Beats News

Produzent und Musiker deadmau5 hat seine neue große Vision fertiggestellt- eine, die sich wie ein Gesamtkunstwerk anfühlt: while(1<2) (gesprochen: 'while 1 is less than 2'). while(1<2) besteht aus insgesamt 25 Tracks und wird zum ersten Mal als Doppel-Album erscheinen. Was kann man nun von while(1<2) erwarten 'Es ist eine tolle Mischung aus dem heißen Scheiß, den ich machen wollte, und dem heißen Scheiß, den die Leute hören wollen oder von mir erwarten. Es ist eine ausgewogene Balance. Es ist jetzt nicht so wie, 'Oh, das ist ja voll die Kehrtwende, er macht jetzt smoothen Jazz'', sagt deadmau5. 'Als ich an meinem Live-Set gearbeitet habe, Setlists für die Show und solche Sachen, sind ein paar Tracks entstanden, die von Anfang bis Ende ziemlich gut zusammengepasst haben. Da habe ich gedacht 'Nun, wenn ich jemals ein Album oder diese Stück auf eine Art Album packe, dann ist das genau das richtige Format für die Anordnung dieser Tracks.' Ich habe einfach alles genommen und musikalisches Tetris gespielt.'

Extra Special Edition for the Label 3rd Year Anniversary
LebensStrasse presents:
"Your Unknown Imaginary Friend" x "The Glitterswave Beatwizard"

In late February Bok Bok revealed 'Melba's Call', the single featuring vocals by Fade To Mind star and BBC Sound Of 2014-listed Kelela. Now Night Slugs are pleased to announce an EP of new material from the producer and labelhead; his first full work since 2011's 'Southside' EP and its club anthem 'Silo Pass'.

Expanding on a theme first started on the 'MJT' white label in 2012, this EP sees Bok create a replicant funk, built with fragments of classics, arranged with a grime logic and weaponised with 2014 subweight.

Electronic auteur Actress (Werkdiscs / Ninja Tune) casts his hand over 'Rumble', taken from Kelis' critically acclaimed new album 'Food' via Ninja Tune. 180g heavyweight vinyl with black label in a black sleeve.

"Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation (...,) Lines of light ranged in the nonspace of the mind, clusters and constellations of data." Liar attempts to translate this definition from the very author who first coined the term, William Gibson, to a 4D vantage point. As such, he imagines not only every single point in infinite 3D space theoretically collapsed to a single point upon digitally trivializing distance, but, furthermore, the collapse of every discrete instance of said 3D space into a single, non-linear event, upon digitally trivializing time. Hence, "Cybertime". Functionally, this equates to music that, seemingly, effortlessly splices DNA from digital conceptualists as Fatima Al Qadiri or Oneohtrix Point Never, from retrofuturists such as Bok Bok or Surkin, from 90's hardcore stalwarts such a Special Request or Zomby, and from sound design heavyweights such as Amon Tobin or Noisia, all towards achieving a unified, stable construct of antique, classical, retro, contemporary and futurist sonic vocabulary.


Opener "Erumpo Ortus" is, potentially, the most cinematic of the six. With the opening sample beckoning one to "dance like there's no tomorrow", it's ostensibly driven by hundred-handed tribal drumming and monolithic choral manipulations. At its basis a simple oldskool electro beat, overall it's a rousing overture, most committed to the release's origin- and time-defiant aesthetic.


The title track is Liar's most grime-leaning track since "Alpha" (although, again, barely so). The sluggish-bass-driven, instrumental grime backbone is expanded upon with junglist references, a healthy serving of rave, and a Night Slugs-indebted sound palette. As it progresses, it becomes half adult vaporware, half "Jock Jams" revivalism, and all love letter to Golden Age sci-fi.


"Hekatonkheir" is a genre-obsolete piece of bass histrionics. Beginning with a titanic bellow that segues into cinematic orchestration, it timely explodes into dozens of distinct sounds thrashing about, nevertheless, as one single congruous beast. This volley of sound design goes through several distinct sections with operatic flair and pomp, sometimes seeming like a cut from Don Davis' work for the The Matrix trilogy, sometimes seeming like a saccadic dream sequence, sometimes seeming like a rhythmically-subverted neurofunk banger, and frequently punctuated by ethereal vocals chanting about Iapetus, the third moon of Saturn.

It's is a pretty groovy and energetic EP from uP & pG. Eastern melodies carry's vast expanses of Asia. Remix by Andrea Roma is delicious and particular, a combination of excellent pumping percussions.

This super limited edition 400 press is mastered by renown mastering veteran Beau and housed in the reverse-board Trigram house bag. FIRM SALE ONLY. STRICTLY NO RETURNS.
'The A side, Fire Key, features Ras Dago and is everything you'd expect from Alpha Steppa. Eastern influences, killer percussion, dread vibes and enough sub to put even the best soundsystem to the test. The B side, Shaka Satori, is an altogether different beast. It opens with an almost haunting stringed instrument, before the kick drops and prepares you for the impending undulating bass line. As Mixmag have said, Alpha Steppa's music truly does 'put the dub in dubstep'. And if you've not come across his music before, Alpha's Trigram release will definitely make you sit up and take note!' FKOF
More information: http://www.steppas.com/trigram

300 ONLY!!!

Tempa091 is a two-track collaborative 12 by Wen and Parris, featuring dramatic rollers 'Caught' and 'Collide'. Parris is the founder of rising label Soundman Chronicles, while the past year has found Wen exploring his own idiosyncratic, haunted visions of grime and dubstep.

Their debut for Tempa, it follows on from their collaborative track 'Time' earlier this year, which featured on Wen's acclaimed Signals album for Keysound. These two new tracks find them plunging still deeper into sparse, sensuous territory.

Shifting away from the harder angles and subtle garage flex of Wen's album, both 'Caught' and 'Collide' - which are regulars in the record bag of DJs such as Youngsta - heighten the atmosphere to near breaking extent.
'Caught' is all abrupt percussive tics, flickering melodies and snippets of voice that cut through the air, while the rhythms underneath reshape themselves in real-time, switching from grime's staccato bass blasts to sinuous, sidewinding grooves. 'Collide' is even more exquisitely fluid, with its drums and distant melodies swimming though a backdrop that's somehow monolithic and tantalisingly fragile at once.

With releases already under his belt with Cosmic Bridge and Civil Music, Danny Scrilla returns with a killer 12" released on
Rudimentary Records. The release continues Danny's exploration of cinematic bass heavy sounds, with a dynamic astral sound.
Bismuth rides the slowfast rhythm with intricate beats and a constantly evolving synth melody, on the flip Lone Ranger takes you on an epic journey into deep space. Already receiving airplay from Jay Scarlett who featured the release on Sounds Supreme, Boxcutter, proclaiming "Its his best release so far", Om Unit dropping Lone Ranger on Rinse FM's Metalheadz slot and Nick Luscumbe giving praise on BBC 3's Late Junction.

Compa returns to Boka Records for a special release, a multi-format single released on Limited edition vinyl; even more limited
edition cassette (yes, you read that correctly) and digital.
'Let Them' is the lead track and a rare collaborative production between Compa and Ipman, a raw and spacious piece of music
which, like a psychedelic trip needs to be experienced with an emphasis on set and setting, tune in and exit.
The flip 'Earths Orbit' is a tune that pricked up the ears of the Boka gang the first time it was heard, especially as it not only reflects
back on the early sound of the label but gives fresh perspective on that sound too, a masterpiece from a producer who can seemingly
do no wrong.

POLY KICKS is a new UK label run by Ed Russell
AKA Tessela. First single is the much anticipated
Hackney Parrot backed with Helter Skelter. Both
tracks are rich with the sounds of early UK hardcore
and show Tessela continuing on his breakneck
rhythmic explorations. Expect rough percussive
workouts and quality control of the highest order.
Support from Jackmaster, Loefah, Pangaea,
Pearson Sound, Paul Wollford, Truss,
Modeselektor, Addison Groove....

One Sided Dub Stepper killer remix. Limited edition, strictly. No Digitals. Fat Sound.

Superb stepping Dub Reggae in lovely Zam Zam packing

Really cool pack from Pushing Red, feat. superb UK Bass / techno tracks from ASC, Consequence & Martsman

Shaking ragga jungle and ragga drum & Bass. Very recommanded realese !

Receiving heavy support at radio on BBC Introducing, BBC Radio 3 (Late Juntion) and 6 Music with plays from Mary Anne Hobbs, Tom Ravenscroft Gilles Peterson and Nemone. Also supported on NTS, RTE and Resonance FM.

--


Following Hollowed - the Yorkshire based producer's debut EP for Sonic Router - and his successive collaborative EP with vocalist Segilola for the King Deluxe label, Bambooman returns with a reinvigorated arsenal of productions on the Dulcet EP. Pouring a lot of ideas into the seven original tracks he tackles numerous tempos, contorting his trademark brittle percussion and his command of bounding melodies across several different forms. "I feel like this EP is a good representation of the music I love to make - style wise," offers Bambooman of the EP. "I definitely spent a lot of time sculpting the overall sound that I've been developing over the last few years. There's a nice balance of musical feelings from the more dark minimal sound design evident in 'Birth' and 'Cast', to the classic kick/snare hip hop flex of 'Knox', through to the more up-tempo garage-esque feel of tracks like 'Dulcet' and 'Clasp'."


"Similarly to Hollowed, this EP is made almost entirely out of found sounds and field recordings that I've made and processed; sounds I've synthesized myself or recordings that were made and donated by friends. There's certainly more development and progression within the individual tracks and I feel like that's also reflected in the EP's sequencing."

Superb Dub Reggae in lovely Zam Zam packing

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

Der zweite Teil der - Ultra Deep Field Trilogie' aus Japan. Produziert von LLLL aus Tokio. Limitiert auf 200 Stück und gepresst in weißen Vinyl mit von Hand gedrucktem Cover. Der Künstler interpretiert das futuristischen Trilogie-Thema mit einer eigenen Mischung aus Vocals und Electronica.

The duo are currently tearing up the USA together and are about to host a DEEP MEDi special in San Francisco on 08.04.2014,
alongside Kahn & Commodo.
With support from the scene top dj's and producers, listen to one of the tracks exclusively via UKF after 21st April.

Mega City Industry is Ital Tek's sophomore effort for Civil Music. Formed of four liquid hybrids exploring Footwork's accelerated
template the EP splices the rhythmic memes of Chicago with UK sci-fi sonics rooted in classic '90s AI and jungle music.
With three albums for Planet Mu to his name and an uncanny knack of always sounding completely unique Ital Tek has been evolving his dexterous dance-floor electronica, techy IDM, glitch-hop and post-dubstep forms for approaching a decade. Impressively adept at shrugging off the constraints of genre identification his output has most recently been inspired by the febrility and tension/release of Chicago Footwork rhythms.
In addition to releasing on his own Atom River imprint Myson is now a regular contributor to Civil Music and his 2013 debut for the
label 'Hyper Real' further revealed his stylistic slipperiness. Morphing the rhythmic geometry around footwork's 160BPM tempo the release's highly melodic, nimble dance-floor sophistication was equal parts cerebral and hedonistic.
'Mega City Industry' continues where he left off and for an artist that has never put a foot wrong, with a catalogue which must be the envy of the vast majority of electronic musicians, it is with some gravitas we suggest that Mega City Industry is his most engaging work to date. Blending widescreen space and chimeric panorama with iron-fist industrial rhythms and cosmic dread Myson draws subtle, sinuous electronic connections between complex rhythm structures, sleek synth contours, frozen ambience and the darkside rush of growling bass. Rendered with breathtaking sound design the production is almost unfathomable - crisp and airy whilst pneumatic and heavy. Brimming in sensation, tempered skill and emotional mastery Mega City Industry is a sophisticated and expertly reduced EP.
An artist making some of the most exciting incursions in footwork to date Ital Tek continues to tour the world with his breathtaking live performances. Mega City Industry is released on 7th April 2014 on Civil Music. 12' and Download. Artwork by Edward Myson.

Hinter Name Brand Sound stecken die Londoner Hipster-Produzenten IG Culture und Alex "Bugz In The Attic" Phountzi - beide sind Pioniere der englischen Broken Beats- und House-Bewegung. Die vier Tracks ihrer "Nowadays Pressure" EP bewegen sich musikalisch zwischen Dancehall, 80s Soul, Jungle und House. Tipp!

Sly & Robbie present the 'Bed's Too Big' groove & rhythm, known worldwide as the song written by Gordon 'Sting' Sumner for The Police in 1979 and their album 'Reggatta De Blanc' (entitled in full 'The Bed's Too Big Without You') - strictly instrumental & dub style!

Two tracks of tough house from this promising young Bristol based producer. This is his second release following his debut on 'Badimup' and he is soon to have a release on the acclaimed 'Soundman Chronicles' run by DJ Parris.
The A-side 'Loveless' marries a bubbling bass line to crisp rim shots and snares; fans of both house and bass music will find something to get excited about here.
The B-side is a collaboration with Hodge who has previously released on Ytivil Donus and Punch Drunk. The track is all skippy drums and a depth charge like bass.

Nomine's third release on Tempa, following last year's spooked-out Nomine's War, is Enma / Zen Circle / Mindfulness. Containing his most expansive and exploratory music to date, pushing his already intricate and varied sound to new depths of atmosphere and intensity.
As their titles attest, the three tracks here are intense meditations as much as they are club firepower. Drawing equally on his love of UK sound system music and formally experimental composition and sound design, they further highlight Nomine's status as one of the most adventurous new producers operating in electronic music today.Lead track 'Enma' blasts from the tracks in flurries of metallic drums and plucked sino-grime esque melodies, an atmosphere heightened further on 'Zen Circle' whose reedy pipe motifs stalk through the mist like figures through a haunted forest. 'Mindfulness' rounds the EP out with shadowy, delay cloaked digital dub, riding out atop clustered kickdrums and roughly effected drums.

deluxe 5x 10" edition with 10 single tracks for the first time released together on an exclusive 10'' format which is a wink to the 10years anniversary of Ed Banger we celebrated last year

* STRICTLY LIMITED EDITION 300 PRESS, HAND NUMBERED 1 - 300, SHRINKWRAPPED & BARCODED
* Intent on nurturing the very best in electronic music talent from all over the world, SGN:LTD presents its latest discovery, Neuropol.
* Bristol born and bred, Neuropol is an artist full of innovation. Drawing influence from across all forms of creative art and film, his unique blend of electronica is awash with feeling, delicate production and a nod to the avant-garde.
* The 'Warning EP' heralds four tracks of beautifully constructed, spellbound bass music that packs a might punch. With a past steeped in hip hop and dance music culture, his cinematic widescreen production oozes class & emotion. In his own words..."Create something that touches the soul by not sticking to the prescribed norms." Neuropol.
- Already tipped by Sam Binga, Stray, N Type, Plastician, Jay Kenzo, Rob Da Bank, Om Unit, Rockwell, SpectraSoul, and Friction, there's a lot more to come from the Neuropol throughout 2014 and beyond.

12'' EP in sleeve with 3mm spine + download card!
This is a first 12" offering to the forthcoming album "Tropics Of Love" (featuring among others Luke Jenner on Vocals)
which will also be exclusively through us.

Fresh from supporting Jagwar Ma on a UK and European tour, the Cape Town band John Wizards drop the lush 'Muizenberg' as a single. Taken from their critically acclaimed and eponymous debut, the track exhudes southern hemisphere sunshine with a warm guitar figure sending a gentle bounce through the track. Lead singer John delivers a gentle falsetto before the track drops into a scuffy bass coda. Beatmaker extraodinaire Seiji turns a gentle piano line that you barely notice in the original into the centrepiece of his mix, running rhythmic, crunchy kicks and snares alongside bubbling filtered effects.On the flip The 2 Bears create a thing of beauty. A slow, rippling mix that's absorbed all the sunshine of the original, turning it inside-out and building the track up gently over a slow house beat, before dropping in gentle repeated vocals over the epic nine minute timespan.

Statt mit Beats aufgeplüschtem Remix-Reigen erwartet den Hörer echte Wertschöpfung durch Neuinterpretationen und klassischem Premium-Dub, die das Material auf eine andere Ebene hieven. Das Ergebnis ist so schillernd wie die am Projekt beteiligten Charaktere und Gastvokalisten: Brukky und Crazy Baldhead nahmen in New York auf, Victor Rice und der Angolaner Pitshu in Sao Paulo, Dubmatix und Ammoye trafen sich in Toronto, Sarah Winton (Manchester) arbeitete mit Dubvisionist (Hannover), der auch das Ambiente für Longfingahs Stimme gestaltete, Tokunbo sang in Berlin, Umberto Echo mixte in München, Dr. Ring-Ding schloss sich in Zagreb mit Dubolik kurz, und King Django sang und mixte in New Jersey alles selbst. Entstanden sind nicht nur 8 wunderschöne Vocaltracks, sondern auch dazugehörige eigenständige Dub-Versionen, denen die zweite Hälfte des Albums gehört.

Meet Wen: the 22-year-old production prodigy with his own bass-heavy sound built on a pulsing rhythmic backbone, a nuanced sense of environmental texture and coded vocal samples that interject like pulses. You could call the latter 'signals.' The album begins by building a space, setting the mood; settling into the kind of textures and temperament not often heard since the very earliest 'roots of...' era of dubstep - long before Wen's time. 'It's about bringing things down, creating space - some fresh air, room to breathe,' says Wen. 'Galactic,' resurrected from a corrupted Fruity Loops file on a lost hard drive, is ethereal Blade Runner grime. 'Lunar,' which features Keysound label boss Blackdown, is a Detroit-style night drive through Babylon. Like a breaking storm, the album builds in power and intensity. At almost exactly the mid point - during the bouncy but otherwise warm 4x4 garage relick of 'Swingin'' - the calm is punctured. 'Your neck...' it interjects... 'Your neck should be swingin' brother... ' Often sampled from dense London slang and live pirate radio, these are Wen's heavy signals; weighed down with coded nuance. Power, locale, identity, intent, inequality, sexuality, gender, diversity, energy: all are regular themes of these encoded pirate transmissions. 'When I send out my responses it's stamped with my identity,' explains Wen who recently remixed a classic from grime pioneer Dizzee Rascal. 'The album was a way to show some progression through that identity. It has some calmer, emotive moments but moves into some energy and brightness, taking the temperature down to a darker place but ramping the urgency and tension up towards the end.' Each signal is a like node in a spacious neural network; bursting into the moment only to swiftly retreat, leaving a spectre hanging, shimmering into the spaces between the spaces. 'We be up vampin'... in the spot...spot... spot...' echo's 'Vampin''. It's as if those neurons are firing off an implied silver screen narrative. 'In the spot...' leads you into a hot after hours club scene full of complex, interpersonal power dynamics of those living for the weekend. 'Every night... in my city... every night...' invokes cold night drives; a stolen BMW weaving through lanes of traffic, out running the drag of 9-to-5 monotony until the petrol tank ran dry. 'Girl, I gotta watch my back... because I'm not just any guy,' is the driver's illusionary hubris and neurosis. Is this vivid or is the signal corrupted In the space between the precise vocal node and the abstract cold plane lies just enough imprecision for the brain to backfill with widescreen outcomes. Who, what, where, why Wen. From this inflection point, the album's airwaves are alive with lyrical combat - so much so that certain vocal samples were still so
red raw they had to be edited for wider consumption. 'Time' offers to 'make the average man nervous...' before insisting 'time ain't taking it's toll/all it does is make me more cold.' In an era where the inner city youngers compete against preceding generations for even more deadly reputations, these are the warning signs, plucked out of the ether from an attentive listener and his inner city friend (co-producer on this track, Parris), sitting way out in the margins. So when we hear 'come, let's get lively' and 'we wanna go in...,' the line between suggestion and imperative is lost. We are getting lively and we are 'going in.' And so the album builds, into the dancefloor heater 'Signal,' that riffs and twists the malleable Yard fragment 'sit-nah' into 'signal', a frozen micro moment surgically extracted from one of the most legendary grime sets. As the alarmist grime horns and ruff soca beats build the sense of urgency, the vocal fragment gives way to an encrypted Morse code riff. Body movements can respond to a variety of signals it seems. By the time you hear Wiley actually spitting Wen's name over one of his beats, in the intro to 'Nightcrawlers (devils mix)', this language-dense album is close to reaching both its climax and it's logical conclusion: a full vocal with grime legend Riko. 'Signals were sent out from inner city London to who ever wants to listen, via whichever medium was available...' explains Wen of his past before turning towards the present. 'It only feels right to send something back.' Listen:

"DJ Sliink, springing from the Jersey Club scene, has built an impressive reputation for his contributions to North American dance music. So much so that Vibe Magazine included him on their list of 30 DJ's to watch. His angular, spare take on club music can be described as straight forward, as much as a punch in the face can be described as straight forward anyway.

Elevater Action's cadre of producers and DJ's emerged from the nascent UK Funky scene of 2010, running a monthly event that followed the bleeding edge of that sound as it morphed into the nebulous genre of "Bass Music". The collective hosted DJ Sliink to a packed house in 2012, and have featured a diverse range of artists including HXdb, Distal, Donga, Cosmic Revenge, Prism, and Mike G.

As a label, Elevater Action puts aside ego and theatrics to focus on forward thinking, quality releases for fans of the ever-evolving concept of the sound system. There's no better way of expelling hubris than using their third vinyl release to again showcase artists they respect and admire, this time via two of the best remixes of Elevater Action's own productions.

DJ Sliink's reworking of FBOM's haunting 'Jansen' gives a muscular edge to the original, with crushing bass and a stark intensity that's set to tear up vinyl sets everywhere. A longtime favorite of the EA crew, KingThing reworks Dylan C's fantastic "Invasive Species" into a thumping, slow-burn of uncontrollable gyration. The propulsive, but dark brand of minimalism exhibited by both tracks is primed to ignite the dance floor. "

2nd Drop are very proud to present the next Djrum opus, the widescreen masterpiece that is The Miracle, a three track aural tapestry full of cinematic textures, heart-wrenching beauty and taut dancefloor pressure. Djrum's 3rd suite of original material on 2nd Drop (check his Mountains and Watermark releases) opens with the 15 minute title track, The Miracle, striking out immediately with lush melodic tropes, pulsing technoid flourishes and a killer bassline with a rolling hypnotic beauty, before bleeding into a beatific landscape, packed with echoes of Krush style hip hop and forward thinking drum and bass,
towards the later part of the track. Note: this particular track has been split across two sides on the vinyl release.
The artwork is by James Bullimore, a 21 year-old experimental photographic and visual artist from London who often uses himself as a canvas for his work to explore his identity and a deep philosophical narrative about self and space. Check more of his work at jamesbullimore.co.uk

For the long awaited fourth release we are proud to welcome Promise One to the family... Teaming up with mancunian vocal talentSparkz for 'See We Roll', Promise One shows his sound design skills crafting a deep and intricate roller which Sparkz laces with precision wordplay. The sub-bass packs a firm physicality while carrying a whole lot of movement, weaving its way in amongst the rolling 2-step groove - this is an unrestrained dancefloor weapon... On the flip side Promise One is joined by Chord Marauders bossman Geode who brings his signature chords and groove to the mix. Rich techno-like chords play over some stunningly warm sub work; galloping hi-hats and swung half-time beats driving the tune forward. 'Chroma' is as rude as it is elegant, with thick rolling low-end infused with cosmic synths and atmospherics providing a fine- tuned equity
Digital exclusive 'Ghost Note' is included to complete the EP; a catchy vocal sample is layered upon a dense reese bass, with a
sparse beat which allows the sub room to manoeuvre. This is a skippy, swirling roller which gains momentum as it progresses
through, the organic touches of drum hits and tightly crafted beats raising the intensity after the initial drop - straight fire!
DJ support: Distance (Chestcast), J:Kenzo (Rinse FM), BunZer0 (Sub FM) mastered by Beau @ Ten Eight Seven Mastering
distributed worldwide by STHoldings

Brand new limited hand stamped white label from Lion Charge.

Since debuting in 2007 the Manchester-based producer has attracted acclaim for his pummeling, stripped-back dubstep tracks, becoming regular fixtures in the setsand radio shows of scene luminaries like Youngsta and Icicle.

A true minimalist, Biome's tracks are each composed of a bare handful of elements, but each placed so carefully in the mix that each percussive hit and synth motif hits with stunning force.The Cromos EP showcases the full range of the Biome sound. Each of its four tracks takes a strikingly different angle, from expansive and spacious halfstep to experimental yet focused dancefloor rollers, all united by their distinct ear for spatial arrangement and pinpoint sound design.'Cromos' itself is true peak time weaponry: a killer, tessellated techno-stepper primed to cause havoc in the dance, whose propulsive kicks and hi-hats rebound frantically through cavernous space. 'Delta's' rhythms are hard, brusque and broken, slowing the spring-loaded motion of experimental drum & bass to ataut, grimey shuffle. 'Genesis' swoops outward into thrillingly cinematic half step space, allowing dubbed-out detail to cluster and scuttle around the peripheries.

Hessle Audio is happy to see the return of Joe to the label, with two tracks of inimitable and curious dance music.