Beats Novedades

Official re-issue of a 90's classic!

Nahash lands on Shanghai’s SVBKVLT label with his debut album, a frenetic re-mapping of dembow and junglist blueprints made in the image of the label’s wild and thrilling programme, featuring a collaboration with Osheyack plus remixes from Elvin Brandhi, Gabber Modus Operandi and DJ Plead.
Following a crazy run of releases from 33EMYBW, Gooooose, Slikback & Hyph11E, GMO and others, ‘Flowers of the Revolution’ almost feels like an updated mission statement from the label; a wild and futuristic tangle of opposites inspired by the legacy of U.S. interference in South American politics, deploying a rhythmic energy that feels angry and vital.
It’s an Amen-heavy landscape disrupted by a world of incongruous sounds like some colossal babushka doll revealing layer after layer of angular and liquid rhythmic structures, from the symphonic strings and clipped gun reloads on opener ‘The Horns’ to the adrenalised dembow mutation “A Secret Christian Influence” and the more brooding sci-fi swagger on ‘Pluie Éternelle’
On the remixes, Elvin Brandhi enlists Kanja from Nyege Nyege Tapes’ soon to be unveiled Duma project for a brilliantly unhinged sci-fi jamboree that reminds us of the wildest and most exhilarating end of the DHR spectrum, Gabber Modus Operandi turn ‘A Secret Christian Influence’ into a stripped, prism-pushing KuduroXGabber fantasy, and DJ Plead provides the biggest highlight here on his closing ‘A Better Future’ refix; a widescreen, sub-heavy anthem with signature Mahraganat drums and fucking amazing sidechain pads that makes for an almost misty-eyed finale to the dance.

Nídia flashes peak time dancefloor chops on a club-ready partner 12” to her superb 2nd album.
Where the album explores slower, melodic taraxho and R&B, Nídia’s 12” is built strictly for the rave with four tracks of proper dancefloor shapes made in her own style of electrifying body music compatible with heat from Nigga Fox to Nazar and the kind of style you might hear in a Shannen SP set.
‘Chef’ boots off royally with militant snares and rave fanfares locked to a churning technoid flow somewhere between Kuduro, Baile Funk and EBM trance, while ‘Hard’ rolls out on a stentorian, rictus march recalling vintage UKF, and ‘Jam Master’ strikes up high intensity trance riffs synched to industrial strength rhythms a la Nkisi, and the tumbling drums of ‘Munun’ sidewinds off along rhythmelodic vectors recalling a tempered Shackleton piece or a prime, deep Peder Mannerfelt workout.

One of the UK’s most respected electronic artists, Al Wootton (formerly known as Deadboy) presents his first album under the Al Wootton name, Witness.

TONGA, the balloon filled rap, grime and dubstep party by Mike Skinner and Murkage Dave, had been a series of shoobs to remember. Copenhagen to Manchester to Berlin. Brum to Brixton. Usually arriving with a coterie of legendary UK figureheads and gobby upcomers in tow, like Kano, Giggs, Jammer or Jaykae, the pulsating essence of the nights needed to be immortalised.

The original plan had been to release a TONGA album. But as night moved to day, and day moved along to night, it… just didn’t happen. Instead, a new mixtape titled None Of Us Are Getting Out Of This Life Alive steps up to take its place. Recorded between work on the accompanying film to The Streets new album, it is the unpredictable sonic continuation of those parties.

Taking in UK Funky and twilight zone UK rap, and with guest spots ranging from Grammy nominated psychedelia sovereign Tame Impala to cult south London rapper Jesse James Solomon, as well as 2019’s key-fiend-friendly drum’n’bass collab with Chris Lorenzo, None Of Us Are Getting Out Of This Life Alive is the most eclectic and highly collaborative collection of songs from The Streets yet. Or as Mike puts it with characteristic distinction: “it’s really just a rap duets album.”

Every track on None Of Us Are Getting Out Of This Life Alive has one if not two guests, who, though underpinned by Mike’s distinctive lyrical flair, usually perform atop a genre or sound not previously explored within the realm of The Streets. “You know that thing where if you wore it the first time round, don’t wear it the second time round? I would never put on Aquascutum at this point in my life. It would be stupid, a pastiche of what I did twenty years ago. For all of us. Whereas now I’m going back and I’m picking things that I didn’t pick before.”

The inclusion of, say, Mercury Prize nominated punk group IDLES (who perform what Mike describes as a sea-shanty tinged track inspired by an overnight ferry to Dover) and teenage wünderkind Jimothy Lacoste help ground things firmly in the here and now. But there are familiar faces of the past too. Birmingham legend, Dapz On The Map, pops up on merky rap track “Phone Is Always In My Hand”. While Rob Harvey, previously of The Music and Skinner collaboration The D.O.T, tunes into pensieve penultimate track “Conspiracy Theory Freestyle”.

“The guests had to be into me, as much as I was into them,” jokes Mike, of the featured artist selection process. Really, though seemingly disparate on paper, the acts on the record are connected by their singular talent for “talking about normal stuff.” “All the different things I’ve tried to do, they’re who is doing that now.” “But instead of talking about abstract emotions on this record, I’m talking about things and objects and details.”

Couched in those UK and Euro wide experiences with TONGA, this results in tales of hardly partying, but partying hard. The path to excess. The morning trying to climb in under the curtains as you’re busy putting the world to rights. Like anything that happens between the nightclub and the bus home, there’s as much connection as disconnection in this world; as many new relationships forged as there are trails left behind from the ghosts of previous companionships past.

Communication, or lack thereof, plays a huge part in this present-day experience. “One thing I’ve ended up doing is talking about being on my phone,” says Mike. “It was very easy on my first album to say, well: where am I? I’m in a pub. I’m at home. I’m in a betting shop. I’m getting a kebab. It felt fairly straightforward and no one had really written about it. Whereas when making this record, everything now basically happens on your phone.”

These dual themes of nightclub and connection land the record in the simple yet eternally complicated prism of human interaction. “You’re ignoring me but you’re watching my stories”, on “Phone Is Always In My Hand”, is a black comedy mantra of our times. Same goes for “every girl has a dude in her inbox talking to himself” on the Oscar #WorldPeace featuring “The Poison I Take Hoping You Will Suffer”. References abound to missed calls (on opening track “Call My Phone Thinking I'm Doing Nothing Better”, Kevin Parker sings, trance like, about neglecting to call someone back) and “five minute” journeys (the kind where you lie about leaving the house).

The mixtape is the seventh full length from The Streets, who broke through in 2002 with the Mercury Prize nominated Original Pirate Material – widely regarded as one of the most influential British albums of the decade. Four BRIT Award nominations came that year too, for best album, best urban act, best breakthrough artist best British male solo artist. “Dry Your Eyes”, from 2005 follow-up album A Grand Don’t Come For Free, won an Ivor Novello for Best Song Musically And Lyrically. There was also a BRIT Award win that year, for best British Male Solo Artist.

Since then, and across his other records and guest features, Skinner has collaborated with a whose who of British music – from Kano, to Pete Doherty, to Giggs. In recent years, and with his Mike Skinner LTD label, he’s worked with acts like Flohio, Ghetts and Grim Sickers. When The Streets announced a comeback tour in 2017, tickets for the dates sold out in less than a minute. It’s all testament to the impact The Streets have had, across several generations of musicians.

And so, despite its humble mixtape beginnings, None Of Us Are Getting Out Of This Life Alive is a precise and very human body of work from a modern UK music pioneer. Emotionally poignant, full of one liners, club ready. More than anything, it’s exciting – a call back to those fun and responsibility free evenings at TONGA. Yet “the result is much more than I thought it would be. It’s become a real album,” says Mike. And so, as the new decade begins, so too does a new era for The Streets...

Next up on Blahh !! Records we have the 2nd release from Beforethbeatsbreak which is co-produced by Crazy bank. The E.P also includes a Re-edit of 'Closer' and a remix of 'Get to you' courtesy of Plastik People's Marc Cotterell

The second release of 3 Feet Deep takes on a darker tone, bringing together clubby tracks that are centered around strong basslines. Pépé Elle picks up right where he left off with “We Ain’t Taking Orders”—a furious track built around multiple hefty basslines, crispy hi-hats and snares, and a saturated 2-step beat. The following track “Alright Then” is a consistent construction of soulful chords and rolling snares with an altogether simplicity yielding the floor to the bassline to rule. On the first half of B side, London producer Ollie Rant spans garage to jungle, sneaking in an array of sounds from an amen break to some cheeky strings, all the while keeping you on your toes in the best way possible. To close the EP, ZeroFG offers a slice of his dark garage universe: a low-frequency bassline, deep-pressure kicks, and shuffling hi-hats and shakers, altogether threading the lines between fierce and dreamy—perhaps an accurate way to describe the entire EP

Madrugada is the Spanish word for those strange, seductive hours before sunrise. A familiar stretch of time for the seasoned raver –and for MJ Cole, an artist who’s spent much of his career exploring those magical moments. Yet despite so many nights in the clubs, some of his most powerful memories of the madrugada hours have nothing to do with dancefloor euphoria. “I've experienced a lot of early mornings, but having been up from the night before,” he says, remembering one special morning on the Severn Bridge, driving home from a solo gig and watching the sun come up. “For me, the early morning is a significant period.” With MJ Cole presents Madrugada, he sets out to capture that special feeling with an album unlike anything he’s done before.

The regular Bobby Donny producer gets his groove in check with 4 uk garage style edits of 90's era songs. Comes as a vinyl only, hand numbered series. Limited to an 800 run.

INSTINCT 10 is here, 4 heavy duty ukg cuts from 0113, Pinder, Holloway and Zac Stanton.

After a two year hiatus VARY imprint is back with their third installment called “HiConcentrated Music“ which is a 5 track strong trip through Footwork, Beats, Ambient & R’n’B Bits, produced by Schmeichel in his basement studio underneath the store. Fans of DJ Rashad, RP Boo, post Dilla beat scene to Jordan Rakei should dig this.
Comes with another homemade graphic design by Julian Kramer.

Voice print accepted
Machines and apes coexist
This is our future.

Nima & I met when we were next door neighbors at SF's Moulton Studios. I would hear the craziest bass sounds coming from his room and had to start asking for the hook up. His production skills have gone through the roof in the years since I met him, and he has mastered the art of the curveball track - evidenced by his debut EP on Trippy Ass Technologies. I am thrilled to welcome Nima to the TAT family.'
-Christian Martin

We wanted to make a promo text for this release, but then this message by Alphabets Heaven came thru:

Subtitles is my love letter to salsa. A torn, scribbled, badly translated love letter to an old address that the resident left years ago. But fuck it, it's still a love letter.

Every since I heard Larry Harlow's La Cartera about 12 years ago I've been trying to find out as much as I could about salsa. So much of it runs counter to everything I know about dance music, and yet it so clearly bangs. So on and off for the last 10 years I've been buying salsa, trying to work out how many imprints of Fania there were, trying to get my head round the horn arrangements, and generally having a great time with basically no contact with anyone who was actually a part of the culture in anyway. My Spanish is pretty bad as well, so all I really know is quite a few songs are about farmers.

Subtitles is my shot at salsa. My completely uneducated stab at something that's way too complex to just guess at. Not surprisingly, it sounds nothing like salsa. What's weird is that it sounds like pretty much everything else I listen to. I think in many ways it's the most honest thing I've ever made. By completely failing at making salsa I've managed to blend together all the club music, art music and everything else I've loved. You might hear some UK funky, or whatever the 2019 version of that is called. You might hear some minimalism. You might hear some psyched out shit. You also might hear a gigantic fucking mess. Subtitles is a translation to a film done so badly you find out more about the person who translated it than the film. I was trying to tell you about the film, but maybe you'll like the subtitles.

Shout to London Afrobeat Collective for the horns Memotone for the cello Deft for the Woos. Shout out to Scratcha DVA for being Scratcha DVA.

Repress

Properly head-melting debut album from Beatrice Dillon featuring/including contributions from Kuljit Bhamra, Laurel Halo, Batu, Untold, Kadialy Kouyate, Jonny Lam, Verity Susman, Kenichi Iwasa, Lucy Railton, Petter Eldh, James Rand and Morgan Buckley...bit early to call aoty 2020?

"‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity. Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo.

Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play. ‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system. With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy. Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo.

The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace."

Vinyl only - >
Printed sleeve.

4 minimal garage cuts by Kepler / Instinct.

Supported by ->

Enzo Siragusa, Rossko, Burnski, Tristan Da Cunha, Alessio Viggiano, TIJN, Dudley Strangeways, The Willers Brothers, Jeremy Weeks, Carlo Gambino, Nick Beringer, DJ Caspa.

Mojuba sub label a.r.t.less is very pleased to welcome DJ Ion for Portal Kvest EP. Although this is his debut DJ Ion is no stranger to the scene, being active in the community of art and electronic music in Berlin in recent years and probably best known for the party series KRACH together with his friend ADLAS of Answer Code Request, this very promising talent is bringing the heat with this fresh stepping four tracker. Being emotionally inspired by 90s Techno originating in Detroit and the UK and combing these influences with undeniable captivating musical currents like Drum n Bass, IDM, Dub and Breaks is DJ Ion's trade. He is creating a unique melange of sounds that feels right at home on modern dance floors while carrying enough creative weight and relevance to keep you entertained in your living room equally. As always let the music do the talking!

THE FISRT AUDIOTRIX ALBUM !!!!

10 Tracks by Ixindamix in multiple styles featuring Sim Simmer on The ones that left, Scallywag on Boom Boom Boom and Wotcha Braincells and Roberta Carrieri on Yodelix.
2 X 180G Vinyl in a beautifully designed full-colour picture sleeve with free download code inside.

What Ixindamix says !

"I’m extremely proud to present my new album “The Underground Tree” the first for over 10 years is out on 23rd May !

The title comes from a line in “Reserve the Right” – “We are family, I’ve got my possee and me, we’re fruit from the underground tree” the last track on the album, a rambling rap covering many subjects from climate change to data collection all written under the influence of a heavy hangover, where I foolishly decided it would be a good idea to get back on the mic. You can read more about that here …..

Also featuring on the album are Sim Simmer, Scallywag and Roberta Carrieri on vocals. From Bass House to Drum & Bass with a twist of Acid, Breakbeat, Ghetto, Garage and Swing, these 10 tracks are to be released on a double vinyl album available at the end of May. You can hear the megamix below.

Family is one of the most important things to us, whether it be blood or our larger sound system families, tribes or crews. They are the people that mean the most to us and make our everyday lives the best they can be. This album is dedicated to them all friends and fans the world over xxxx.

(Please note these are handpaintesd sleeves that have been handled and aren't always perfect - part of their charm - but please be aware)

One of 2020’s most distinctive new dance and electronic soul LPs, ‘Não Fales Nela Que A Mentes’ sees Kuduro auteur Nídia come into her own with a strikingly fresh, deep and original showcase of Afro-Portuguese dance music.
Five years on from Nídia’s debut 12”, and notable recent production and remix work for Fever Ray, Kelela and Yaeji, the Lisbon/Bordeaux-based wunderkind’s 2nd album lays out a supremely supple and crisply defined sound placing a critical, dare-to-be-different spin on elements of the African Zouk, Kuduro, Tarraxho and US R&B sounds she grew up with. Now after becoming something of a cult one-to-watch, and still only barely in her 20’s, Nídia’s sound has patently matured in terms of its emotional levity and pacing, but at no expense to the thrilling, rude angularity of her early 12” and 2017 debut LP ‘Nídia É Má, Nídia É Fudida’. Nídia’s music is now just cooler, concentrated and on-point stylish in a remarkable way that uncannily matches the mood of the times.
Showing off sharply honed melodic sensibilities and nudging her drums into singular syncopations, Ndia’s subtle but radical alteration to her sound now calls to mind beats by Timbaland, Lenky, The Neptunes or Equiknoxx (even LL Cool J) as much as her label mates on Príncipe. By stripping her sound down to its essence, rather than cluttering with FX or bait sounds, she’s arrived at a raw dancefloor blueprint that’s tough playing but sensitive, unafraid to go slow, heavy and heads-down in the club while also packing combustible peaks of excitement.
With effortless suss, Nídia shifts from an ‘Intro’ of experimental rave minimalism comparable to Rian Treanor,
to a mix of Arabic wind motifs and clipped Deep South bounce recalling Virginia Beach’s best on ‘Popo’, while a trio of ‘Rap’ instrumentals tilt the game from mutant drill to 3-step sickness and a super strong nod to LL Cool J’s ‘I Need Love’. Zipped in with the a bubbling 8-bit slow banger ’Tarraxo do Guetto’ and grimy shockout eruption of ‘Capacidades’, Nídia’s cool hand on the pressure gauge keeps interest rapt until the finalé fanfare of ‘Emotions’, which surely matches the likes of Lex Luger or The Dream’s brassy mini-symphonies for emotive grip, but in a less muscular, more sensitively ambiguous way that Nídia coolly owns.

Moscow trio Champion Sound debuts on Defrostatica Records with dancehall legend Hawkeye from Kingston for "Ghetto Youth", a hard hitting 85 bpm declaration to own the weekend with a little less conversation. The Russian jungle soundsystem crew vibes more casually on "Talk" but the tune can't shake the warning undertone. The b-side features two international remixes: the US vapourwave king Nmesh channels his inner crowd control abilities on "Ghetto Youth" whereas Sun People from Austria rebuilds "Talk" perfectly for an all-out 160 bpm breakbeat twist.

Champion Sound is a producer trio who played together in a reggae band and then decided to form their dub and jungle love into modern club tracks. Neekeetone, Distant Roots and General Koondoongoo are pushing a sound within the Moscow bass scene that is tearing down the city's techno barriers for a diverse vibe of dubstep, jungle and footwork. With a recently released 12" on Berlin based label Through These Eyes Records and DJ support by the likes of Om Unit,
Moresounds, J:Kenzo, Sun People, Mister Shifter, Mystic Pulse they are on their way to ravers worldwide.

Exceptional debut album of blue and abstracted trip hop from Cairo’s Dijit, making their first appearance for Andy Lyster’s YOUTH with a smoked-out, downbeat sound reminding us of Leila’s uber-classic debut album ‘Like Weather’, Tricky’s ‘Pre-Millennium Tension’, with contemporary echoes of Tirzah, Zuli and Msylma.
Perfectly low-lit and charged with a slow, nocturnal energy, ‘Hyperattention: Selected Digital Works Vol.1’ rounds up five years (2013-2018) of recordings made in Cairo by Hashem L Kelesh aka Dijit featuring a succession of guest vocalists who would come to smoke, hang-out and make music in his studio.
Undoubtedly echoing Richard D James and Björk-collaborator Leila as much as the off-kilter blooz of Tricky, or even Tirzah’s hashed-out lower case R&B, the set memorably introduces a fully formed artist who’s already worked with well known musicians and singers in Egypt and the Middle East, and is now primed for wider audiences.
Framing a strung-out and time-lapsed window into five years of work, the music could feasibly have been made any time between the mid ‘90s and now if it wasn’t for the hyper-modern production gloss that places it very much in the present, tracing the shadowiest smoke curl lines of classic trip hop with gently intoxicating/intoxicated vocals that match and smartly rub against the music’s woozy, rugged contours. The most enduring ghosts of ‘90s Bristol surely haunt the likes of opener ‘1772’ and the loping sexiness of ‘Morra’ (a cover of Abd Elghani Alsayed) which both usher in the presence of SD who also crops up on the sultriest and rudest highlights such as ‘Natfo’ and the soul-scratching funereal closer ‘We’re The Dead’. Beside the 808 heartache of ‘Bad K’ with its exquisite Karimaann vocal, the gruffer voice of AC Ghazy sits heavy on the dread pressure of ‘Babaakh’, and the mantric bars of Ott Eswed on ‘Zeed’ lend an ideal balance to the album in tune with what sounds like a Shackleton jam in ‘Lakk’, and echoes of Muslimgauze in the cracked instrumental ‘Soaad’.
Impressive in its nuanced range of low key but visceral expression, ‘Hyperattention: Selected Digital Works Vol.1’ extends a memorable introduction to a key Middle Eastern artist whose sound is timelessly familiar and keyed in for contemplative times.

Birmingham, UK’s sprawl of low rise warehouses and their links to the military-industrial complex inspires this crushing new take on the “Brummie” sound and spirit from former native Arash Moori for his longtime pals at Type In nine harsh and disorienting bouts of angular drums and hazardous noise texture, ‘Exothermic’ doubles down on the tonal and rhythmic brutalism of Moori’s debut for Type, ‘Heterodyne’ (2015). It forms a deep topographical reading of his home region’s maze of 1-storey munitions workshops, flyovers, canals, and spaghetti road systems, all intersected by the ghosts of Jungle pirate radio and lit up by hotspots of nostalgic reminiscence; places where he studied, walked thru, DJed atand protested with long-time friend and Type label co-owner, John Twells. Moreover ‘Exothermic’ is concerned with how this environment and the city’s progressive past affects the mood and music of its contemporary population, and how it ultimately came to inform the visceral nature of the “Brummie Sound”.
Working to a fierce, noisy aesthetic that’s been firmly expressed in hard-bitten Brummie and midlander music by everyone from Black Sabbath to Scorn, and even Coventry’s Delia Derbyshire, who acknowledged the infamous Luftwaffe blitz on her home city as a formative sonic experience, ‘Exothermic’ explodes with a tightly coiled, abstract-industrial energy that’s surely worthy of comparison with any of them. In fits and bursts, rhythms inspired by the city’s pirate radio jungle heritage clash with sheets of metallic calamity; sawn-off percussion ricochets the space like shrapnel searching for a target; and structures are torched like Raymond Mason’s municipal artwork ‘Forward’ which went up in flames during the city’s 2003 demonstrations against the Iraq war. It’s all intended to mirror a negative feedback loop of intensity between the place and its people, and does so with a mix of bostin’ glee and dark humour familiar to the region.
From this meld of psychogeography, subjective hauntology, and objective history, Arash Moori’s work in ‘Exothermic’ most cannily and explicitly results a simulacra of a place shaped by emotions, personal memories, and accreted histories, and rendered in a temporal flux as chaotically tiled and riven with radical energies as the place itself.

Mega talent Holloway drops 4 on the fast growing INSTINCT Imprint. The labels been getting huge support from Ben Ufo, Joy Orbison, Floating Points, Midland and this one does not dissapoint. Huge

UK-inspired hypnotism from Arkajo on his own imprint.

Montreal booty-house provocateur, Martyn Bootyspoon is back with his new EP, No. 1 Crush via Model Future. Over the course of four tracks, Bootyspoon takes listeners on a sultry journey that explores everything from deep house, to tribal grooves and techno rhythms. As irreverent as he is innovative, Bootyspoon's campiness and attention to detail shines on No. 1 Crush, whether it be through themes of acid-laced romance or modular synth ear-licking riffs.

Killer, one-sided grime instrumental from DJ Sinclair dispatched on Mumdance & Logos' Devils series. Placed beside Sinclair's Ricky/Gunman What (2016) one-two for Keysound, the sino-
futuristic instrumental pressure of Bells (RPG Mix) effectively doubles the London producer's tally of releases in fine style, slyding along Far Eastern scales in weightless
dimensions of liquified gamelan melody, zipping syn-flutes and fiyah-breathing Triton bass, all buffeted into sweepingly cinematic contours but all kept locked-on course for the
dance and DJs in-the-mix. Thanks to Sinclair's up-to-the-minute mixing sorcery and discreet use of sampled
dialogue, it's a strong cut above the instrumental grime field right now, and a mighty strong look for any and all in orbit of grime and it's current mutations. Hot tip!

This 4 track EP is a hot n crispy taster to the Ruffset label. Ruffset
owners Al and Ell wanted to create a label that puts fun,
cheekiness and charisma into its releases whilst keeping a
heavyweight line-up of underground artists. We have come from a background of underground dance music
and want to keep a vibe we know with our releases - Reflections of the Past. Sounds of the future.

Pugilist steps up on Trule with a four track EP of sound system club heaters across various styles and BPMs. From the broken UK garage of the title track, the crunching breaks of Untitled with ILK, the dub wise Junglism of Adversity with Tamen, and the techno dancehall variation of Portal. Something for all the dancers.

Garden City Movement's debut album 'Apollonia' is set for release on 16th March 2018. The trio of Roy Avital, Yoav Saar and Johnny Sharoni produce a blend of sounds drawn from their diverse cultural worlds, ranging from art-pop to experimental house to horizontally-aligned vibes.

Since surfacing at the close of 2013 with their breakout track 'Move On', Garden City Movement have released 'Entertainment' and 'Bengali Cinema' EPs, the 'Modern West' 12' in collaboration with The Vinyl Factory, climbed the Hype Machine Popular Chart with multiple singles, recorded live sessions for Boiler Room, Majestic Casual and FACT, opened for Bonobo, Caribou, Alt-J and played all over the world. The band's music video for 'Move On' received a nomination for Best Music Video at the LA Film Festival, won Best Video of The Year' at the MTV Israel Music Awards and the video for 'She's So Untouchable' screened at Raindance Film Festival in London.

Recording through 2017 at their studio in Tel Aviv, Garden City Movement took the time to explore their sound as a band. From the combination of dream-like vocals and cinematic-RnB in singles 'Slightly All The Time' 'Before I Fall' and 'A Means To An End' to the leftfield four-four of 'Mediterranea' and 'Sans Titre' or the ethereal jazz of 'I Knew Before I Met Her (That One Day I Would Lose Her)' and worldly influences of the title track - the heightened craft in their production is firmly felt across the album's 18 tracks.

After releasing three EPs, which each had a very tight deadline, recording the album has been a chance to grow. It's the first time we have been able to really take the time and experiment a lot in the studio, try to develop and deepen our language, come up with new sounds, and take our techniques even further'. - Garden City Movement

The album takes a darker path lyrically, exploring the breakdown of a fading relationship and the depression, loneliness and abuse that follows. While not explicit, this melancholy grounds the album in the real world. The fusion of forward facing production and confessional account of human-interaction frames an emotional and honest album of modern soul music.

'Logic1000' is Sydney-born producer and DJ "Samantha Poulter". After the release of her eponymous debut EP on Melbourne’s Sumac label, her music has made it into the sets of Four Tet, Caribou, Ben UFO, Floating Points, DJ Python and Anthony Naples amongst many others. Now based in London, 'Logic1000' has already performed in some of UK's best clubs including Printworks (w/Carl Craig, Larry Heard, Moodyman), Phonox (w/ Mount Kimbie), Bristol’s Motion (w/ Four Tet) and Corsica Studios (w/ DJ Python).

The Four Owls swarm into 2020 by announcing the long-awaited news of their third studio album Nocturnal Instinct dropping via High Focus Records on 17th April 2020. Since their inception in ‘11, The Four Owls have become best known for their thought-provoking, emotive and undiluted lyricism. They’ve never shied away from delving deep within and in doing so have carved a unique space for themselves within the Hip-Hop landscape.

With the collective comprising of Leaf Dog, Fliptrix, Verb T & BVA the foursome perfectly demonstrate the age-old idea that you can’t choose your family but you can choose your friends, The Four Owls have fabricated an honest bond of brotherhood that spills out into their music which can only be described as Hip-Hop in its purest form. At the production helm, Leaf Dog is responsible for creating not only the entire album but The Owls signature sound which they have become so infamous for.

Nocturnal Instinct is set to become a cult classic and features artists you rarely see collaborate with musicians on this side of the pond. Super-producer DJ Premier, who only ever works with The Owls in the UK, lends his golden era beats to single ‘100%’ - with his signature scratched chorus proclaiming The Owls as 'kings of their throne' - the follow up to their first monumental collaboration, ‘Think Twice’.

Also gracing the project is RA The Rugged Man, an artist has also worked with the likes of Notorious B.I.G, Mobb Deep, & Wu-Tang Clan, now welcomes The Owls into his hall of fame. RA chops it up on ‘Air Strike’ and brings his own East Coast style and fast-paced flow. Up next is arguably one of the biggest names to come from the underground in recent years, Roc Marciano. Marciano lures you into a meditative state in ‘Dark Days’ by carefully finding his place within The Owls unmatched beats. Nocturnal Instinct is a series of hand-picked tracks designed to challenge the status quo and educate.

The Owls continue to school throughout the entire album with
other appearances from the likes of Smellington Piff, Kool G Rap,
as well as Masta Killa (Wu-Tang).

Rhythm People are back with a great 4 tracker.
A collection of house & garage music from talented artists spanning across the globe.

Wicked 4 tracker of
.
Old Shady Grady & The Neighbourhood Character (OSGATNC for short) is the result of a chance meeting in Berlin the fall of 2013 between Eric Douglas Porter a.k.a. Afrikan Sciences, one of the most expansive and intensive musical torch bearers of modern experimental electronics and jazz, and Ari Robey-Lawrence, producer, vocalist, and DJ a.k.a. The Neighborhood Character, who began as a jazz guitarist and drummer. They quickly found a mutual bond and a musical partnership emerged soon thereafter, and debuted on Uzuri's The Wilderness Sessions with their EP, Tales from Caturday'.

Via their collaboration, Porter and Robey-Lawrence explore the intersections of diverse musical and emotional territories through improvisational, long format jam sessions-- experimenting both with a wide range of sampled sounds and expressive original vocals, sustained by pronounced, yet fluid rhythmic backbones.

Jordan GCZ says: I walked into their sound check at freerotation festival last year and was blown away. I feel privileged to be a part of putting this music out there'

Al Wootton continues pushing the Trule sound with the Operator EP. Spanning from the Ragga Garage of Levi, the UK Techno Breaks of Teresa, the UK Funky/dubwise stepper of the title track Operator and the minimal 2 step techno of Franz. All primed for the sound system and the dance floor.

No Fuss's 4th release offers some top talent from across the globe.
A1 starts with London's The Journey Men who create a deep, driving, moody track with a touch of soul. A2 see's Chicago's Local Options with their trade mark sound of Jackin Deep House. On the flip B1 is Saison's "A Good Thang". A feel good Deep House number with guitar, vocals, live keys, driving beats and bumpy bass. B2 sees the likes of veteran producer Cpen. Chris offers a classy joint that mixes the elements of Jazz, UK Garage & Deep House.

The enigmatic DJ Swagger is back on TYR, this time with five garage inspired rollers. From Bristol to Berlin, these tracks cover a lot of ground. Each copy will come with a signed sticker from the man himself.

Compression and expansion, focus and surrender, tension and release - the elusive state of balance is less of an inert, perfect condition than it is an interaction or moderation over time between polarized points. Rarely is it defined nor clearly prescribed. Through careful examination of the factors and conditions involved can a possible pathway be uncovered, in any particular scenario. The attached transmission is not a declaration of balance, nor a prescription towards it. But rather, it is like a snapshot captured of an object in motion.