Beats News

Dubstep vs. Trap ... zwei der heißesten und vor allem basslastigsten Musikgenres auf einer CD! 18 der heißesten Dubstep und Trap Granaten auf einem Silberling zum Mitnahmepreis! Mit Tracks & Remixen von Borgore, Figure, Dillon Francis, Eptic, Wolfstep, Wildchild und vielen mehr!

Pangaea (aka Kevin McAuley) is one-third of Hessle Audio alongside Ben UFO and Pearson Sound - a label and DJ collective which has been operating since 2007.

The third release on his own Hadal imprint is another 4-track EP of techno mutations, indebted to both the lineage of UK soundsystem culture and US/European dance music.

Mastered and cut by Matt Colton at Alchemy.

Early support from Ben UFO, Pearson Sound, Blawan, James Ruskin, Surgeon, Shifted, Henning Baer, Benji B on BBC Radio 1...

On 'Sebenza', meaning 'work' in the Zulu language, South Africa meets South London as the LV trio of producers hook up with three of their favourite South African MCs, Okmalumkoolkat from Dirty Paraffin, Spoek Mathambo and MC / producer duo Ruffest. The first sessions from the album started two years ago, when one of LV went over to Jo-burg to DJ and hooked up with Spoek Mathambo on a tip off from a mutual friend. One thing led to another and they were introduced to Okmalumkoolkat, and on a later visit, to the duo of Sello and Max who make up Ruffest. Their talents as MCs and infectious characters are what drew LV to them, and by happy coincidence, the synthesis of their vocals and LV's music form something fresh, unique and playful. Across the album, LV's music is 'zingy'; analogue synths digitally propelled by multisided rhythms, that take off from the interzone between UK funky and kwaito house's bouncy rhythms, but detour much wider through the spidery, digital soca / kuduro of title track 'Sebenza', the afro-garage of 'Animal Prints', the scuttling triplets of 'DL' and 'Limb', the half speed grime of 'Zulu Compurar', the old school electro hip hop of 'International Pansula' and the Prince-like synth melodies on closer 'Ultando Lwaka'. The album shares a palette of sounds, but each track stretches those sources into different templates, each custom built with the MC's flow and topic in mind, slowed down and sped up where needed. The three MC's styles differ from each other dramatically. Okmalumkoolkat shifts schizophrenically through different characters; he's an Afro-futurist tech nerd on 'Zulu Compurar', a wired gangster on 'International Pansula', and on 'Spitting Cobra', a shapeshifting bad man. Ruffest mix shout outs to the thugs on 'Hustla', boast their uniqueness on 'Nothing Like Us' , bring the party on 'Thatha' and get love sick on 'Uthando Lwakho'. On 'Limb' Spoek Mathambo's rhymes dissolve into the rhythm like a holographic James Brown, while 'Work' answers Okmalumkoolkat's 'Sebenza' with instructional cheerleading over clicking beats. 'Sebenza' is a joyful listen, refreshing in its disregard for musical and verbal cliché. It brings to attention a handful of the awesome talent of South Africa's young generation of MCs over the finest productions of South London.

Unformated Bass Music, 140 BPM speedbreakz in an uncomon sense and very efficient (specially for the B Side). The record brings free dowload of Patric Catani's remixes.

Fill Spectre is a 25 years old Producer, DJ, Radio Host, Self-taught musician and sound engineer from Montréal, Québec, Canada.

Fill's love for left-field music and metal brings a special ingredient to his tracks that are to leave you reckless when listening to his beats. Discovered by Joe Nice in early 2015, he got into the scene with a splash. Signed on GourmetBeats first, Banana Stand Sound with his dance-floor wrecker ''Battle for Spice'' and now onto well-known established Encrypted Audio, Fill Spebctre music is one which we can't categorize as of yet.

2016 looks like a promising year with loads of forthcoming material and the search for a new sounds. Keep watch!

Seven 'Shaker'

* London's dubstep manifestor Seven opens 'Shaker' with a mystical arpeggiated rhythm that builds to an intense climax from the ground up. Its minimalistic behaviour, backed by dark edgy atmospheres, a square-waved lead & heavy-duty bass weight, captures the essence of the artist's vision. Seven has aimed for maximum impact with this anthemic A-side of his awaited 'UA015' release - and succeeds in stating the future Uprise Audio sound.


Seven & Joe Raygun 'Elevate'

* 'Elevate' follows suit with the raw vocal talents of Joe Raygun, who manages to infuse his conscious, mind-opening lyrics into the track's core. Combined with wild peaks, wicked grime-esque basslines and unconventional melodies, imprint head-honcho Seven has built a track of the highest grade. It embodies every aspect of a hot record, simply because its uplifting vibe isn't reworked easily. Every frequency it generates plays part in preparing people for the future carnations of Uprise Audio music - fasten your seat belts! Support from Youngsta, J:Kenzo, N Type, Hatcha, Kaiju, Quest, Bun Zero, Rinse FM and SUB FM

UK Bass legends Stanton Warriors return with their highly-anticipated seventh studio album Rebel Bass. Following the huge lead single Loving Me Wrong, proclaimed 'game changing' by leading tastemakers Mixmag, Thump and DJ Mag, we present a 4 Track vinyl sampler taken from the LP featuring 3 tracks from the lads and a Danny Byrd remix of 'The One'
Formalising this new juncture in the Stanton Warriors sound; Rebel Bass is full of thumping bass bangers that perfectly showcases the fresh, new sound they've been busy crafting over the last year and paves the way for an album that draws on their strong Garage roots; with infectious, radio-friendly songs sitting comfortably alongside booming club tracks, all underpinned by that inimitable bass sound we've all come to know and love.
Limited edition 12 Inch Vinyl in full Sleeve.

Techno deities James Ruskin and Mark Broom will release a collaborative album entitled Light Box in November.
The project, knows as The Fear Ratio, has seen two of the UK's finest proponents of no-nonsense, immaculately sculpted techno locked in the studio together.

Mengamuk seeps out from a Camberwell garret via the sweet sea scum of Terrengganu via a faint dusting of eczema via the DLR via distempered brass via engorged staves via broiled nuance via priapic 16ths via gentlemanly conduct via binary quicksand via Basingstoke via Beyer via a short in the spoken word via herring via industrial climes via salt via a fucking good slap round the chops via Korg via taxi highwaymen via viols & vials...once again Vindicatrix smears the air with the heady scent of amok...BM

Superb New Album from R-Dug... Dubbed African Music, With Gnawa to Bass Music... Splendid album ! Don't miss ! BIG UP !

After three albums for as many labels, Dean Blunt and Inga Copeland, also of the group Hype Williams, release their debut Hyperdub LP, 'Black Is Beautiful'. Amid rumours circulating, and confirmed by their 'advisor' Denna Frances, the album was recorded during a tremulous period for the two : Inga Copeland's Arsenal girls tryouts, Dean's 'Waschbärgate' trial (he was implicated in being behind a one night robbing spree across 16 taxidermists based in London and the South East, allegedly only for racoons) and his subsequent conversion to Nation of Islam upon being acquitted. 'Black Is Beautiful' is laced with their signature hazy glow and is full of crunched eurovision lullabies, kinetic drum machine jams, unsettling funk, smeared walls of synth, moments of unadulterated opiated bliss, mogadon rap, infinite coughs and insights into the odd sexual behaviour of crackers. The word 'EBONY' occupies the album's entire front cover space in bold white print. 'Black Is Beautiful' is red and white.

Chicago Footwork legend DJ Rashad rounds off an impressive year on Hyperdub with his first album for the label, building on two EPs which have shown the extent to which his and his numerous Teklife collaborators' sound have evolved in 2013. Named after the recreational cocktail of codeine and sprite, 'Double Cup' sees trad 808 footwork workouts thrown into collision with more recent mutations of the sound, presenting Rashad's most comprehensive showcase of the diversity and strength of the Chicago scene in 2013. The album drags hip hop, R&B, acid, house, techno and jungle into its footwork turbine, spitting them all out in recombinant fragments glued together with purring 808 sub triplets and jerky polyrhythms. The album warms up with a distinctly low slung, g-funk flavour, typical of Rashad & Spinn's collaborations with San Francisco-based Taso. Hiccuping divas grace the rhythms on 'Show U How' and 'Only One' and 'Everyday Of My Life' (with Phil), with the crew providing their raps on 'Pass That Shit', 'She A Go' and 'Kush, Drank, Barz'. The previously released 'I Don't Give A Fuck' marks the dark pivot point of the album, with the pace picking up in the second half with more driving 4/4 flavours such as the title track 'Double Cup', the thunderously jacking 'Acid Bit' with Addison Groove and Chicago house flavours of 'Reggie' and 'Leavin'(with Manny). The trip climaxes with the jagged breakbeat science of 'Let U No' and 'I'm Too Hi' (with Earl). 'Double Cup' is another indication that not only is this music still some of the most exciting, forward thinking music for the dancefloor that's around right now, but that footwork can eat anything.

Number five of eight in the Trigram series. Super limited edition 400 press housed in the reverse-board Trigram house bag. Raw, unadulterated tribal bass music with a deep roots foundation. This is the sound of Trigram.
JahYu: the Korean word for 'freedom', this is an artist whose music is rooted in the notion of freedom, freedom of sound, freedom of expression, freedom from mind and freedom of the soul. JahYu uses his creative freedom to connect with his ancestors and create music that somehow transports the listener through time and space. Oriental flute and string melodies slide effortlessly amongst powerful roots-based dubstep, creating a sound that is unique and full of flavour. This enigmatic Korean-German producer blends both sides of his heritage, the digital steppers that emerged from Europe in the 1990's alongside the traditional oriental music of his mother's homeland, Korea, augmented by a deeper exploration of contemporary bass music.

Horsepower Productions, and their ever present head honcho Benny ill, revered in underground music circles as among the key early innovators of dubstep, return in 2016 with their much anticipated fourth album: 'Crooks, Crime & Corruption'.

Continuing their working relationship, which stretches back to the early days of 2000, for the design of the 'Crook, Crime & Corruption' packaging, Give Up Art drew on the visual language of law enforcement — creating rolls of custom printed 'Police tape'. Each plain, unprinted 12" sleeve is wrapped by hand in the tape, sealing in the discs, and making each pressing unique.

An ambitious and varied record, it finds the group expanding their horizons and broadening their sound palette, while maintaining the unparalleled production chops that first made them such a force in the scene.Their pioneering early singles sought to strip UK garage of its slickness, adopting a stripped-down, dubbed-out approach that emphasised roughness and powerful bass. This was music for real heads, not commercial dancefloors.'When You Hold Me / Let's Dance' launched the seminal Tempa label, and even the term 'dubstep' was first popularised in a 2002 XLR8R cover story about Horsepower. The 2002 debut album 'In Fine Style' stands as one of the finest documents to emerge from the UK undergroundl, while 'To The Rescue', which followed in 2004, saw the group play a vital role in shaping the direction of the music they had made possible. 'Quest For The Sonic Bounty' (2010) sees Benny and co. double down on their core strengths.It's certainly the most sonically varied Horsepower album yet. Rhythmically diverse, 'Bak 2 NY' and 'Kuriosity' unexpectedly draw from classic house, while 'Criminally Insane' is the perfect conclusion to the album, ten minutes of breakbeat madness evoking a crazed dash through rush hour London.If previous Horsepower records were defined in part by a commitment to darkness, then the new album sees a certain amount of light emerging through the cracks. Just check the summer BBQ vibes of 'Bak 2 NY', or the balmy shuffle of 'Curiosity'. At the other end of the spectrum the sticky weed paranoia and industrial clank of 'Ruf Justice', all gunfire and sirens over punishing sub-bass.Two of the tracks you might know already. 'Good Ole Dayz' and 'Justify' - originally released together as a 12' back in 2011 - both appear here in new versions. 'Good Ole Dayz' marries dubstep wobble with an explosion of colour, while the decidedly psychedelic 'Justify' (a collaboration with guitarist Harry Keyworth) falls somewhere between Hawaiian surf and Morricone western.The group's love of cinema has always been one of their defining stylistic traits, and it's in full evidence on 'Crooks, Crime & Corruption', there's a refreshing patience to these ten productions, and a stunning command of atmosphere.Immaculately constructed and immaculately realised, 'Crooks, Crime & Corruption' draws from numerous facets of the UK underground and further afield in order to take you on a compelling, wholly immersive journey.

With releases on Black Box, Box Clever, System - and of course firmly planted in the mighty Innamind camp of artists - ZamZam is proud to forward our first 7' from the enigmatic LAS (Love and Sound) AKA Lassi Vainionpää of Helsinki.

Well-known to those that have journeyed alongside LAS during his live shows the last couple years, Traveling" is a deep journey into the post-dubstep ether - a classic Upsetters sample rotates and swims in strange orbits around a rubbery sub and LAS' signature conga-led percussion. Half way through the tune a 4/4 pulse takes over and the dubbing goes recursive and non-Euclidian, even while it drives that much harder.

"Omega Dub" takes a turn for the darker - the darkness of space. A hollowed out lead that sounds like throat signing cyborgs navigates the craft, propelled by insistent skanks. Spectral key flourishes bloom from the beyond, and hats and snares are pushed into an ever deeper reverb void.

Digital Music Volume One' was created using personal computing technologies to record, process and arrange synthesized sound into sequential melodic compositions and rhythmical structures. Utilizing technological systems spanning the last four decades of electronic music making, the tonalities and timeless atmospheres contained on this sanguine recording were inspired by visions.

Addison Groove releases another rattling body shaker with his new EP on 50WEAPONS.
Following up his recent album - James Grieve', Tony Williams aka the UK's footwork-jungle ambassador drops a fresh four tracker. This one is pure fiyah.
- Dat Ass', the records fierce opening track sounds like electro undergone a radical undercut. Maximal subbass meets a sceletized breakbeat, military percussions, euphoric vocal shouts and some actual whistle blowing to add that extra dancefloor discipline.
A2 features the late Dj Rashad and with its stunning title - U been gone' sounds like a hommage to one of footworks´ greatest. Syncopated kicks shuffle around a motown sample which adds a certain melancholy to the cleverly twisted jungle breaks structuring this track.
- Push it' brings some hi nrg flavour to the record and - Masamune', the closing track, brings the whistle back on a minimal Dn'B cut playing with samples that seem to come directly from the soundbanks of Source Direct and Roni Size.
A very fresh sounding dancefloor record deemed to be torn of the shelves by Djs, and praised by pirate radio and music magazines.
RIP DJ RASHAD - Never forgotten - Teklife shall prevail

Twenty years after the 5th Chapter, the story continues. Chapter VI celebrates the very best of today's underground. Limited Edition 3xLP. Twenty years is a long time. When XL Recordings released The 5th Chapter in 1995, the world was a very different place. Tupac Shakur was still alive, America was yet to elect a black president and the internet was just something you'd read about. Ecstasy, jungle and hardcore were shaping club culture in the UK and defining the way that a generation of youth moved, sounded and looked. The government had just passed the Criminal Justice and Public Order Act in a bid to kill off free parties, the tabloids doggedly printed page after page on the sins of raving, while the soundsystems of Britain rumbled hard underground. Two decades later and our world is unrecognisable. Kids MC off phones at the back of buses, artists collaborate without ever meeting and ecstasy came, went and came again. But one thing has always remained defiantly present - the underground. XL may have spread its antennae far and wide but at its core its DNA is made up of weird, outsider, two-fingers-up electronic records that crawl out of the concrete and onto wax. XL began as a label by selling 12's to rave DJs, with the best releases pressed onto an annual compilation. The last in the series dropped in 1995 as the label widened its scope. Twenty years on and now is the time to reconnect with the genesis of XL. XL Chapter VI is a vinyl-focused release that wholly embraces the chosen audio format of the decade - all artists on the compilation will be releasing club-ready 12' EPs on XL, a throwback to the dancefloor artillery attitudes that were cultivated at the turn of the 90s. The Chapters provided a regular platform for artists concerned with reshaping the underground and consequently, culture. Think of Liquid's 'Sweet Harmony', 'Everybody In The Place' by The Prodigy or 'DJs Take Control' by SL2. These are names and songs that led a new wave of dance music. Fast forward far into a different millennium and those names have been replaced by a different crew forging a path into new futures. Zomby, Powell, Kaytranada, Novelist, MssingNo, GILA, Homepark, Hugo Massien, rLr, Mumdance, Novelist and Special Request are the artists that are endeavouring to shape not just a way of dancing, but a way of thinking. This part of the story may feature different production techniques and new aesthetics to the last instalment but its spirit remains totally the same. It's a celebrated tenet of dance music that it must look back to move forward, so the snaky acid basslines, brutally sparse beats and the synth melodies that soundtrack the post-club early hours, are all still there. Electronic music is more than listening to records. Our appetite for lowly lit basements packed with people and equipped big soundsystems is endless. This collection is a celebration of that primalism, an uncompromising look at the very best of the world's underground - a journey through the clubs, the cities and the culture. The story continues.

The 'Free Fall' EP shows a transition from the 'Dark Energy' material, the cartoonish hysteria of 'Eu4ria' and the industrial strength drums and hoover stabs of 'I Am The Queen' show a ravier side, more of a nod to the dancefloor than on her debut album. These are followed by 'BuZilla' a tribute to and re-version of her mentor RP Boo's 'Heavy Heat', with the track chopped into even more jagged shapes than the original. The EP ends on brand new track 'Nandi' which is the first fruit of new experiments exploring a deeper, more poised new sound.

Ist es der berühmte Lucky Punch für Sonar Kollektiv, oder eher eine logische Konsequenz für den in
München ansässigen Niko Schabel und dessen Combo Radio Citizen Egal, es passt jedenfalls wie die
Faust aufs Auge, dass nach "Berlin Serengeti" und "Hope And Despair" das dritte Album von Radio Citizen
beim Berliner Hip-Label erscheint: "The Night & The City" klingt wie maßgeschneidert für Sonar Kollektiv! Auf
den insgesamt 13 Stücken setzen Schabel und seine Co-Musiker zu einer hochexplosiven Mischung aus
Latin Percussion, Funk, folkigem Soul, Afrobeat, poppigem Dub, Ethno-Jazz, Bossa Nova, Hip Hop und
Blaxploitation-Soundtracks an, bei der Live-Instrumentierung und Samples auf Augenhöhe stehen. Schabel
ist nicht nur ein Multi-Instrumentalist, der auf Holzblasinstrumenten, Keyboards, Percussions und dem Akai
MPC-Sampler gleichermaßen zuhause ist. Ihm gelingt auch das seltene Kunststück, zahlreiche Musiker,
Genres, Stile und Einflüsse zu einer zusammenhängenden Einheit zu verschmelzen, die wahrhaftiger ist, als
ihre Einzelteile. Tatsächlich entspricht das Album dem typischen Bristol-Sound alter Schule, ohne an
irgendeiner Stelle nach Trip Hop oder Big Beat zu klingen. Famos.

Inside Nomine is the much-anticipated debut album from Nomine. Released through Tempa it finds the enigmatic producer travelling beyond his acclaimed, soundsystem-demolishing 12's to explore the deepest reaches of inner space. A reflection on the power of sound to reshape how we experience reality, it's a remarkable, immersive soundworld of a record — delicate and contemplative, fleet-footed yet overwhelmingly forceful.
Inside Nomine feels like the culmination of these musical voyages. As a former student and lecturer of sound design andadvanced music technology, his debut album brims with fascination at the psychologically affecting qualities of sound.Although still sonically kindred to dubstep, it occupies a genuinely self-defined musical space, where oceanic halfstepriddims like 'Shockwaves' and 'Zen Force' collide with the thrillingly exploratory broken techno of 'Stickman' and'Menacer'. Elsewhere he leaves any notions of the dancefloor behind entirely: the eerie voiceover of 'Nomine's Ego'coils through free space amid gorgeous striplit harmonies and airlock hiss.At the album's heart is Nomine's astonishing command of space and atmosphere. On 'Blind Man' and 'Reticent Shadow'he matches simmering martial arts movie dialogue with music that bristles with Zen-like discipline and focus, while'84600' and 'Hide & Seek' wield silence like a weapon, dropping pinprick melodies and percussion into the echochamber and remoulding the air around them. The spaghetti-western freakout of 'Dark Is The Night', meanwhile, recallsthe haunting visual psychedelia of Alejandro Jodorowsky's cult film El Topo. Finally, the spine-snap drum 'n' bass ofcloser 'Confusion' abruptly jolts you back to the club, bruised and elated - a fitting return to physical reality at the end ofan album that takes joy in subverting it at every turn.

Tunnidge (Deep Medi, Chestplate, Tectonic, Get Darker, Ghost Records, Origin Audio) explores esoteric realms with his debut album. Mobius Strip is a continuous psychedelic flow of electronica fluctuating between 140 & 160bpm permeated with soundscapes and vocal imagery.
SUPPORT: Mala, Pinch, Distance, Darkside, Hatcha, N Type, J:Kenzo, Youngsta, VIVEK, Kromestar, LX One, Leon Switch, District, Sleeper

Limited Vinyl promo. Caspa 'Not For The Playlist EP' Part 2. This 12'' is serially sick. Absolute killer from the dopest ghost.

MssingNo returns with the 'Fones' EP, the London artist's debut release for XL Recordings. TIP!
MssingNo first came to prominence in 2013 with the release of his debut 'MssingNo' EP on Goon Club Allstars. The EP immediately sent a seismic shock through the underground electronic music scene, especially EP track 'XE2' which became one of the year's defining anthems and was named FACT magazine's 'track of the year'. Now, following a series of remixes of the likes of Cashmere Cat & Ariana Grande and Shura, plus collaborations with artists such as Katy B (on her forthcoming Honey album), MssingNo is set to release his follow up to the 'MssingNo' EP

Available on 12' and digitally, the 'Fones' EP will be released on XL Recordings - a label based within a stones throw of MssingNo's Ladbroke Grove home studio - and features four tracks that showcase MssingNo's crystalline hybrid of R&B and rave. Overflowing with trademark anthemic, ultra-melodic hooks, the 'Fones' EP is a further pointer towards MssingNo's bright future. One track - Inta - was first featured on XL Recordings' 2015 XL Chapter VI compilation album, while 'Scope' was premiered earlier this week by Radio 1's Annie Mac.

'The 'Fones' EP also sees XL continuing to reconnect with the spirit of the label's early days. XL's initial reputation was built around a series of underground, club-focused, outsider rave 12's from the likes of The Prodigy, SL2, Awesome 3 and Jonny L. Recent releases have seen the likes of Zomby, Special Request and Hugo Massien harnessing that spirit and bringing it right up to date.

Hatcp is the collaborative project of the brothers Lucchese, already appeared and active in the Enklav crew under the names of Evn and Mudwise.

'Evaporate' is the first issue from Rabit's highly promising Halcyon Veil label, and also the exceptional solo debut from 21 year old s.w. Londoner, Myth. Infectiously emotive and nimbly weightless, it rotates seven slick grime and 2-step instrumentals including the instantly recognisable version of his and Rabit's flip of Ciara's 'Backseat Love', which is currently still under heavy rotation from Rinse FM. Its seven tracks were salvaged from a series of cheap, dying computers over the last two years and could be considered perfectly symptomatic of where grime is at right now - still succinctly FWD, but steeped in nostalgia for its formative era; which is perhaps understandable as he's been writing beats since he was 10-13 after hearing grime on mobile phones at school circa 2000's. It's all as sharp cut, raw and moody as anything from Zomby or Visionist, but with a unique, salty streak of emotion running thru its skeletal structures, at its most potent in the majestic 'Lonely' or the iridescent 2-step twinkle of 'Phoenix', whilst the tensile tendons of 'Evaporate', or the Apple-style Funky drums of 'Seven' grip the 'floor properly.

Fifth Opus from Amen4Tekno.... melting the Squatt Parties to the free party scene in a raggae and Tribe fusion... Life 4Land, Wicked Vinl Meltdown famillies !