Beats Новости

Drawing from a diverse array of contributors, Suggested Forms gathers the asymmetrical rhythms and polyrhythmic dancefloor freakouts from New York multimedia artist Tristan Arp’s first EPs. Alongside twisted reworks from Dominican dembow and reggaeton producer Kelman Duran, techno experimentalist Machine Woman, and Brooklyn’s Beta Librae, the Human Pitch cofounder’s syncopated rhythm science serves as a strange and playful take on leftfield bass.

2020 Repress

Joy Orbison has been celebrated for finding a sound that marries elements of house, two-step, jungle, techno and dubstep. Alongside the release of the gargantuan "Hyph Mngo" (released on Hot Flush in late 2009 and has topped the end of year charts across the globe) and material on his own imprint Doldrums, notorious mixes for Radio 1 have only served to cement Joy Orbison's renown. Both ‘The Shrew’ and ‘So Derobe’ pick up where ‘Hyph Mngo’ blasted off… devilishly catchy melodies and basslines, full of feeling and soul, evolve and grow as the arrangement develops to leave you on an almighty high. Big drops, super heavy drum programming and grooves that sound like only Joy Orbison right now. There’s shades of garage, shades of funky, shades of old school R&B. Pete wears his influences on his sleeve yet re-wraps them in his own unmistakable and truly unique style. Actress’s Neu Haus refix is the perfect foil for this package. A raw, almost unconstructed tool that in the right hands will create huge tension on the floor. Actress, aka, Darren J. Cunningham has in the last 5 years of running the Werk label set himself apart as one of the hottest A&R scouts within his field, having discovered and released some of the most widely talked about artists of the emerging bass generation, namely Disrupt, Zomby, Lukid and Starkey. As actress he produced the exceptional "Hazyville LP" drawing cries for a Mercury Award Nomination. He's remixed the too cool for school Various Production, written for the seminal techno imprint Soma and has recently confirmed an album deal to record on Honest Jons, the British Independent record label created and founded by Damon Albarn.

Shanghai’s game-leading Svbkvlt cru drop a vinyl edition of the Aphex Twin and Kode 9-backed ‘Cache 01’ set, brimming with forward club zingers by Tzusing, Gooooose, 33EMYBW, Gabber Modus Operandi, Zaliva-D and many more ‘Cache 01’ speaks to the abundance of prism-pushing electronic mutants presently at work in the Far East. Where too many Western artists right now are caught in the retro-vintage, shabby chic trap, every one of the artists featured here embrace the here and now, and what’s to come, with a fervently infectious alacrity and directness that’s hard to ignore and has seen the label showered with praise from all corners of the worldwide music media.
We’re all spoilt for choice with the highlights, but a few really stand out. The wildly ricocheting 808 proprioception of Gooooose’s ‘Arp Kicks’ is right up there with the best we’ve heard in recent years; Swimful impresses with the hard-ass, keening grime designs and descending sirens of ‘Nailz’; Indonesia’s Gabber Modus Operandi send us reeling with the mix of wailing traditional horns, gamelan and gabber kicks in ‘Sangkakala II’; Hyph11e precogs the deathly march of the robots with the reconfigured D&B and noise of ’Sinking’; MIIN strikes a class fusion of dembowdancehall and IDM in ‘Metagame’; and Zaliva-D exert a powerful sidespin with the rugged battery of ’Synthetic Sin’ inna Low Jack style.
Hands-down it’s the most vivid and thrilling showcase of new electronic music from the Far East,or anywhere else for that matter, in years. A real no brainer.
Flexing arm emoji. Fire emoji. 100% emoji.

Levi Bruce, aka Unknown Mobile, has been a prominent figure of the Canadian Underground for quite some time He resides in Montreal and has contributed to a number of North American labels. It seems only natural that he is the next release on Planet Euphorique. “Mobile Sorcery” could be his most rhythmically diverse 12” yet, recorded in just a couple of weekends it breaks free from 4 to the floor, experimenting confidently with syncopation, voices dipping in and out of focus. The opener Broke Melt presents a driving baseline filled with attitude, flickers of glistening synth arpeggios to soften the clanging drum patterns, working in harmony with delicate top lines. The hypnotic haze of textures carries through the record, A2 lifting in energy; shooting stabs, ricocheted sub base filling the space between commanding snares. The Beat Dub of Sorcery strips the track back to the essentials, resulting in a perfect tool for DJ’s building tension. Surprisingly keeping the essence of the tune whilst offering hints of more dubbed, percussive club pushing UK bass.

The B Side explores more of these unconventional rhythmic themes whilst highlighting the power of melody. Heavenly Depression accurately depicting it’s title, pulling on the struggle of your emotions through an ever-progressing lead woven tightly over sweeping pads. The closing track Wilders Lake ties the record together cohesively, lifted stabs to calm the tripped out percussion swooping in and out, growling bass alluding to darkness. The EP blends genres to create new feelings from familiar foundations, channelling Detroit inspired grit and emotion; well rounded to suit hazed and hedonistic dance-floors.

3 Feet Deep Records’ very first release is a 4 track UKG Various. With 5
artists behind the project, the label dives into the depths of UK garage.
Parisian producer, Pépé Elle, kicks off the EP with a deep melancholic 2-
step track, featuring dreamy chords. GLOCKTA, then, brings us to his
“North East Abode” with chopped up sugary R&B vocals and dancy
drums before flipping to the other side, where DJ Sunroof transports us
to the dancefloor with a solid banger built around heavy basslines. “Who
Goes There” by Earthnut sets a perfect conclusion to the EP, mixing rich
shuffling drums and old-school R&B samples.

Were you ever really here? Plug in to the history of feeling with four beautiful cuts of post-genre sentimentalism from YS. Traversing the landscape of urban emotion, the duo find solace in the momentary states of being in this post-internet epoch. On the A-side ‘Music Angel’ and ‘Dreams We Share’ explore the processing of healing through poignant dub and empathetic ambience. On the flip, B1 ‘Touch’ raises the tempo with a timeless slab of ghetto nostalgia straight from the early days of Databass Records. Closing things is ‘The Future’, a bold not-so-sanguine gambit around the end of modern times; truly a beast of its own. So here it is - now and always x

With a previous release on Hokkaido Dance Club, the infamous "Soul Mass Transit System" is back with another fire EP, this time for the Rhythm 'N' Vibe faithfull.

Underground garage music.

After a busy year putting on the hypest club nites and radio shows all across town, the Munich based club label Ruffhouse joins forces with the dynamic duo of Schlachthofbronx and their Rave & Romance imprint to bring you a long awaited 10“ record by Tymotica - a founding Member of Ruffhouse who now resides in Berlin.

3x12"

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

Clear Vinyl.

Raime explore exquisitely honed rhythmic instincts with scintillating results on the 2nd release on their RR label.

Where the London duo’s 2018 EP and RR debut ‘We Can’t Be That Far From The Beginning’ evoked a meditative mood from the info overload of their home city that left acres of space to the
imagination, the ‘Planted’ EP rejoins the dance with four tracks that icily acknowledge strong influence from Latin American and Chicago footwork styles in a classically skooled mutation of hardcore British dance music.

In four fleetingly ambiguous dancefloor workouts they carry on a conceptual theme exploring the digital subconscious with persistently invasive, alien ambient shrapnel - half-heard voices, aleatoric prangs, and tag-covered signposts - woven into and thru their tightly coiled and reflexive drum programming.

UPTOWN, ’Num’ flexes tendons and hips like a Leonce riddim that danced all the way from NOLA and ATL to the wintery dawn of a LDN warehouse, while the lip-biting tension of minimalist 160bpm jungle/ footwork patterns and jibber-jawed vocals in ‘Ripli’ suggests the Alien film’s protagonist lost in a mazy rave space, chased by H.R. Giger-designed face huggers (or gurning energy vampires).
DOWNTOWN, ‘Kella’ then catches them on a grimy dubtech bounce, cocked back and straining at the harness, before ‘Belly’ shuts down the dance with invasive, demonic motifs exploding over dark blue chords and palpitating jungle subs with impeccable darkside style.

WRXX4 is Y U QT’s first release on Warehouse Rave. Leicester based Garage new boys making some Melodic upbeat Bangers.Track 1 Can’t Hold it in is a Melodic Journey of Baselines/Strings/Vocals and skippy drums that compliment and set the tone for the EP. I Wanna Know is an upbeat Garage/House Club Track. Much like I wanna know we have Deeper Love a Housey/Garage Club tool With some Big basses and Nice Breakdowns. Fort Wibbler is a 4x4 Heater with a Dub Break down Champions taking the EP a little Darker. Slew Dem is a 2 step Bass Driven track ending the EP off in a moody but still upbeat style of Y U QT.

Spandau20 presents the next 12", another family affair including tracks by Fadi Mohem, Balas, Claus Schoning & FJAAK

Fresh UK sounds define Space Tours inaugural release. Both Mitch Wellings and Harry Wills represent a new wave of exciting artists, prepared to take influence from multiple genres to create unique, futuristic, ultra-effective dance floor weaponry.

UK Garage drum programming, electro zaps and minimal vocal stabs can be found hovering over a thick multi-layered acid bass squelch on A1, ‘UK Hun’. Harry Wills takes the remix into a deeper, 4/4 driven affair, seasoned delightfully with melodic acid licks and some tidy breakbeat action.

The B side opens with the heavy hitting ‘Cold Beats’, distinctly primed to create electric scenes from its rubbery bass lines and wild sound palette.

Last but by no means least, ‘Space Baguette’ soundscapes an epic journey through the stars. Combining classy, deep chords, scintillating synth line goodness and occasional bursts of rude bassline gratification. This one’s sure to gain galaxy wide attention from those in the know.

After 7 club-orientated releases that have found their way into a wide variation of record bags from Midland, Raresh, Ricardo Villalobos, Ryan Elliot, Craig Richards, to Patrick Topping, INSTINCT goes further into his sound over 10 tracks for the LP. Not to be missed.

More from the seemingly endless deep archives of Andy Panayi and Alec Stone's long-running A2 production partnership, which first tickled our senses way back in 1997. There's much to admire throughout, with nine-minute A-side cut "Seriously" - an acid-flecked fusion of bustling breakbeats, alien melodies, woozy chords and post-electro electronics - offering a brilliantly club-ready opening. They begin the flipside with what sounds like a turn of the millennium club electro workout (think punchy beats, pulsating analogue bass and moody chords), before adding a little UK garage flavour to their basslines and beats on the deep space bounce of "Feel The Rhythm".

Bash (AKA Julio Bashmore) graces Trules fifth release and the first in a series of ten inch singles with Jubilee, a sub heavy, minimal, UK garage dub that manages to marry the sparser techno vibes of his Conch releases with the subtle anthemic quality of his other alias. A real dance floor sneak bomb.

Al Wootton provides a two-stepping dub remix on the B-side, chopping the drums and echoing everything out to infinity.

Yellow Vinyl 2x12"

‘Dropped Out Sunshine’ is NYC mutant Madteo’s incredible new album of trigger-happy club graffiti on Demdike Stare’s DDS, weighing in a keenly anticipated follow-up to 2012’s cult-classic
‘Noi No’ LP for Sähkö Splitting at the seams with deviant funk and irrepressible attitude, Madteo’s first LP in 7 years forms a fractal, mixtape-like mosaic of asymmetric techno informed by skewed traces of rap, House, R&B and dancehall. Its 12 tracks are delivered in an enviably nonchalant, freehand style that’s become the Italian-American artist’s ear-snagging signature since 2012’s ‘Noi No’ and ‘Mad Dip Revue’ albums, and also a dozen 12”s and mixtapes over the interim; all of which exerted heavy inspiration for everyone from Andy Stott and Joy O to Demdike Stare over the past decade, making this new LP a perfectly unusual fit for the anything-goes DDS aesthetic shared by label alumni including Mica Levi, Equiknoxx, Iueke and Shinichi Atobe.
Without beating around the bush, ‘Dropped Out Sunshine’ is a straight-up masterpiece of cut-up sampledelia bound to make the club dance differently. Crammed with sawn-off edits that never lose the thread, its wild and effortlessly inventive turns of phrase are anathema to linear club music convention, generating fizzing alchemy from mutually exclusive bedfellows such as dancehall and techno, or R&B and noise that could really only be executed by a producer of Madteo’s calibre. Yet for all its singular nature, the album is also patently symptomatic of the times,
sub-consciously parsing a gripping intimacy, personality and urgent yet elusive psychedelia from ubiquitous media overload.
Kicking off with another *****-sampling zinger ‘1 4 U’ (following his infamous use of ‘Marvin’s Room’ on ‘Noi No’), and ending up mired in the melancholy gauze of ‘The Lies That Bind’, at each step the
album effortlessly resists a struggle to square the nature of artistic expression. Fragments of gospel blues noise intersect gauntlets of filtered house fuckry, while restless Autechrian electro rubs up against uncoiled trap and needle-worrying levels of textured bass turbulence, leading to an outrageous turn of stuttering ragga-tekno in ‘Resident Alien (Broke-’n-Steppers Reluctant Club Mix)’ and a final side of collapsed, post-club styles that will leave listeners wondering wtf just happened, and ready to do it all again.

Livity Sound's final transmission of 2019 comes from the esteemed Freerotation resident and UntilMyHeartStops co-founder, Leif.

Quietly earning himself a well-deserved reputation for his outer-worldly production stance and forward-thinking approach to Dj-ing, Leif has spent the last decade refining his musical palette with a slew of releases including highly acclaimed LPs for Whities and UntilMyHeartStops. In 2017 he launched the TIO-Series label as a vehicle to showcase the more off-kilter rhythmical side of his own productions releasing contemporary anthems such as July V and Bluebird.

This new EP for Livity Sound continues in the exploratory TIO-series vein finding Leif in percussion mode, combining nimble rhythms, deep bass and hazy synths in his idiosyncratic style to dazzling effect.

This 12” vinyl release comes with brand new art direction from Tess Redburn in a full colour artwork reverse board sleeve.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

On his second 12", simply titled "More", Mischa Lively manifests a colorful world of vigorous techno journeys. On the A-Side, the record greets us with the psychedelic extraterrestrial funk of "Phuhkwiddem", followed up by the freestyle drum-break electro of "Pain in the Vein". On the flip side, the trip continues with the breathing techno pounder "More" which vividly deconstructs and rebirths itself through an agile series of peaks and valleys. The EP closes with the broken-beat grime of "WIP Limits", a finishing move that bounces with no restriction.

Released through Mischa Lively's own freshly-established New Love Unlimited imprint, a portion of all sales from More will be donated to the Equal Justice Initiative - an organization "committed to ending mass incarceration and excessive punishment in the United States, to challenging racial and economic injustice, and to protecting basic human rights for the most vulnerable people in American society

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.

3024 returns for another action packed V.A. EP with tracks from label head Martyn, UK Hard Drum master NKC, Washington DC local Djoser and an unreleased gem from Jacques Greene!

DJ Support
Hodge, Rob Smith/ RSD, FaltyDL, The Black Madonna, Ciel, Riz La Teef, LMajor, Candy Pollard, Barely Legal, DJ Guy, Mani Festo, Foul Play, Franklin De Costa, Lukas Wigflex, Stones Taro, 96 Back, Interplanetary Criminal, Ryan Elliott, Sherelle, Addison Groove, Deadboy, Sam Barker, G-23, Lorenzo BITW, Etch, J-Shadow, Eliphino, Sandy (Dr.Banana), Glenn Astro, Coco Bryce, Amy Becker, Laurent Garnier, Sean O'Keefe (2 Bad Mice/ Deep Blue) + more

It's time to rewind, reload and take one massive 2-step back to one of the biggest genres to come from the UK music scene. A sound that defined a generation and remains as popular as ever today. Ministry Of Sound presents Garage XXV. A 25 year celebration of the very best garage tunes.













 

An urgent, headstrong body of work, the LP uses the music as a mechanism for delivering ideas central to the group’s moral and political ethos. Vargas explores themes of power, identity, surveillance and environmental justice atop Rochman’s raw mix of rave synths, acid basslines, breakbeats and dembow rhythms.
While at times unpredictable, the album is unified in its fast and loose approach. A Mí Me Juzgan Por Ser Mujer (‘I Am Judged Because I’m a Woman’) is an anti-machista anthem, stylistically nodding to NY house. Though Vargas doesn’t identify as a woman themselves, they understand their experience as a woman in an imbalanced patriarchal society that excludes women, femmes and non-binary people. Habla Tu Verdad (‘Speak Your Truth’) emphasizes the need to overcome the stigma around discussing sexual harassment, offering courage and strength to those who may need it. Asegura (‘Secure’) deals with the unprecedented power of Big Data, which monetizes a surveillance based economy through its users’ data and behaviours. These themes are set to fierce unrelenting bpms, nods to gabber, and samples of a reality show where young men compete in a prison fitness contest. Caderona (‘big hips’), features a hardline perreo-tinged beat that carries Vargas’ vocals with refreshing ferocity.
Inspired by a cumbia song, Caderona offers a counterpoint to the male gaze, acting as an opportunity to demand space. Aquí describes the reality of a global corporate domination, where capitalist insatiability meets government inaction as we sit on the precipice of a mass extinction of our own making. Pelada hope to inspire critical self- reflexivity through engagement, building power, demanding space and action. Or as it is written in their liner notes: ‘ABRE TUS OJOS, LA BESTIA SE ALIMENTA DE LA EXPLOTACIÓN’ which translates to ‘OPEN YOUR EYES, THE BEAST FEEDS ON EXPLOITATION’.

Limited Warehouse find !

Vinyl only limited sampler of the forthcoming Clap! Clap! LP premiered by Gilles Peterson on 22nd October.

2x12" Purple Vinyl

Ascendant star of the new global underground, Slikback wraps up his first two digital-only EPs with three killer bonus cuts on a vinyl premiere for Hakuna Kulala, his prized sublabel of Nyege Nyege Tapes.
Hailing from Nairobi, Kenya via Kampala, Uganda, Slikback has rapidly attracted a wave of attention to his undulating mutations of current club styles, as found on the ‘Lasakaneka’ and ‘Tomo’ EPs between 2018-2019. Due to popular demand both those EPs now make their vinyl debut, packaged along with three previously unreleased zingers to weigh in the most significant showcase of Slikback’s acclaimed style and pattern in club circulation right now.
Distilling a range of inspirations from local East African hip hop to Congolese rhythms and Gqom’s cold percussion, plus influence from US trap and footwork, and the subbass common to JA and UK soundsystem cultures; Slikback’s music has arrived at a grippingly powerful sound which, while singular, is also entirely symptomatic of the thrilling styles emerging from Central Africa right now, and after many years of underrepresentation in the shadow of West and South African styles which have been popularised around the world.
On his debut ‘Lasakaneka’ EP Slikback swaggers from icy, robotic dancehall in ‘Acid’ to a gripping fusion of footwork and Gqom with a jungle bent in ‘Bantu Zen’, and dancehall techno drill on ‘Ascension’, along with the palpitating footwork pressure of ‘Venom’, and a nervy new ace in the itchy step of ’Shell.’ The follow-up of 2019’s ’Tomo’ meanwhile represents a mean progression of his sound; exerting a firmer control of his scudding bass rudeness in ‘Sonshitsu’, and the dissonant synth tone of ‘Gemini’, while the syncopated gabber styles of ‘Zuhura’ and ‘Rage’ give way to almighty exclusive joints in the hard seam of trap called ‘Kite’, and the Equiknoxx-gone-psycho styles of ‘Senshi.’
If you’re new to Slikback, trust this 2LP is the perfect place to get acquainted with his lucid, hi-tech madness, before checking for the full frontal futurism of his two new EPs in collaboration with Svbkvlt’s Hyph11e, Yen Tech, and Osheyack. But if you’ve already heard Slikback’s EPs, his Boiler Room at Nyege Nyege Festival, or witnessed his European tour dates, there’s surely no need to overstate the crucial nature of this “early years” 2LP comp.

* Last year it was estimated, that every minute 400 hours' worth of content was uploaded to YouTube, 2,430,555 posts were liked on Instagram, and 6,944,444 videos were watched on Snapchat. And these figures won't stay static. The amount of data we upload, and in turn the amount we consume every year, is growing exponentially. As this expanding data pool grows, making sense of it becomes concurrently more difficult; the distinctions between dream and reality, fact and fiction, truth and lie fade to obscurity.

* 'Information City', the sophomore album from Copenhagen's Tobias Hjørnet Pedersen aka Beastie Respond, attempts to reflect this world in a very direct sense. 'Information City' is the simulacrum in which we live and exist, where our cultural identities exist primarily as representations of a real without origin, he explains.

* Writing the album Pedersen set no limits on his sample sources, instead taking fragments from a vast array of media, reflecting on the themes outlined above. This resulted in 'Information City' being completely stylistically unchained, giving reference to everything from UK bass genres to electro, footwork and synthwave. 'Downloaded 4 R. D4wkins' for example pits Moving Shadow reminiscent rave stabs against juke-like percussive workouts, while opener 'Real Without Origin' recontextualises cliche´ trap-style drops with hollowed-out, swaggering low-end, calling to mind recent hybrids of UK Grime and American hip-hop.

* At other points, Pedersen eschews the dancefloor entirely. Tracks like 'Lullabies for the Lost and Forgotten' or 'He Used His Bench Lathe to Form His Wooden Sculpture' provide respite from the thunderous barrages of percussion with slurred melodies and dream-like anime soundscapes.

* Comprising the fourth release from Foul-Up, 'Information City' is a brave proposition for a second album. Pedersen tackles it with vibrance and audacity, inviting us into a fast-paced world of bright lights and unbridled imagination.

Launch event on September 5th in Image Movement, Berlin with Beastie Respond and Eva Papamargariti

INSTINCT 07 is here in force and welcomes Jack Michael to the label.

Introducing Lost City Archives - showcasing the sounds of the UK's underground. Kicking off proceedings we have the enigmatic new-comer(?) Ash Brown, delivering 12 inches of 90's tinged nostalgia. Crispy.

DJ Support
Coco Bryce - "Well havin this"
Persian - ""Highly recommended Bass Bin Business, Sounds like something i would of made..."
Dead Mans Chest - "Dutty & dusty, dope rhythms!"

OG Deth” is ragga for 2015. Wheez-ie twists and turns his way through genre tropes. Mixing elements of jungle, footwork, and grime, “OG Deth” bashes its way through the wilderness. Can you keep up?

Can you feel it? Wheez-ie’s 2015 update has been destroying dance floors all around the world for quite some time! “Touchy” burns its way through 90’s garage at a speedy 160 bpm. Not for the faint of heart!

Get ready for some original DJ culture!
As cassette tapes are making a comeback it is time for us to revive Intrauterin Tapes after a 15 years hiatus with a new release by Intrauterin Recordings mastermind baze.djunkiii who is
bringing on his latest mixtape outing „The Gangster Files“ for all lovers of original and classic UK Garage / Sublow as well as real Jungle / Drum'n'Bass headz featuring a massive vinyl selection
of rare whitelabel cuts and essential classics.

The history:
Originally launched in 2001 and operating until 2004 the Intrauterin Recordings sister label Intrauterin Tapes released eight volumes in these first years, making a previously unprecedented move in German mixtape culture in focusing on studio recorded, MC-free vinyl only DJ-mixes for true bass music lovers, covering a musical spectrum from Drum'n'Bass, DarkJungle and UK Garage, put together by both hot, emerging talent from the local Hamburg
underground as well as a special final edition featuring US-based (Dark)Jungle legend and scholar Larissa Mann a.k.a. DJ Ripley for a preliminary closing in 2004.

The title track, “We On 1” is the pinnacle of footwork minimalism. Gut wrenching subs compliment Rashad’s own vocals in this syrup laden anthem! Not for the faint of heart!

Rashad teams up with longtime partner in crime DJ Spinn for “Come On Girl.” Drawing from their Ghetto House roots, Rashad and Spinn have crafted a club banger guaranteed to destroy dance floors.

If Not Now When is the first release by Tizzy on Slivers. Created over 12 months in the Deep Blue Studios of Vancouver, Canada, the backbone of the 808 takes the listener on a journey through past and present. The purposefully short tracks on ‚If Not Now When' invoke the history of artists such as J Dilla, Madlib, and Prefuse 73 in its journey.

Tizzy has quietly been behind the scenes of releases and performances for a number of artists on Hybridity Records, the New Forms Festival, and a number of other projects over the past 20 years. Tizzy has performed and presented in festivals such as MUTEK, Transmediale, ISEA, the FCMM, the New Museum and Next Wave under a number of different monikers.

A rework on the classic "Blues For You" from Danny J Lewis & label boss Marc Cotterell