Beats Vinyl New Releases - News

Rinse are proud to present the debut full-length album by London producer Faze Miyake, released on 2nd October.

Four years since the firey swagger of his debut single 'Take Off' and its follow-up Second Six exploded onto dancefloors, Faze Miyake is a definitive and thrilling realisation of his signature sound. A sharp, vividly rendered club record, it casts his characteristic sonic traits in shocking hi-def, with disorienting hi-hat whirls and string stabs steeped in ever-present, body-shuddering sub-bass - a dazzling, dreamlike vision of 21st century sound system music.

Peace, Love & Music is the result of Swindle's experiences touring globally over the past two years. Constantly meeting other talented musicians and seeing new places helped naturally form an album that brings together friends and family from across the world together for the first time. This is the first single from the forthcoming album toasting the Grime roots in London with JME, and saluting Swindle's love and respect for Glasgow and Mungo's Hifi alongside Flowdan. It also serves as a homecoming of sorts for Swindle back on Butterz, the label he has been part of since its inception in 2010. Today they hold a prestigious Fabric club residency in London, and are one of the premier brands in UK underground music. Peace, Love & Music is the first LP to be released on Butterz, a landmark release for the. Musically he continues on the jazzy path that his records on Brownswood and Deep Medi put him on the map for, but expands on the live instrumentation, the tempos and the breath of talent featured. Swindle has brought together as many people as possible that share the same ethos, and that is spreading a positive message through music.

Endgame is the self titled debut EP form the London based producer and DJ. A regular on NTS with his show 'Precious Metals', Endgame has been developing an uncompromising sound that resists categorisation and definition.

Born out of club culture, he is pursuing acceleration and experimentation in dance music. Utilising a disparate sound palette, that references kizomba, grime, reggaeton, drill and dancehall, finding a commonality in their rawness and energy.

Emerging from a renegade scene in South London, that includes Lexxi, Kamixlo, Uli-k and Blaze Kidd, Endgame seeks to reinvent the club soundscape, pulling apart the conventions of tempo, time signature, and genre."

Rinse are proud to present the debut full-length album by London producer Faze Miyake, released on 2nd October.

Four years since the firey swagger of his debut single 'Take Off' and its follow-up Second Six exploded onto dancefloors, Faze Miyake is a definitive and thrilling realisation of his signature sound. A sharp, vividly rendered club record, it casts his characteristic sonic traits in shocking hi-def, with disorienting hi-hat whirls and string stabs steeped in ever-present, body-shuddering sub-bass - a dazzling, dreamlike vision of 21st century sound system music.
1 - The Nest feat. Little Simz
2 - Burciaga
3 - Ice Cold feat. Inga Copeland
4 - Ocean Drive
5- Below Me feat. Sasha Go Hard
6 - Firefly
7 - None Of That Stuff feat. Family Tree
8 - Fusion
9 - Snow Leopard
10 - What U Say feat. Izzy Brooks
11 - Yung Sneyga

300 ONLY

Dark0, an artist well-versed in the art of producing grand and cinematic, melody-laced beats, debuts for Rinse with both acclaim and crucially, momentum. First fully recognised by his self-released 'ZERO' mixtape and a sparkling debut for Visionist's vital Lost Codes imprint back in 2014, his work is a testament to focused, self-fulfilling vision and the contexts within which he hopes it be judged.

Although the music still fits best within the blurry, ever-changing world of instrumental grime, his approach to sampling, melody, texture and composition set him apart from his contemporaries. In short, he's an artist operating firmly in his own space.


'Solace' itself, a five track ode to a multitude of themes - beauty, heartbreak, love, anguish - is a gorgeous introduction to his producer mindset. Melodies shimmer, pitched-up vocals glisten and 808 licks add power and bite in a shiny, picture-book world of an EP. The dreamy, thugged-out heartache on lush opener 'Abrasion' is a nod to tracks like the cult 'Sweet Boy Pose, while the thinly-veiled bounce and playful melodies on 'Fuchsia' are attune to richer, more measured sound design - the sort that could comfortably provide a foil for the next generation of US rappers.


The markedly robust 'Spiral' sees Dark0 make a fleeting return to his grime-centric roots with gritty kicks and razor sharp claps offset by a succession of sweet, swirling melodies in a marriage of rough and smooth, while the stunning, buoyant calm of 'The Past' draws Solace to a close in a fitting, self-reflective mood. There is also room for US rap producer starlet Suicideyear to turn a dark, sorcerous hand to 'Abrasion', reversing the melodies and flipping the bassline to prove just how fluid and multi-contextual Dark0's sound really is.

black 7inch in stamped heavy cardboard bag

Local Action are proud to present White Magick, a six-track EP by Deadboy that represents his longest and most complete release to date.

Deadboy is an innovator. His 2009 and 2010 singles 'U Cheated' and 'If U Want Me' predicted exactly where UK dance music would go after dubstep, though unlike a lot of the acts that followed in his slipstream, Deadboy's music was never polite, andbassline house, dancehall and grime were as big influences as the r'n'b, pop and garage sensibilities that he combined so effectively. His vinyl-only single 'Fireworks' remains a high point for that era of UK club music, with Drake singing the track's praises on radio.

Future EPs like Blaquewerk and Here saw Deadboy continue to apply his unique approach to club music, but on White Magick, he lets in influences from outside the club in ways that he hasn't before: the influence of new age and ambient music is obvious from the opening notes of 'White Moon Garden', while 'Copwar' and 'Sad Sniper' are the two grimiest tracks that he's released yet. 'Inner Palace', meanwhile, is a reminder that six years on from 'U Cheated', there's still no one combining experimental club music and pop hooks like Deadboy.

dBridge on production and vocals.

Fresh off the back of the first release on the label, Blacklink Sound are back with another all star compilation, to fill your musical boots with.

Track 1, 'Caged' comes courtecy of Marcx in the form of a weightless, ducking and weaving synth rendition by Strict Face.

Second track by Plata and Glot Is wifey riddim' vibes all round. Distant vocal lines wondering behind sub quaking bass melodies and chattery snare sequences.

Delving deeper to track 3, is another silk coated collaboration from Texas bound producer Rabit and ominous Grime goer Myth. A composition so smooth it'll run you a bath and even light some candles for you.

Lastly, Track number 4 progresses from warped vocals chirps into a fully blown flutter, when accompanied by its delicate strings, tremolo percussion and a confident kick drum that will assure this one should not be underestimated. This record is not to be missed. - Josh Dean (Blacklink Sound)

Improvised, outsider dance music from the Baltimore duo featuring the former drummer of Upsilon Acrux and the music director for Merce Cunningham'svavant-garde, dance company.

'A noisy, wildly chaotic, buzzing swirl of progged out electro, with vocodered vox buried beneath thick throbbing synths, and what sounds like real acoustic drumming, and percussion, all draped in a psychedelic murk, the production super tripped out and experimental... funky enough for the dance music crowd, but seriously freaked out and fucked up enough for everybody else. So good! - Aquarius Records

February sees the first release in just over three years on Keysound from Damu. Last seen on his debut album Unity' featuring Trim, he delivers four new intense sour sound constructions. This EP started as war dubs for Keysound nights,' explains Damu. I really like the competitive vibe of the scene in London and I worked on the EP across Manchester, Sheffield and Croydon from 2013-14.' Since my debut album my wiring has changed completely, it's the sonics of individual sounds that gets me hyped now and I think this EP reflects a bit more of a mathematical approach to music-making.' I've been tucked away in a few little studios trying to get back to a place where every element of my tunes sounds thrilling to me again. The title 'Holed up in the Hovel' is how I've felt while I've been working on it for ages.' I'm really excited by club music at the moment since moving to Croydon. I love dancing and there's a lot of exciting nights worth dancing at, that's been a huge inspiration to me recently. Making interesting sounds is my focus over making songs now, but considering it's all I ever go out to, it made sense to shape the noises into something like grime." Over the course of these four sour cuts - iPolice", "Whirlybird", "Holed Up In The Hovel" and "No Pain, No Gain" - it's clear Damu has driven himself towards not grime per se but something like grime' and beyond.

City Limits Vol 1.6-1.8 completes a hat trick of releases from Silkie on DEEP MEDi Musik and last before his highly anticipated and long overdue new album City Limits Vol. 2. This heavyweight four track EP sees Silkie deliver a diverse helping of his unique style. 'It's Late' with it's catchy vocal hook, driving drums and surging synth owes as much to Silkie's early garage influences as it does to the sound of Detroit Techno, 'Float' and 'Murky' are all about the weighty Dub influenced bass lines and keys alongside the super deep melodies and groove, finally the bumpin' 'Techfunk' with it's piercing synth, frenetic drums and G-funk style bass rounds off the EP perfectly keeping you wanting more and hungry for the next installment. Radio Support: Benji B (Radio 1), DVA Scratcha (Rinse), Gilles Peterson (Radio 1), Mistajam (1Xtra & Radio 1), Sinden (Kiss FM), J 5ive (Antisocial) (Rinse). DJ Support: Mala (DMZ), Skream, Benga, Toddla T, Joe Nice (Dub War).

300 ONLY

The 'Take Time' EP arrives in the middle of Mumdance's stunning run of recent form, which has seen the producer craft 2013's acclaimed Twists & Turns mixtape, release a series of starkly experimental yet devilishly funky club beasts in collaboration with Logos and Pinch, and travel to Cairo to work with local musicians as part of Rinse FM's Cairo Calling project.

The EP's title track draws upon Mumdance's long-standing love of grime, crafting a tightly coiled, ten-ton heavy club riddim, all frostbitten drums and shockingly stripped-back midrange, powerful enough to carve a rift deep into the mix. It features the quick-witted vocal play of rising London MC Novelist, whose bars dart swift and sharp through the track's acres of frozen space.

'The Sprawl' is pure futurist brutalism, all rattling bass pulses, eski clicks and broken propulsion reminiscent of Mumdance and Pinch's recent club heartstopper 'Turbo Mitzi'. 'Don't Get Lemon', produced in collaboration with much-loved grime veteran Spyro, completes the EP. Beginning life as an abstract, darkly cheeky devil mix, it switches mode midway into a freakily lonely, rain-soaked urban lullaby; an abrupt jolt in mood that, like the rest of the EP, is as bracing yet refreshing as being dunked in ice-cold water.]

Young Turks are excited to announce the release of SBTRKT's self-titled full length debut.

SBTRKT's debut album pulls off a series of impressive feats, bursting with fresh ideas, and yet sounding immediately familiar. Its sound-patterns and rhythms can easily soundtrack the ecstatic hands in the air dancefloor moments as well as reliving the monotony of the morning commute. Its influences are incorporated with subtlety and sophistication: dense enough to interpret, light enough to dance to.

While he has had multiple releases in single and EP forms, this is his first full length, and about that he says 'This release is the culmination of a longer period of constant writing and collaboration, tracks on previous EPs were written as singular pieces. This record is much more of a whole project, more representative of my thoughts and ideas as an artist and each track was completed with the aim to be coherent together.'

* Hot on the tails of the excellent EP on Cold Recordings, dropped earlier in the year, Manchester's Acre takes thing to Tectonic once again demonstrating why we should be paying plenty of attention to this exciting young producer. Acre glides across sonic landscapes of grime, techno, industrial/experimental with ease, melding a jilted sense of other-worldliness seamlessly with dancefloor sensibilities. A delicate tightrope to walk! Over the course of 'Icons EP', Acre explores and references his influences - expanding, developing and flashing light over towards the unseen.

* 'Ping' kicks the EP off, it's raucous hoovers tearing from the offset, soon to be joined by toxic breakbeats, bouncing of the walls; screaming it's demented jungle war cry at 125bpm. Guaranteed to get your heart racing! Follow on then to 'Blue Moon' which references grime instrumentals of years past, yielding a darker take to the more familiar Night Slugs sonic. Flip the plate and take a deep percussive journey with 'Icon' which sounds a bit like Shackleton might if he made his beats on a gameboy.. Finally 'Reload' winds down the EP at a more relaxed pace yet compromised - 'loaded with future-bass science and other mind melting sounds.

* Eugene Hector combines his two most well known aliases on his latest 12'.

* The A-side contains two tracks from Hector's house focused Tuff Sherm guise. The first, 'Scope', combines a dark chunky bass line with jacking drums and a slick Lil Wayne sample. The second Tuff Sherm effort 'Prime Engine' recalls the hydraulic pump of Steve Pointdexter but with a much more menacing feel.

* On the flip Dro Carey returns with 'Human Parcel', an ominous number combining a dark, brooding undercurrent, shuffling percussion and grimy strings. The track has been given a muscular club-friendly remix by Atlanta's DJ Vague.

The lead single off Usher's forthcoming seventh album sported something of a deceptive title; whereas most expected Climax to be about, well, climaxing, the record was more of a denouement, depicting the artist coming to terms with the fact that he and the woman he loved were drifting apart. By contrast, follow-up selection Scream, despite sounding much less like a bedroom burner, is actually about orgasms. Thematically, the record is a lot like Yeah!, but better! With an emphasis on the screaming rather than what's being screamed (and sans guest features). The sound, however, is quite a bit different; in keeping with current audiences' appetites for balls-to-the-wall club bangers, Max Martin goes for broke on the production tip, crafting a pounding, four-on-the-floor instrumental that builds to an explosive, synth-drenched chorus. Needless to say, Terry Raymond IV takes to the track like a fish to water, exhibiting characteristic confidence and sex appeal as he schemes about how to get an alluring female clubgoer into bed. Is Scream a worthy follow-up to Usher's previous release, and is definitely set for the top spot. Big club banger, enjoy the remixes!
- 6 REMIXES
- HEAVYWEIGHT VINYL
- FULL COLOR LABELS
- BLACK SLEEVE

*Hand-stamped white label* Slugabed follows his cracking 'Moonbeam Rider' EP with a bootleg bass excursion rewiring Busta Rhymes, Leon Ware and Kankick. The big cut is that Busta tune 'Dangerous', a dancefloor bomb flipped with hyper-coloured synth dissonance in his signature style. Flipside is a hugely crafty inversion of Leon Ware's '81 soul nugget 'Rockin' You Eternally', restructuring snippets of the original vocal and slinky lead against a backdrop of cyber-slydin' 808s and fluttering, psychedelic synth layers. A re-bump of Kankick's Say' completes the set on a juicy '80s boogie vibe. Aces

'I want to be known as Internationally Heavy' exclaims Spyro with just exactly the kind of passion and enthusiasm that makes him a breathtaking DJ. 'I swear I Just wanna make it man, I just wanna be in and out of the country doing so many different shows. It's like a dream to me.'

'I just want to be known as internationally heavy,' exclaims Spyro with just exactly the kind of passion and enthusiasm that makes him a breathtaking DJ. ' I swear I just wanna make it man, I just wanna be in and out of the country doing so many different shows. It's like a dream to me.'

Rinse FM's Sir Spyro is already living his dream, more or less. He's supported Nas at London's immense 02 Arena and survived a stuck deck at Glastonbury. But that's not really what makes him so exceptional, the kind of DJ other DJs dream about being.

What makes Spyro 'top 3 selected' within grime DJs, is his breathtaking ability to take the Pioneer CDJ1000 decks and make them into a musical instrument. This instrument makes crowds lose their minds.

In a club, on his prime time Saturday 7-9pm Rinse FM show or on this CD, Spyro is pure, focused hype. 'The way I select I will select any way, any how. I will mix a tune in the middle of the tune or at the beginning of the tune. ... On this (Rinse mix CD) I just wanted to throw them in the way I wanted to, because that's the way I do it.'

The mix, like his show, navigates skillfully through a blend of upfront dubs, exclusive VIP mixes and certified old school classics taken from the grime, garage, funky, dubstep and bassline canons. 'Yeah it's kind of a good look, because this is the direction I want to be in. It's important because as me being a music man, I wouldn't just like to be in one scene. I'd like to conquer a few things. I'd rather try out other things.'

There's no doubt he's trying new things, but there's one thing quite noticeably missing: an MC. While grime mic men are notorious for their disorganisation, this wasn't a case of MC gone MIA: through this CD and his radio show, Spyro's making a clear statement. As the genre has evolved, the balance of power has shifted in grime towards the MC. Spyro is re-asserting the DJs' rights. 'The DJ can live without the MC but the MC can not live without the DJ. Because listen: I don't really need an MC on my show. Why Because I've got his CD in my CD pouch and I could just play it. In a rave I could just play it so him being there wouldn't really make a difference.' It's fighting talk but Spyro has the musical firepower to back it.

Spyro began mixing in his bedroom 11 years ago. He collected records feverishly alongside DJ Maximum, who he met when he was

Martin Clark aka Blackdown
LDN January 2009

The title track along with "MY KINGDOM" come via the full-length album "III-MMXII" and also comes with a special previously unreleased track "DEEP IN THOUGHT". Another great slab of heady music from the LODUBS group. Includes download code.

Requiem 432 opens the EP with layers of harmonic vocals that pitch and slur into percussive crescendos. Requiemis also a short film, Filastine threw a funeral party for the age of materialism in Cairo's squatted necropolis, the City of the Dead.Sixty Cycle Drum's pumping lo-fi organs quickly transform into the album's most danceable track, flirting with the hyper cadences of footwork.Listeners will swoon for Murka'sgorgeous pentatonic vocal melody and string arrangement. The 808-propelled trap rhythm of Drone Silencesmay be this album's nearest reference to any recognizable genre, albeit with a spacious dub sensibility that places it far, far, away from brostep's yankee heartland. The title of this last track is a nod to the cover art, a Reaper drone painted in Pakistani truck-art motifs by Mahwish Chishty.

Local Action is proud to present the first 12' release by Inkke, Glasgow's most talked-about new producer.
Since contributing to Big Dada's Grime 2.0 compilation, Inkke has been championed by key DJs and tastemakers from Scotland (Eclair Fifi, Jackmaster, S-Type) and further afield (Mumdance, Slackk, Plastician, Cashmere Cat, Ryan Hemsworth). He also contributed to LuckyMe's 2014 advent calendar, and released an acclaimed cassette EP, Faded With Da Kittens, on the Astral Black label.

on limited coloured vinyl !!!

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.

Jean-Baptiste de Laubier, aka Para One, has always been an hyperactive guy. He first
started as no-nonsense hip-hop producer in the mid-nineties, making beats for undeground rap
artists. His recording studio was actually his one-room apartment in Southern Paris, where MCs
were coming on a daily basis, crammed around a mic, an MPC and a battered convertible.

At the turn of the century, he began producing his own instrumental tracks and soon got in touch
with the TTC people, then at the core of the burgeoning French indie rap scene. This was the
beginning of a new exploration in sound for him : from traditional rap, Para One switched to IDM
and techno-infused beats, fizzing with 8-bits FX and deconstructed grooves.

After TTCís first LP Ceci níest pas un disque, in 2002, for Ninja Tuneís rap sublabel Big Dada,
Para produced LíAtelierís (an indie rap supergroup) album for seminal Parisian label Institubes,
with his boy Tacteel, whom with he also started a live electronic project named FuckALoop.
In 2003 came the massive ´ Beatdown EP ª, and then TTCís 2nd album in 2004, B‚tards
Sensibles, two records that definitely proved how rap attitude and electronic wizardry could be
melt into one single sound ñ an idea many people didnít quite buy at the time. In 2005, Laubier
graduated from the FEMIS film school, and found the time to start working on his first solo LP,
the critically acclaimed Epiphanie, that came out in 2006 on Institubes.

'Pearson Sound, aka David Kennedy, returns to Hessle Audio for his second solo 12~ on the label. He lives in Leeds & co-owns Hessle Audio with Ben UFO and Pangaea. This is Hessle Audio's 16th release' Effortlessly blurring the boundaries of House, Techno,Duke. Funky, Dubstep to devastating effect.

Hotflush presents the third single from George FitzGerald: 'Shackled'. Having already dropped two excellent EPs for Aus and Man Make Music this year, George returns on Hotflush Two with three tracks embodying the style he has matured over the last two years.Using a sonic palette that melts the emotive flavors of UK garage & soulful house into a slower amalgam of dubstep and techno, this emerging London producer offers his own suave and enticing blend of bass music. 'Shackled' has already made a distinct impression as a standout track on Scuba's DJ Kicks mix compilation released in October.

Challenging the perceptual boundaries between noise+music and the potential for technology + architecture

after successful ep collapsed (r-n116) the bristol based project strikes back
with a full length album on raster-noton. once more james ginzburg & paul purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound.recur is presented as emptyset's third studio album, continuing on from their work with demiurge the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. the album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analogue processing. the work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point.

Challenging the perceptual boundaries between noise+music and the potential for technology + architecture


after successful ep collapsed (r-n116) the bristol based project strikes back
with a full length album on raster-noton. once more james ginzburg & paul purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound.recur is presented as emptyset's third studio album, continuing on from their work with demiurge the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. the album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analogue processing. the work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point.

Roska'sShocking EP is the latest release from the long-running Rinse producer and his firstfor the label since last year's 'Rinse Presents: Roska2' LP. It finds theUK innovator on his usual fiery form, drawing for his characteristic deftly swung percussion and grime-infused sub- bass pressure.




The explosive title track is the most overtly grimey Roska's sounded for some time, slow-buildingintro giving way to a pulsating bassline and caus- tic laser blasts. As with all his best work ittoes a tense line between visceral impact and house's perpetual motion groove, switching betweenthe two to exhilarating effect.
The EP also features two vocal collaborations. 'Changed' is an infectious slice of pop-infusedhouse, its percussive flurries and synth haze a back- drop for the chatty flow and sung vocals ofBirmingham MCC4- best known for last year's 'Off Track' and 'OoRITE'.
On 'Desire',Vanya's vocals soar above an anxious, fidgety beat whose whose drums rattle andshuffle within a thicket of interlaced melodies and bass blasts.
'Penetration Test' rounds the EP off in raucous style: chunky bleep motifs, razor-sharp handclapsand a deadly undertow of sub-bass, primed to stop dancefloors in their tracks before sending theminto feverish overload

South East London's Merky ACE returns with 'Play Your Position', the second of his two-part mixtape, released on No Hats No Hoods 14th October. Since the release of the first mixtape 'All Or Nothing' Merky's appeared on an EP with Last Japan, featured on Boiler Room (again) and has taken to more stages across the UK and Europe.




*Merky's brought go-to producers (Faze Miyake, Rude Kid, Splurt Diablo and Deeco) as well as some new faces (recent Columbia signee Shift K3Y, Smurf Beatz, Jack Mason, Mr V, Jammin) to make a focused yet energetic set of tracks. The production team combine genres effortlessly, with the trap leanings of tracks like 'Strawberry Rain', 'Don't Know' and 'Naughty' merging with Merky's idiosyncratic flow and lyrical content to construct sinister urban soundscapes. There's a fair share of experimentation too, with the maddening 8-bit arpeggios of title track 'Play Your Position' building up over three minutes to create something frighteningly intense and warped vocals of 'My Lady' constructing an eerie, disjointed background for Merky to exhibit his flow.
*Recognised for his intelligent wordplay and catchy adlibs, Merky ACE has been MCing both by himself and with his collective Family Tree (other members include Ego, MIK, TKO and Shif Man, along with producers Splurt Diablo and Faze Miyake), for nearly 10 years. Over 12 releases later and he's garnered support from the likes of BBC 1Xtra and Radio 1's Tim Westwood, 1Xtra's DJ Cameo and Kiss FM's Logan Sama. His notable appearances on Logan Sama's After Hours alongside P Money, Blacks and Footsie have shown off his variety of flows while proving that he can consistently hold his own amongst some of grime's biggest names.
*Alongside radio appearances, he's honed his presence with PAs at Prague's The Roxy, Lovebox and Hip Hop Kemp festivals and Boiler Room while featuring on productions from heavyweights Starkey, Rude Kid, Preditah and more. To top it off, he's featured on Dizzee Rascal's recent 'Dirtee Stank TV 2' and Baauer's 'Day of the Dead' mixtape, helping to expand his ever-growing fanbase that stretches from the UK to the Czech Republic, Japan and Australia.
*"Ready to dominate 2013" DJ Cameo (BBC 1Xtra)
"Gritty and honest but delivered as a real statement of intent" Clash
"Gritty, raw and unmistakably aggressive" Hyponik
1. Intro (Prod. By Jack Mason) 2. Chat To Me (Prod. By Faze Miyake & Rude Kid) 3. Play Your Position (Beckham) (Prod. By Deeco) 4. Invincible ft. Ego, TKO, Faze Miyake, Shif Man & M.I.K (Prod. By Splurt Diablo) 5. Strawberry Rain (Prod. By Faze Miyake) 6. Playtime (Prod. By Shift K3Y) 7. Plugged In ft. Tre Mission (Prod. Faze Miyake) 8. Crazy (Prod. By Smurf Beatz) 9. Trap All Day 2 (Prod. By Jack Mason) 10. Madness ft. M.I.K & Ego (Prod. By Mr V) 11. Dont Know (Prod. By Jack Mason) 12. No Comparing (Prod. By Splurt Diablo) 13. Naughty ft. TKO (Prod. By Jack Mason) 14. Same Old (Prod. By Jammin) 15. Every New Choon (Prod. By Faze Miyake & Splurt Diablo) 16. My Lady ft M.I.K (Prod. By Faze Miyake)

Royal T's first release for Rinse since last year's Rinse Presents: Royal T full-length finds the young grime producer on fine, rowdy form. Over the past couple of years Mark Taylor has been among the forefront of a new generation of producers devoting themselves to the art of the grime instrumental and its potential to be devastatingly powerful club music. Alongside forefathers like Terror Danjah and D.O.K, and contemporaries such as Swindle, Faze Miyake and Champion, his hyper-chromatic, high-energy productions have consistently worked to push the genre's essence in new directions.

Lead track 'I Know You Want Me' is a powerful case in point. An addictive, future-shocked hybrid that melds the bubbly swing of speed garage and two-step with grime's bumpy and distorted bass blasts, it rockets along at dizzying pace. 'Saints' is a classic, handclap-led grime tune, driven along by pirouetting synth arpeggios that rush up and down the register like a fairground carousel gone wild. 'Inside The Ride VIP' inverts 'Inside The Ride', turning it into a thrillingly chaotic, scattergun version of the unerringly focused original, which was released last year via Rinse.

As the triplet-led, disorienting rhythms of trap have become ubiquitous across UK and US dancefloors, so UK producers have been using them to inject grime with a new rhythmic energy. 'Koopa Shell' is a particularly smart and inventive exploration of the point at which grime atmospheres meet trap rhythms - its booming bass and multiple melodic/percussive layers appear to be continually shifting in multiple directions at once, making for a dizzying whirlwind of a club track. It's testament to Taylor's skill as a musical shapeshifter - he's able to draw from all manner of sources to inject his music with energy and vitality.

The UK scene has changed immeasurably since Hyperdub boss Kode9 released his Black Sun album two years ago. As dubstep, grime and funky mutated, so his own tastes gradually shifted, with his DJ sets increasingly drawing for the Stateside sounds of trap-inspired hip-hop and footwork.
*His new mix CD for Rinse, Rinse.22, documents the point at which his personal history in grime, house and jungle collides with those new sounds.
*The two tracks on this new 12" for Rinse - 'UH' (which features on Rinse:22) and 'OK' (EXCLUSIVE) - occupy that same zone between genres, finding him uncovering a thrilling point of contact between grime, broken UK house and the disorienting lurch of trap.*On 'UH' the connection to Kode9's history in UK club music especially is apparent - bounding along at house tempo, it repeatedly switches dramatically between the half-time lope of hip-hop, the deliciously swung shuffle of two-step and house's 4/4 pulse. 'OK' finds him exploring stranger, more rhythmically divergent territories: its strings of triplet-led hi-hat clicks and timestretched snares swirling wildly around each other, accompanied by a grimey synth melody. *It's simultaneously one of the strangest and most astonishingly funky club tracks in Kode9's back catalogue to date. Just as he's always done with his own music and the Hyperdub label in the past, both tracks revel in the possibilities for all man ner of bass-heavy music styles to intersect with and complement one another.

Jetzt auch als 4xLP inkl. MP3 Download Voucher erhältlich! "Grime 2.0" bietet einen umfassenden Einblick in die aktuelle Grime-Szene. Kompiliert vom Journalisten und Talent-Scout Joe Muggs in Zusammenarbeit mit Big Dadas A&R Will Ashon, gewähren sie uns einen exzellenten Einblick in die weltweit operierende Grime-Szene inklusive unveröffentlichtem Material von u.a. dem Grime-Godfather Wiley, Manchesters Dubstep- und Grime-Legende MRK1, Youngstar, die neuen Grime-Shootingstars Royal T, Preditah, Faze Miyake sowie spannende Newcomer wie Swifta Beater, TC4 und Mr. Mitch, um nur einige zu nennen.


























Space Cowboy VIP - Royal-T
28Machine Molester - Stenchman
29Arcane - Sinden
30Spray - Slackk
31Moonlight - Spooky
32Tunnel - Starkey
33Lazer Riddem - TC4
34Desi Bullet - Gumnaam
35Emergency - Threnody

After firmly establishing their Nu Funk steez in the digital realm with countless releases, London label Boogie Boutique reached into the glamorous world of vinyl in fine style just before Christmas with the double 12" drop A Year On Wax. They elect to continue their twelve inch shaped adventures with a label regular at the helm in the shape of Funk Ferret. The New Zealander has featured on many a Boogie Boutique release, as well as other Nu Funk labels such as Booty Pirates and Ghetto Funk, so keen observers of the scene will know what to expect. "Pushin' Forward" features the mic spitting skills of Imagine This, whose Mr Lif style delivery is the perfect foil for a trademark mid tempo bass heavy bump from the Ferret. Boogie Boutique have assembled a fine cast of remix talent too, with Big Beat veteran Cut La Roc dropping a fine sample heavy revision that allows the vox to shine. Fellow BB artist and Montreal dweller Nick Fonkyson adds some crunchy riffage to the mix, whilst the Funk Ferret's Regrooved Sound System partner DJ Alias concentrates on teasing out some bassline deviancy with some help from Benson.

*Second instalment in the 'King Original' series (First edition awarded 5/5 in Mixmag)
*18 previously unreleased Footsie instrumentals
*Includes tracks vocalled by Dizzee Rascal and Maverick Sabre
With renewed focus on its producers, the Grime scene - now approaching its tenth year - is in rude health. One of the artists leading the instrumental charge is Footsie, a veteran of the Grime and Dubstep scenes whose beats have been the toast of live shows and radio sets for years.
*In March, 'King Original Vol 1' - a compilation of classic unreleased material - saw Footsie claim Mixmag's coveted 'Dubstep Album of the Month' accolade.
*And having gone back...Footsie's ready to go forward.
*'King Original Vol 2' is an exploration of Grime, Bass and Dubstep with swing and bounce at its core.
*Beats used by Platinum-selling artist Dizzee Rascal and Maverick Sabre start proceedings, ensuring levels are set from the off. A couple of classic unreleased Newham General beats - 'Violence' and 'Move To The Beat' - follow, which will undoubtedly please heads on the underground.
*Channeling that raw, uncompromising Newham General energy throughout 'King Original Vol 2', Footsie shows just how adept he is behind the boards, drawing from decades of experience and fusing together forgotten elements of Dub, Jungle and Bassline to create fresh, vibrant sounds.
*On 'Congo' and 'No Matter', Footsie even pays homage to his roots and the Reggae music that first inspired him to become a musician, with deep, chugging basslines and sweet melodies that ooze real depth. It is in this mode that his ear for a great riddim, really shines.
*The key to successful artist volumes is progression, and here, Footsie's development as a producer is self-evident, proving that he, and in a wider context, Grime, will continue to lead the way on the underground, for many years to come.
*RADIO: Support from DJ's Spyro, Score 5, Julie, Plastician, Faze Miyake, N-Type and more on Rinse FM. Support from DJ's Logan Sama and Swerve on KISS FM. Support from Mista Jam on 1xtra. Regional radio across UK as well as Czech Republic, Holland and US also targeted.
*PRINT MEDIA: Review pieces to be featured in Wire, Mixmag, Trap Magazine, Clash and RWD.
*ONLINE / PODCAST: SBTV video specials (exclusive freestyles from MC's over selected King Original tracks)
*E MARKETING: Dedicated Braindead mailing lists reaching 3,000 subscribers
*SOCIAL NETWORKING: Twitter.com/footsie = 17,500+ followers. Twitter.com/braindeadentuk = 660 followers. Facebook.com/footsie.ng =6,000 likes.

Tracklisting: