Beats Новости

Concealed within the eclipse, Overdue presents a new black-label 12" series - symbolic of its sinister auditory contents.

Further proof of their unbridled dedication to sound system music and commitment to quality, the Belgian Dubstep imprint unravels
it's fifth physical release. Based in Denver, its newest signee by the name of Ghast returns to the spotlight, following up on heavyweight releases on prominent labels such as Encrypted and Gradient Audio.

The talented American artist sets the stage with two unruly armaments, alongside murderous remixes by Denmark's bass music stalwart RDG as well as the label operators themselves, Substrada & Caba.

Starting the engines, 'Mothership' immerses the stage in flickering echoes and haunting wails - the air bustling with anticipation. Eerily disfigured, granular reverberations materialize amid a pressurized and truly outlandish soundscape, barren at its core. Heading into the second section with renewed vigour, no dance floor remains unscathed in the ensuing aftermath.

The subsequent doomsday scenario, as engineered by Substrada & Caba, strips the ship to its bare essentials - laced with trippy drum instrumentations and the psychedelic foley samples. The meticulous flow presents itself in a bleak dungeon style - hoodlum vocal fragments rounding off the resulting low-frequency inferno.

Flipping the record to its equally profound B-Side, 'Vehement Mess' unhinges another portal into madness - dance floor upheaval guaranteed. Showing no signs of mercy, the infernal armagedon proves to be emblematic for Ghast's dystopian sound design. Profusely industrial and with clinical efficiency, hitting all the right frequencies as the second wave ignites but all available power reserves.

Finishing off any remaining survivors with his irreproachable signature style, RDG's remix marches onwards with unrestrained might in a four-to-the-floor fashion - super-charged, galvanizing the rave in a no-holds-barred shutdown.

No.17 marks the return of Sepia to Infernal Sounds as he pops the lid open on some long-lasting dubs from his locker. The title track, 'Flutez' is an uplifting journey, and has been in constant rotation across the dance floor for over 3 years now, having received support from the likes of Truth, Foamplate and Sicaria Sound.

The B1 'Cross The Line', a more recent creation from the Bristol-based producer switches it up and delivers a more direct, cut-throat aggression through the chopping synth, conjuring up a sense of anguish, with the appropriate addition of a daunting vocal sample. Stripping things back and rounding things off is 'Tales From The Crypt', a perfect way to bring things down and lay out that trademark Sepia sound. Emotive notes and progression gives this track a real all-round feel of solace.

The EP has also received support from Mala, Distance and Darkside, amongst others.

Infernal Sounds welcomes their newest member to the imprint, Dark Tantrums. After a brief hiatus from releasing music, the producer who's had previous EP's out on both Deep Medi and GetDarker is back with a bang. From the millitant march of 'Command', to the distorted and twisted mind of 'Darkside', with 'Time Warp' rounding things off in a typical old-school fashion, this EP will knock your socks off and deliver a punch for the dance floor. IFS011 not only displays his ability to adapt his style under the 140 spectrum, but continues to prove why he's one of the most underrated artists to grace the scene.

Clearlight brings his wonderfully tripped out production wizardry to Foundation Audio for a 3 track journey into the void!

Clearlight has always stood out from the crowd and pushed boundaries with his unique take on the genre. It sounds like dubstep swallowed a bottle of LSD… or smoked some DMT… There’s no point going into detailed track summary as it won’t do the music justice, - just sit back, spark one up and get sucked into another dimension.

For their ninth record TRUSIK enlists the German producer bhed whose long form constructions blend ambient, dub, techno, and dubstep into forms that stretch each genre’s signifiers to their breaking points.

Clear/red vinyl Edition

2nd Drop Records release 'Seven Lies', the debut album by Felix Manuel aka Djrum (pronounced 'Drum'). Its sounds are inspired by the rawness of urban London, influences of Portishead, DJ Shadow and The Cinematic Orchestra, jungle, minimal techno, classic house, broken beat - all seamlessly segued with a nod to jazz vinyl and film music.
Fans will recognise Djrum's iconic tropes on 'Seven
Lies': widescreen atmospheres, dub chords, dusty and melancholic strings, obscure film samples. But this time its spread over a bigger, more luxurious canvas that dips like an undulating terrain of sound; techno troughs, bumpy hip hop breaks, euphoric
drum and bass, all filtered through the Djrum node.
Felix would admit himself he is a not a prolific producer. Preferring to craft and hone, often allowing music to mutate and diverge down different paths, his tracks often top the 8-9 min marks in
length. However, each track is never at risk of becoming staid or boring, quite the opposite as ideas mutate and evolve, subtle differences and nuances are evoked and explored.
Inspired by the sounds of Ninja Tune's Solid Steel
radio show, Oxford born/London based Felix became....

Mega dope party sh*t!

140’s freshest innovator, Cartridge, sizzles three cutting-edge styles into one eclectic record. Thuggish flutes, electro-magnetic basslines and heavenly chimes ring throughout Albion Collective’s 11th release.

Holding its own on the A-side, ‘Cashmere’ snaps your fingers with nimble, eski flute-work and fuse-lit 808’s. The extra-terrestrial ‘Antimatter’ shudders earth’s tectonic plates, carving deep, spacious basslines into the B-side. Rounding off, the smile-driven melodies of ‘Sacred Scrollz’ lift your spirits above airtight percussion and foot-shuffling trap grooves.

Sifting the rhythm of the soul through his signature, crystal-clear sound, Cartridge elevates 140 in his Albion Collective debut.

DJ Support
Sicaria Sound, Distinct Motive, N-Type, The Greys, Mentha, BunZer0, Kodama, LSN, Cuttah & BSay + more

3x12"

The SENTINEL LP represents the manifesto of one part of the spectrum of MethLab's club-oriented sound. Featuring a cross section of our forward-thinking artists and special guests and illustrating a dynamic set of sonic aesthetics to usher in a new era of diverse music and an open-minded approach to the dancefloor. Expect searing audio that resides on the very cutting edge of bass music.

This first EP of the new installment comes from the label owners DPRTNDRP, also known as D-Operation Drop, delivering the heavy-weight once again.

Unshaken is an intoxicated sound system destroyer, with its multiple kick sessions matched perfectly with the mental bass movement, creates earthquakes every time this heater have been tested out.

The Disturbed creepy voices of the second track called Relief, working with the complex drum elements, bringing imagination to another level, rocking the listener up and down with his melted sub-line

Closing the EP with Parsley Tea, another anthem which finally see the lights, with shredded wild percussions and dirty wobble textures.

Sukh Knight returns with the 2nd release on his DAKU imprint, this time collaborating with Grime producer Mystry on the long anticipated sought after track 'Suckaz'. The title track needs no introduction, causing damage on both the Dubstep and Grime scenes for over 2 years and still getting the instant reload treatment, gaining heavy support from majority of the top DJ's in both Dubstep & Grime. This release is essential for your record collection!

... After his first appearance on Subaltern’s 'Kaleidoscope Vol.1’ with the scorching ‘Alter’, far-east sonic assassin and Back To Chill member Helktram makes his comeback on Subaltern Records with a heavy-as-stone three tracker. Each of the cuts is a dance-floor weapon which shows a different side of the Japanese mastermind’s razor-sharp production.

- Recoil: Opening with a crunchy guitar melody, ‘Recoil’ sets the pace
of the EP: a catchy and relentless bass-line takes us on a march
through forests and mountains, as distant pads and SFXs remind us
to stay alert. After the first round the guitar comes back, warning us
we’re not done yet. A straight hitter which will keep playing in your
head long after the night is over.

- Mineral: The aptly titled ‘Mineral' is hard as diamond and rough as
coal. This triplet juggernaut tramples systems all over the world
leaving its mark on any raver who encounters it. A sinister
thereminesque melody paves the way to a stripped-down beat with a
militant bass riff. Skilfully executed distortion engulfs the low-end
turning it into a powerful growly wobble.

- Beware: A threatening melody paints the post-apocalyptic landscape
of the EP’s third cut in what is Helktram’s trademark style. In this
track distortion is the name of the game: an unforgiving lead
matched by grimy and glitchy stabs evolves into an uninterrupted riff
which carries the rhythm leaving space for the bass melody. As the
title suggests, extreme caution is required when handling this
blaster.

Another secret 10" white label delivery from the Copenhagen underground, featuring two gloomy, melodic and bass-driven edits by unknown artist. No repress.

Repress


Egoless joins DEEP MEDi with his highly anticipated Empire of Dirt EP. If the crowd (singalongs) are any indication, this is already an anthem.
An amazing debut single from the Croatian dub master.

* One of the UK underground's best-regarded producers - Commodo - returns with an album on distinguished Bristol imprint Black Acre.

* How What Time' follows his impressive collaborative LP with Kahn and Gantz, a bass-swelling blend of Bristolian and Middle Eastern sub-low, released on the bastion of low frequency excellence, Deep Medi Musik. An artist with deep roots in bass music's history and present, Commodo experiments with a variety of underground elements, with components of hip-hop, grime, dubstep, and more in the mix. On his debut album he pushes his sound further while managing to uphold the basic formula of space and bass.

* Continuing to add a thoughtful touch to the deeper ends of UK bass music, his new album sees Commodo create deeply meditative jams that harness a raw energy and sub-bass power. Made in several different places in the UK, Turkey and Germany, 'How What Time' sees Commodo fuse the UK's raw and vibrant grime and hip-hop scene, as heard in the fierce and murky soundscapes of Itchin' with an unmistakeable vocal from Trim. The album's standout track Set It Straight' features Croydon's fast-rising rapper-beatmaker Rocks FOE, and like Commodo's Jme-featuring hit Shift', is an instant underground anthem. Commodo blends Madlib-style hip-hop beats with the fierce spirit of grime. The addition of Rocks' straight-talking charisma and energetic flow transitions Set It Straight' into an uptempo head-banger.

* Commodo's inherently unique and accomplished production style has earned him recognition right from the outset of his ascendancy, garnering attention from a host of key figures within the electronic community. When making his new album he sought to strike a balance between a sample-heavy, rap style sound palette and the energy of the 140bpm based music he's always been a part of.' From the tough bass weight of his dancefloor-leaning productions to the tonally rich and immersive qualities of the album's more intricate tracks, How What Time' maintains a resounding freshness throughout.

My life with M. - an organic contact with sound where theatre and music could be perceived as a tool for the creation of a distant dream. Doerell’s sonorities transpose a nostalgia for something never met or somewhere never been, an osmosis of absence and memory interrupted by scattered fragments of abstraction.

The album reveals Oliver Doerell’s artistic collaboration with German-Iranian dancer and choreographer Modjgan Hashemian. All pieces are reworked compositions for theatre plays from 2008 to 2018. A wide acoustic spectrum is built throughout the merge of home-made instruments, electro-acoustic and digital means. The artist is subtly mastering sound textures, distortions, altered frequencies, voice insertions and blends reality and mysticism into his unique soundscape.

The founding member of Dictaphone/ SWOD, Oliver Doerell (aka Cummi Flu) releases the first album under his artist name and invites the listener to contemplate and to discover another one of his artistic personas. Grab a comfortable chair and enjoy the audition.

Four modern, textural, slow-burning instrumental hip hop soundscapes set a distinct mood on this new EP by the venerable Chris DeLuca. Heavy-hitting basslines and slightly ominous hat patterns dominate, leaving these cuts verging on the territory of dark, minimal electro destruction... with a subtle dose of that funky boom bap. Perfectly applicable to both basement dancefloor experiments and gangster dealings alike.

One half of Berlin's Funkstörung, alongside partner Michael Fakesch, De Luca is more than well-versed in the genre, having done a few remixes for high-profile hip hop and experimental acts such as Wu Tang Clan and Bjork. They've released an uncountable amount of records on labels !K7, Compost Records, Music aus Strom and Acid Planet, to name but a few. This is his first release for Detroit Underground.

Includes two fire remixes, one by fellow DU resident producer Valance Drakes, and the second by none other than Chris DeLuca's son, Lenny DeLuca.

Tralala Blip are an Australian unit of differently-abled musicians hailing from the Northern Rivers of New South Wales. Over the past decade they have carved out a unique position in the Australian electronic music community. Working to overcome a range of challenges imposed by their disabilities, Tralala Blip have created a range of approaches to instruments, performance and composition that allows them to seamlessly create music together. Eat My Codes If Your Light Falls is their first full length album in over five years. It charts out an entirely new sonic universe that is the resolution of several years of intense live performance and expanded studio experiments. Produced by Lawrence English, the record explodes their working methodologies and reveals a collective sacred heart that is fuelled by their intoxicating post-electro pop melodies and diarised lyrical poems.

Eat My Codes If Your Light Falls is in many ways the first work in a new chapter of what Tralala Blip are becoming. It resolves their experimental practices and focuses that energy within a tight framework of explicit song form and entirely personal production aesthetics. This is their voice, articulating their stories. It’s for us to listen and begin to understand that which lies in parallel with our everyday. Beyond their extensive performance commitments, they have presented their work as special guests of TEDx, have had a stage production created about them and have instigated many workshops for other differently abled musicians and artists. Their goal is to reconsider the nature of creativity, especially music making and to push these process beyond any sense of the normative or commonplace.

Celebrated internationally for their relentless pursuit of a level playing field in music creation, they have been fortunate to be supported by festivals such as Unsound, Liquid Architecture and arts facilities such as ZKM Kahlsruhe.

The future is expansive and multi-abled, Tralala Blip invite you to get amongst it.

Arguably the Netherlands’ most prominent grime artist, JLSXND7RS’ name is synonymous with some of the most iconic productions around, with a vast back catalogue including collaborations with Wiley, Footsie, Rocks FOE and Discarda. For the debut vinyl release on his fledgling label, Dark Knight, he’s brought out a long-awaited fan favourite alongside two gargantuan reimaginations.

From its brassy opening notes, “ Marching” is instantly recognisable – a minimal, yet menacing instrumental which has enjoyed countless plays from esteemed DJs including Slimzee and Sir Spyro since it first surfaced on the airwaves in 2016. It also comes with Mala’s seal of approval; the Digital Mystikz legend has cut the track to dubplate for use in his sets.

On side B1, dubstep royalty Caspa pares back the original to its base elements, instead introducing gritty basslines, mesmerising percussion and a grimy harmony to bridge the gap between the two genres.

The release concludes with a remix from Brighton innovator and Sector 7 signee J ook, which Outlook festival-goers will recognise. His melodic interpretation of the song includes swelling reversed synths, shuffling drums and cinematic breakdowns.

Bristol’s Dubkasm is an absolute pillar of the worldwide roots, dub, and sound system movement. In fact it’s hard to imagine the contemporary UK dub scene without them. Massive releases on Peng! Sound, Bristol Archive, ZamZam, and especially their own Sufferah’s Choice and Dubkasm labels have made Stryda & Digistep household names among lovers of contemporary sound system reggae. Holding down and forwarding traditional dubplate culture for 25 years now, “Two X Two” showcases two slices of two different tunes and demonstrates why they are among the world’s most beloved groups, a link back to the elder generations of Bristol sound, and a beacon to the younger.

The fourth instalment of Dub-Stuy’s riddim series takes a slight detour from its modern dancehall focus with a darker, hip hop influenced riddim featuring contributions from an international cast of vocalists affiliated with the label.

Santa Muerte Riddim puts forward a new sound for the series with a fresh beat courtesy of Brooklyn producer Jonah Freed. The slower 80bpm riddim combines a hypnotizing string melody, eerie sweeps and punching boom bap kicks bringing to mind the heydays of 90’s NYC reggae hip-hop or classic Bristol fusion styles (think the Wild Bunch, Portishead or, more recently, the Young Echo crew). In fact the riddim has a direct tie to Bristol. After Freed first made it, while studying in Chicago when he was just 18, he sent it to Bristol MC Rider Shafique and the two eventually connected for a show in town where Young Echo member Kahn wheeled up the song. After that it was clear this was a riddim that needed to be put out into the world.

Taking turns on the vocal tracks are three artists with a wide stylistic range. Bristol’s Rider Shafique kicks things off with striking confidence, his laid-back flow flexing between boasts and elevated reflections to make ‘Santa Muerte’ a new outernational standard. Next up is veteran NYC artist Jahdan Blakkamoore who showcases his versatility and delivers an uplifting call to leave violence behind on ‘Liberation Over Liberace’. Pupajim from Stand High Patrol takes on the last version with “Open Mindedness”, an unexpected rendition of the riddim laced with a layer of Rhodes harmonies. With his unmistakable vocal style, the french MC urges the music industry to break down musical barriers and embrace the diversity of styles and sounds.

To echo Pupajim’s lyrics, the Santa Muerte Riddim is a testament to the rich history of fusion and eclecticism in sound system culture.

Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.

Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.

Surplus Ships is sort of an odd - beat based - vinyl version of Pomassl's Spare Parts album (Raster Noton 2009). With hints from his excellent Skeleton material released by Sabotage/Laton/Sex Tags Mania (1996-2007) his new mini-LP takes fragments of dubstep, techno, skwee, even oriental atonal melodies and merges it with Pomassl's signature industrial attitude and avant sense of compositions. Enter the quality sonic world of Pomassl!

A leading figure and respected elder in the Teklife family, Traxman has waited patientlywhile releases from young upstarts like Taso and Dj Earl have been enjoyed by footwork lovers all over the world. Now the time has come for Traxman to take centre stage, presenting a collection of new material that demonstrates his mastery of the footwork sound. Tekvision arrives hot on the heels of Teklife 005: Greenlight by DJ Manny, bringing an interesting contrast of production methods and styles. A prodigious crate digger, Traxman has provided the sample sources for many of Footwork's classic tracks over the years. So while DJ Manny recorded the majority of the vocals on Greenlight himself, Traxman uses his expert sample flipping techniques to add the human element to his productions. Traxman is a mainstay of the Chicago underground, with a discography stretching back to the golden era of Dance Mania Records in the 1990s. Ghetto House was an important precursor to Footwork, and Traxman was a key figure during this transition.

Echoes of the Ghetto House sound resonate through Tekvision, with tracks like Drop It Down and Twist The Party Out paying homage to the origins of Juke and Footwork music. Be Gagen feat DJ Earl is a beautiful opening track, with a soulful, melancholic synth unfolding patiently over a half-speed beat. When the bass kicks in after 1 minute 10 seconds it has a profoundly uplifting effect, and the late arriving vocal rounds off the composition perfectly.

Many of the tracks demonstrate brilliant and playful manipulation of vocal snippets, with Let Me Get Up and Control Ya Bitchezzz among the finest examples of this art. Finally,Tone Deaf and Whop Line show yet another side to Traxman's sound with an intoxicating and angular mix of bass and bleeps.

Kenrick’s signature sound is haunting and richly melodic, phased and distorted, lending an ancient-to-the-future vibe to everything he touches, whether rootical collaborations or left-field version excursions.

Alter Echo & E3 and Headland had been wanting to collaborate for some time, and Kenrick’s high-plains-meets-far-east vibes seemed the perfect opportunity to build something truly unique.