass weight, legendary voices, and sound system aesthetics to please multiple generations of bass-loving fans.
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Padre Himalaya first VA starting with P.Adrix(Principe discos) killer laser kuduro tool, Brazilian producer dj lima banging an old school funk and fast raves breaks from Rkeat.
B Side kicks off with slow lush tune from Dj Problemas, reaches the climax with the dreamy dub from Coletivo Vandalismo and finishes with Odete’s video-game like noise sound.
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Numa Recordings is back again with a heavyweight release for all the grime heads out there: Badman Ting is a proper roadman anthem featuring Killa P, Irah, Long Range (aka Killa’s Army) and XL Mad (member of Numa Crew).
The original version sees the four MCs riding a heavy drill riddim with an unparalleled mix of dancehall and grime vocal styles. The riddim, produced by XL Mad himself, is minimal and impactful, combining spooky melodies with distorted 808 bass. All these elements make the whole thing.. a ‘Badman Ting!’
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"This EP is something special. The title tune was created together in Los Angeles right before we headed off to Shambhala and then Outlook Festival... two of our most favourite events of the year, so we were able to test it out when it was brand new and fresh.
Tui is a collaboration with NZ Legend Tiki Taane, who plays a bunch of traditional pacific instruments on the track. Shadow Samurai is creepy, dark and melodic, and it's got the funk. Releasing music with DEEP MEDi is like returning home."
Tristan, Truth 2020
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*Repress*
With the subsequent, planet-sized addition in its musical orbit, Sentry welcomes another critically acclaimed bass music veteran to its coveted artist roster. SP:MC, a multi-faceted producer and vocalist, who cemented his status as a highly talented producer with outstanding releases through Tempa and System among others. Apart from his long-standing residency for the legendary Fabric night club, he's a regular on the microphone for some of the world's most distinguished Drum & Bass and Dubstep events, living and breathing sound system culture. For the eleventh release of Youngsta's imprint, SP:MC takes us all back into a golden age, captivating the charm of old school sonics with riveting minimalism and skank-inducing swing, and extending the iconic flavours of 2-Step, Garage and Breaks into the 21st century - clocking in at 135 BPM.
Conveying hazy and tape-ridden notions, 'Vintage' sets us off on a groove-inducing flow with tempered chord, lush echoes, and intimate vocal fragments. Murderous break-beat rhythms are laid out with unequivocal finesse as the UK-based prodigy delivers heritage sounds in contemporary attire. Classic foley samples interweaved with modern sound design - engineered for the heads. 'Slugfest' commands a more aggressive tone, introducing itself with slick, hallowed percussion and haunting ambience. With the doomsday bassline promptly kicking in, a super-charged groove armada unfolds - heavyweight business. Hypnotic drums hook into your motor cortex as every last cell of your body intermingles with the vibrant low-frequency surges, blasting from the sound system. Scrupulously switching up the push-and-pull dynamics throughout the arrangement, every sound component working at full capacity and in a supremely refined style. Bass music connoisseurs all over, rejoice! These breaks are for you.
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Welcoming back Monty with his F4DE EP. This is his 6th EP on the label, and truly showcases his signature style and sound. Monty is not not constrained by tempo or genre, as is evident in this EP with the dubstep track “Righteous”. Monty goes between hard and melodic, and has collaborated with dnb veteran Icicle on the track SVP. Out on 2nd April on vinyl and digital.
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A bit of tenderness in this brutal world... Dub Ambient pearl !
expected to be published on 15.04.2021
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Experimental meltdown of bass musicians exploring all kind of evolutions inna unapropriatte form that finally apperas to be apropriate... A masterpiece of msuci to dig future beats... Again !
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ANMON was born from the collaboration of French producers DJ Saint Pierre and Ténèbre. Through rearranged recorded live jams, their music is a series of fast-paced experiments at the fringe of the techno spectrum. Built for the stage and trance-induced listening experiences, Anmon summons a renewed tribal spirit - an unexpected resurgence of the sonic aesthetics of freeparties via their very own interpretation.
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Following an acclaimed EP from Brussels duo The Untouchables, DNO Records stays in Belgium for the next instalment of its global bass odyssey, but offers up a wholly different kind of trip originating from Charleroi.
Leading the way are Clearlight & Owl. The pair typically operate together as Glÿph — producing glitchy, modern techstep — but the use of their independent aliases is an early indicator to expect the minimalist experimentalism found in their solo work.
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Lee 'Scratch' Perry's Black Ark Studio opened its doors in 1974. Situated in his backyard at 5 Washington Gardens, Kingston, Jamaica. Using only basic
equipment, a Teac Four-Track Recorder, a Sound craft mixing desk, an Echoplex delay unit and later adding a Phaser effects unit that he used in conjunction with his Roland RE201 Space Echo. He managed mixing down the tracks from Four track to Two track to make his distinctive whirling sound that sets apart the Black Ark Sound from the other Jamaican Studios.
Born Rainford Hugh Perry, 28 March 1936, Hanover, Jamaica. He began his career at the grand age of 16, working for Clement ‘Coxsone’ Dodd’s sound
system, rising quickly to the position of record scout and organising recording sessions during his 3-year period 1963-1966. Restlessness and unsatisfied with credit he felt due to him he moved on to work with Producers J.J. Johnson and Clancy Eccles, the latter of which would help him set up his ‘Upsetter’ label in 1968, which would see his first of many recordings telling the injustices done to him by previous employers. ‘The Upsetter’ track itself pointed at Mr Dodd but reflected to Perry when he inherited it as a nick name alongside many others during the course of his career, including ‘Scratch’, again taken from one of his recordings ‘Chicken Scratch’ recorded in 1965/1966. Perrys work in 1968 with producer Joe Gibbs was fruitful and resulted in many successful releases, but again feeling a lack of credit and itchy feet, it was time to move on. Still not having a studio of his own, Perry recorded at the various Kingston establishments at the time, Randy’s Studio 17 on North Parade, Dynamics on Bell Road and Harry J’s on Roosevelt Avenue where the bulk of the aforementioned recordings with The Wailers were carried out. His dream was always to build his own studio and not to have to work to the constraints of the other studios and producers.
On opening the Black Ark studios, the hits seemed to come immediately. Firstly with Junior Byles' 'Curly Locks' and in 1975 the massive crossover hit Susan Cadogans' 'Hurt So Good' that reached No 4 in the UK charts.1976 saw Island Records releasing Perrys vast output, timeless material like the Heptones 'Party Time', Max Romeo's 'War Inna Babylon' Bob Marley and the Wailers 'Jah Live', 'Punky Reggae Party' and Junior Murvins 'Police and Thieves' to name but a few.But sometimes missing out on a few classics like Perrys own 'Roast Fish, Collie Weed & Corn Bread' and possibly one of the best reggae albums of all time The Congos 'Heart of the Congos'. Dub releases like 'Revolution Dub' (1975) showed a way forward for his production skills in this formidable arena. Having his own studio allowed him to build up a vast catalogue of tracks to work on. We have culled together some lost productions that Lee Perry carried out with singer Mike Brookes, a fine singer, arranger from that special time in the Black Arks history. Sounding like Junior Marvin in parts and Max Romeo in others but still carrying a distinctive Falsetto voice. Some classic tracks as you can see recorded with the cream of musicians at Lee Perrys disposal. Mr Perry works his magic that gives these songs that distinctive feel that his output.
carried around the mid 1970's.
So we hope you enjoy some more lost treasures from the Black Ark that we feel should be added to that mighty cannon of material that still sound so fresh and strong today.
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Two of dubstep's most iconic names – Japanese don, Goth-Trad, and Mala's ever present DEEP MEDi label – join forces once again. Revamping his 2012 release 'Airbreaker', Goth-Trad takes a track which already teetered on the edge of an Assault and Battery charge and ups the ante with a whirlwind of acid and industrial roughness. Where the A-side is pure mechanical nightmare,the flip 'Apes' stands in juxtaposition – its organic, humid palette conjuring up visions of dense tropical forests and the mysteries that lie within.
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Egoless has been causing some serious waves far beyond the shores of the Adriatic sea of late. His production style is deep and heavy, modern yet warm, analogue and quirky. By far some of the deepest instrumental tracks signed to Scrub a dub. Often vinyl loses out when it comes to bonus tracks on digital downloads. Not anymore, there is a hidden track that exists only on this vinyl and Egoless' hard disk recorder.
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