Beats News

While we wait for the follow up to last years heavy hitting Tayi Bebba the 'Tuscan speedball' returns with a new EP of sizzling world beats to reignite Summer!In contrast with common thinking Clap! Clap!'s beats are as indebted to the Inuit tribes of Alaska as they do the Staccato footwork of Chicago and LA's low-end theory. Cristiano's music features traditional Italian folk rhythms and melodies mixed with a global harvest of found-sounds smashed through an electronic beat machine mindstate. With all these disparate influences it would be easy to lose form and style but our fully-fledged Jazz practitioner adds his own unique gait to each track. The Simple EP is a return to the basics for Clap! Clap! Brave and exciting music for your carnival.

We're totally buzzed to present DJ Marfox's febrile retrospective Revolução 2005 - 2008 via the Boomkat Editions series.
Both a necessary document of Marlon Silva's early years and a crucial survey of Angolan kuduro's formative phase and mutation in the clubs of Lisbon, the set collects nine cuts
of contagious Afro-Portuguese dance music which maps strong parallels to the UK's own transition and flux between grime and UKF, whilst also demonstrating why Marfox is now regarded as the main ambassador and catalyst for Lisbon's colourfully influential and world-renowned style.
Taking his name from Nintendo's Starfox character (and establishing a trend for the -fox suffix so prevalent in kuduro and tarraxhina) DJ Marfox was instrumental in shaping one
of today's most vital dance scenes with a number of productions from his 17 year old self cropping up on ear-opening compilations such as the foundational DJs Do Guetto Vol.1 in 2006, and later on the Bazzerk - African Digital Dance Music set which turned a lot of DJs and dancers onto this sound.
He's subsequently released the 1st record on kuduro's best alibi, Príncipe, and followed Visionist and DJ Rashad to release on J-Cush's Lit City Trax, and has also appeared alongside his Lisbon crew on the Cargaa compilations for Warp Records.
However, this set returns to his wildest early years; from the hyper disco-techno drive of Funk em Kuduro or the galloping darkwave-riding horsepower of Un Bes Bai from 2006;
thru the killer jump-up downstroke of Sem Fronteiras or the inimitable, body-carving syncopation of Aiué Remix circa 2007-08, and his hollering A Própria with DJ Nervoso - which could almost be some ravenous Chicago house oddity - all of which illustrate the sound of a young producer firmly finding his feet and blazing a trail where others such as Arca, M.E.S.H. or Nidia Minaj would soon follow.Most of all though; it's a proper dance record for summer and beyond, either as DJ tools or the soundtrack to backyard raves, BBQs and beach parties.

Rising London-based producer Otik steps up with his debut 12' for Bristol imprint Durkle Disco. Resolutely rooted in the present day, both tracks gleefully nod to the past by channeling the darker end of UK garage, Detroit's industrial moodiness and the dusty depths of early dubstep. Remix duties for 'Acne Downs' go to Caski (Ghost Recordings/EMF/Keysound), one of the leading proponents of the slowed down 2-step sound, whose reworking aims straight for the dancefloor. Otik has been steadily building a reputation for forward thinking, genre-bending sounds around the 130bpm mark. In addition to his regular Radar Radio show, recent releases have graced Dusky's 17 Steps imprint, Infinite Machine, and Push & Run - with support from BBC Radio 1Xtra and BBC 6Music. All this makes Otik a welcome addition to the Durkle Disco ranks, joining previously released artists including Lamont (Swamp81), OH91 (Coyote), Lemzly Dale (Sector 7), and Superisk (Punch Drunk) on a label that's forged a reputation for pushing exciting new producers across a range of genres and tempos.

The Maghreban returns with essential new house odyssey 'Brooklyn', named after his dead cat.

* His second outing on Black Acre, 'Brooklyn' is a breathtaking night flight, viewed through a prism both phantasmagorical and seedily terrestrial. Trance inducing Caribbean percussion, possessed chants, Motown bass, sci-fi synths, wayward filter sweeps, analogue free jazz - all get their moment to shine in the weird and wonderful 8-minute microcosm that is 'Brooklyn'.

* Flip-side 'The Carpenters' strikes a more domesticated tone, with motorik industrial dub eventually giving way to haunted sci-fi bachelor pad lounge.

DJ Feedback:
Pangaea (Hessle Audio / Hadal) - 'Very groovy!'
The Black Madonna - 'Super cool'
Laurent Garnier - 'Just got this from the man himself. This is GGGRRREEEAATTTTTT'
Tom Wrankmore (Eliphino - Brownswood / Somethinksounds) - 'dope! Something different, really interesting sounds'
Axel Boman (Hypercolour / Pampa) - 'Super cool! As usual. Thanks!'
Santiago Salazar (DJ S2) - Some funky dark stuff
Alice Moxom (Moxie - NTS radio / BBC one) - Great record, already been playing this one out. Cheers'

Sakadat Records first vinyl presents two great pieces of dynamism on the classical house and modern techno basics .

Upfront Support from :

Raresh , Shlomi Aber , Oshana , Ody , Dan Noel , Ittetsu , Faster , Vid , Dan Farserelli , Nima Gorji , Fabio Ferro , Tulbure , Negru

22 tracks mixed by Score 5. This mix is completely exclusive to the third CD.

VERY LIMITED

The CD included in this vinyl edition features the 15 tracks in the same order Short info: Mr Oizo (aka Quentin Dupieux), the French producer and pioneer of modern electro alongside Daft Punk, Air and Cassius simply can't and won't stop working. Having released 5 studio albums, 4 OSTs, a multitude of EPs and directed 6 movies over the past 20 years, the 'Godfather' is back with a new album. And this time, he is not alone as the tracklist features an impressive selection of quality guests: Peaches, Boys Noize, Skrillex and Charli XCX among others. This new release will be a new occasion to further explore the mind of one of the most fantastically uncommon artist today. The double LPs + CD edition is a gatefold with yellow vinyl records

Limited Four Tet Release
including BLISS Mix

The limited box (only 500 copies worldwide) includes five colored vinyl LP's with over 35 exclusive tracks plus four additional digital bonus tracks (with digital download code), a bonus double CD version exclusively designed by Lorena Assisi, a T-shirt (only size L) and an exclusive documentary about the label - all in a specially designed box by Dave McKean.

A journey to the moon that began fifteen years ago now reaches another milestone - 15 years, one and a half decades, over 150 individual releases, many many artists, countless professional relationships but also friendships along the way. Many many stories and shared memories - not all of them good, not all of them bad either. While modern space age technology would make it possible to reach the moon's surface a lot faster, for us it is not only about moving forward as quickly as possible, but also to turn around, look back and around ourselves and to reflect on everything that happened and is happening. This is why we have such a broad range of artists guesting on our latest compilation. Some that have been part of the voyage from its earliest stages, others that have been with us for major milestones along the way, and even more that might move ahead with us into new and unchartered musical regions.
Working with Dave McKean - a true legend, especially for anyone into comic illustrations - wraps up this whole trip in the sweetest way. Not only is it a big honour, but - in a way - it completes the circle, as Dave has been a major influence for the label's artworks from its earliest beginnings already.
Luckily, we have not crashed into any lunar crater with our listeners. We want to thank you for making this long journey possible and we greatly look forward to celebrating this milestone with our partners, musical family and of course with you, our listeners.
Since our 10th anniversary the face of one of our founding members who passed away way too early graces our logo. This release is dedicated to her and commemorates the 11th anniversary of her death.
Featured on the compilation are such artists as Synkro, Rain Dog, Jehst, Robot Koch, Flako, 40 Winks, Long Arm, submerse, kidkanevil, 1000 Names, Tendts, Kafuka, Erik Luebs, My Panda Shall Fly, CYNE, Soosh, Nuage, Michal Lewicki, Jilk, Sieren, Olof Melander, KRTS, Deft, Barnaby Carter, Rumpistol, Fau, Button Eyes, Deceptikon, Pavel Dovgal, Memotone, Graciela Maria, Mujuice, Stompy's Playground, Sina., Sweatson Klank, Senoy, Parra for Cuva, Fybe One, Monsoonsiren, Tom Day, and many more. Artwork by Dave McKean (Dark House Comics / DC Comics / Tundra).

Following his 2013 debut LP, Fictitious Nostalgia, Beastie Respond joins forces with Alia Fresco, Silkie and Circle Vision to present his new EP, Back To The Future. As with most of his output in recent years, the Danish producer's indisputable enchantment of '80s aesthetics and purple nostalgia beams through the entire record, elevated by Alia Fresco's soothing vocals on the glamorous title track. Intergalactic Soap Box Derby's hectic synth work and sharp turns generate an unpredictable space race for the head nodders, while Joy Ryder sees Beastie Respond carefully mesh classic d'n'b programming with neonlight melodies. Silkie rounds off the EP with a signature sub treatment of Back To The Future, navigating on a tempo not previously released by the acclaimed UK producer.

BT12 welcomes ITPDWIP to brokntoys. Founder of Remote Influence; a collective and record
label pushing 70's to 00's electronic music.

Taking An Already Taken Decision takes on what post love would sound like with a doleful, melancholy interpretation of electro. Dolphin's Cry accommodates skipping, intricate minimal grooves. Closing the EP Haguenesse Wind brings bass heavy, mechanical electro..

This tune has been on dubplate for quite some time. Something of a UK Garage anthem on the underground, Jodo Kast is an alter-ego of J:Kenzo the prominent Dubstep producer/DJ and to celebrate the launch of this release he has also relaunched his ShadowTrak label in order to reboot that imprint to cater for his garage productions.

The CD is stickered with the most important credits. The fine booklet has each one page presentling the artist with photo and their personal message plus a moving introduction essay by Philip Sherburne (Pitchfork). Tracklisting with short excerpts from the booklet: 1. Eric Satie - Gymnopedie "For me it is the simultaneous expression of the hope and sadness, the beauty as well as tragedy of life" (DJ T.) 2. Rob Gallagher - Little One "Rob has been my main MC for over 20 years - he's my biggest inspiration" (Gilles Peterson) 3. Photek - Modus Operandi "There are only so many tunes in the world that you can say really soothe your soul, well 'Modus Operandi' for me is the ultimate one" (Storm) 4. The Stranglers - Golden Brown "A song to inspire people to dance, even in a cemetery" (DJ Hell)l 5. Cerrone - Supernature "I first heard this song played by Larry Levan at Paradise Garage....It just hypnotized me. It's been my favorite ever since" (Kevin Saunderson) 6. Radiohead - Sit Down Stand Up "Similar to how this unbelievable song starts so softly and finishes in total chaos" (Laurent Garnier) 7. Chloe - Paradise "Paradise is that feeling inside, as our souls gently float away after death, which might be our true living existence" (Chloe) 8. The Beach Boys - 'Til I Die "It is an exceptional piece of music" (David Holmes) 9. Peggy Lee - Is That All There Is "I hope it would raise a wry smile among my loved ones, and the sentiment is actually pretty wise - your present life is all you have so best enjoy it!" (Ewan Pearson) 10. Inti Illimani - Yo Soy Dueno Del Baron "I chose a piece by my favorite folklore band as the melancholies, tradition, pride and fortune of this track creates a mixture that directly connects to the person I have become" (Ricardo Villalobos) 11. Link - Amenity "The pace, the build, the emotion, and of course, the strings of this record always seemed to sum up those magical evenings that unfortunately had to come to an end..." (Richie Hawtin) 12. Pharaoh Sanders - Astral Travelling "Its cosmic depth, quasi-transcendental melody and lush atmosphere has made it one of my all-time favorites" (Francois K) 13. Brian Eno - An Ending (Ascent) "A very calm track that eases the listener into a state of reflection... a tune you can get lost in" (Coldcut)

Martijn Deijkers is a man of many facets: The Dutch-born now Washington D.C.- based artist and Panorama Bar resident started DJing in the 90s, producing in the noughties, released on labels such as Ninja Tune, Warp Records or Steffi's DollyDubs amongst many others as well as his own 3024 imprint - always with a unique, distinctive sound, nestled somewhere between 2-step, House, Dubstep and Garage. After having remixed Shed's "Another Wedged Chicken" (2009) and contributed "Miniluv" to Ben Klock's Berghain 04 (2010) we're happy to finally offer a Martyn solo 12" release on Ostgut Ton. Falling For You starts with the almost ten minute-long track of the same title: Opening with a major piano motif and some field recordings from along the road the A-side picks up momentum through its luscious Garage-inspired rhythm, bubbling synth bleeps, organic percussion and more subtle yet stirring piano motifs. Berliners may be familiar with Kreuzberg's 'Kotti' and its converging trains U1 and U8 - let's say it's a fascinating, multiculti yet rough place. The same goes for "U1-U8" on B1: a slightly darker offering with syncopated melody, hihats, claps and sampled shehnai sounds sitting atop the hollow kick. "Ahmadiya" closes this release with a rather pensive-tempered synth, string elements, beguiling piano strokes and a more break-heavy vibe. Winter may be coming by the time of release, but this record has club-meets-afterhour-meets-summer's-day written all over it.

Seems MC Rayna's so busy these days with her band Antiplastic that there's little time for for the sort of sterling guest vox that have graced beats by the likes of Badboe, Skeewiff, Jiggyjoe, Sammy Senior, Tonic, and Tosses. Luckily Ale Tosses of the latter has used all his wiles to get Rayna on two new cuts. What to call the LP though I know - Tosses feat. Rayna! Doo Wop is a vaguely electro-swingy bass-heavy number while Joy is a gloriously chugging slab of guitar-powered breaks fuzz. Of course it would be rude not to have a remix so who better than Jayl Funk to work his magic on Doo Wop and imbue it with a summery nu-funky party breaks vibe. The full package in vinyl, also includes a spread of stems including instros, vox and FX from the two original mixes. And you can't argue with that!

THIS IS POINTS 004 BY DONA WITH THE DETROIT MASTER ANTHONY SHAKE SHAKIR AND THE QUALITY TECHNO BOYS HIVER.

Next on Tempa comes the label's landmark 100th release -- a double pack of essential classics to mark the occasion. 500 COPIES ONLY

Founded in London in 2000, Tempa swiftly evolved to become one of the most vital and influential labels in the last 15 yearsof UK dance music. At the epicentre of dubstep as it evolved from a mutant offshoot of garage into its own unique sceneand sound, Tempa has fostered many of the genre's best-known names and some of its most powerfulSo for our 100th release, we're marking that legacy by casting an ear back into our rich archives. Across two 12's we're re-pressing a selection of pivotal tracks from Horsepower, Skream, Digital Mystikz, Benga & Coki, DJ Abstract and SP:MC,which together chart the history of dubstep's emergence. Tempa100's first disc gathers together the heady, dark percussivesounds of the genre's early years, rich in smoky atmosphere. It opens with a track from the very first Tempa 12", the slinkilyrobotic freakout of Horsepower Production's 'When You Hold Me', before drifting through DJ Abstract's humid and romantic'Touch', High Plains Drifter's 'Sholay (Epic Mix)' and Digital Mystikz's ultra stripped-back early roller 'Give Jah Glory'. Thesecond plate ups the ante with a clutch of dubstep's most iconic dancefloor bruisers — Skream's seminal 'Midnight RequestLine', Benga & Coki's anthemic 'Night', the cybernetic halfstep of SP:MC's 'Trust Nobody' and the dub disorientation ofCoki's 'Tortured'.Just as powerful as when they were first released, the music on Tempa100 is both a celebration and a reminder of thelabel's ten-tons-heavy contribution to UK music history.

500 COPIES ONLY

Macro has been the home for the albums of some of electronic music's most exciting live acts. So when a live band enters this context, it should better enter with a bang. KUF do just this with their album debut. The three-piece outfit with keys, bass and drums cooks up a sound that is as warm, cozy and exciting as it is utterly alien. The rhythm section hints at the great history of dirty funk and bouncing r'n'b, but the grooves are firmly of today: dance-centered, thrillingly interactive and broken up at the best possible joints. The bewildering thing about KUF is that it is a vocal-led group that has no singer on stage at all. All vocal elements are based on self-recorded samples which keyboard whizz kid Tom Schneider melds and bends and squeezes in real time. As if it was the most natural thing to do. With no artificial synchronization in place, Valentin Link on bass and Hendrik Havekost on drums push the disembodied voices into an arena of hyperintegrated realtime magic of rough soul, intertwined by improvised outbursts and shaped with the aesthetics of raw MPC-based cut up techno. The album's grabbing openers Gold' and Princess' are full-on instances of the brightly burning world of KUF, with the other eight tunes never ever letting you down. All along, the Berlin based trio take their audiences through a full range of emotions and constantly shifting dynamics. The thorough integration of this extraordinary degree of sheer diversity into a unified experience is simply astonishing. But never forget this is a live band, and that's how anything here has been developed: live, in direct interplay. Seeing is believing.

This ep will be more a mini album than a maxi with an album repack version

FABRICLIVE 88 perfectly encapsulates the musical force of nature that is Flava D. Its 30 tracks comprising predominantly brand new, unreleased material, mainly from D's own studio, the entire mix simply bursts with freshness and attitude. Bookending the mix with melodic cuts which stretch her musicianship and production capabilities beyond limits she's ever previously explored, there is also plenty in between to please fans of her devastating bass-heavy sound. Collaborations with Champion, My Nu Leng, Taiki Nulight, Holy Goof, DevelopMENT, Royal T and DJ Q (the trio appearing in their t q d guise) bring alternative perspectives to her dancefloor-led approach, whilst vocals from Miss Fire, Slick Don and Newham Generals' D Double E respectively add soulful, confrontational and cheeky vibes to the mix. Killer exclusives from Distro, Notion and TuffCulture ensure that it's never all about Flava D, but make no mistake, with FABRICLIVE 88, she's made another huge step in her unceasing march to superstardom

A dream team if ever there was one, 'Kid Fonque' and rising star 'DJ Whisky' have crafted a seductive, richly-textured composition which songbird 'Zaki Ibrahim' has taken to sublime heights. 'Be' is a afro-tinged, drum-driven deep house number that is guaranteed to inspire some arm-raising, hip swaying dancefloor action. Showcasing the enthralling vocals that only she is capable of - Zaki's intimate conversation draws you into a hypnotic realm of rhythm before expanding into a breathtaking ballad.

'2sides' is a magical blend of everything that Kid Fonque is loved for: broken beats, house, jazziness and a hint of hip hop. An elegant piano loop dances on a warm bass drum - then a bass melody creeps in. Now we're on the dancefloor. Clever, intricate percussive elements evoke the hum of a smoky Jazz club - hands clap and hi-hats snap. Just when you think this groove has reached its final destination - The Layders' king of keys - 'V The Vowel' lays down an infectious melody and the script is flipped. The cherry on top

'Theo Parrish' talking you through his DJ philosophy. It's fresh and full of surprises - your new favourite tune has arrived. The first of the 'Be' remixes is provided by deep house stalwart, 'Atjazz' and South African production prodigy 'Jullian Gomes' - a pair who frequently team up for in-studio experimentation and artistry. Cloaked in a steady groove, their remix bubbles with warmth and charm. Driving drums are layered with sun-baked chords before Zaki's celestial vocals cast their spell. Infectiously spirited and intense, this mix will find itself at home on deeper dancefloors. London's 'Jonny Miller' has cooked up a bassy masterpiece that defies categorisation. Bold, brutal and mesmerizing - this heavyrolling excursion into deeper frequencies flaunts his production prowess and gives a nod to his broken beat and bass roots at the same time. Wobble and wallop in equal measure - a house/bass hybrid that demands a rewind.

SØS Gunver Ryberg's performance and production history is rich and long: contemporary compositions, multichannel performances, installation and exhibition works, dance/performance art, commissioned productions, audio walks and, of course, live music performances, receiving several awards for her music and constant exploration to mix new forms of expression and media, aswell as working as a composer and sound designer for the upcoming video game INSIDE from Playdead.A contemporary composer and sound artist, her debut EP 'AFTRYK' on Contort delivers an astonishing sonic assault. Somewhere along the intersection between electronic music and sound art, SØS Gunver Ryberg's characteristic style is recognised for challenging your state of consciousness by transformative musical experiences with insistent rhythms, combined with a meticulous exploration of textures and timbres. Raw sounds created from synthesis and processed field recordings are framed by symphonic forms and create a unique expressivity.

Following on from the recent release of his album alongside JTC as 2AM/FM and the brilliant Car Type EP D'Marc Cantu marks his return to Run Out Run with the Gear Shift EP, applying his unique style across four tracks.

On the A side 'It's Sex' kicks things off with his signature drum programming and some serious acid business while 'Body Jak' is a frantic electro workout. On the B side 'Gear Shift' is another peak time banger while 'Odd Feel' brings things back down to earth to complete another solid EP from the Ann Arbor based artist...

Vaghe is a man of few words. He wanders, seemingly endlessly, through a lonely, gargantuan labyrinth of concrete and steel, fighting off ghosts and other futuristic nightmares, searching only for something called The Full Stream Ahead. Who is this quiet, determined man and what are these Ghosts he seeks The small communities he finds tucked into the crevices of this towering, dystopic ruin hardly give him leads on his treasure, driving him to find larger enclaves of civilization where people can reveal more about the world he lives in and the quarry he seeks. If Vaghe is going to find the treasure he seeks, he will need more help and information than the inhabitants of these beleaguered outposts can offer. He needs to find a larger cluster of civilization, but he'll have to survive the trip to get there, first... Following his 2014 'Sweet Sixteen', and his 2015 'Abstract Speed + Sound' Other People is pleased to announce The Full Stream Ahead: The Prologue by Turin's Daniele Mana aka Vaghe Stelle. Previously associated with Italian label Gang of Ducks and a current member of production group One Circle with fellow nationals Lorenzo Senni and A:RA, Daniele's roots in the emerging Italian production scene run deep and place him at its center.

'Utility' is the stunning longplayer by Livity Sound co-founder Kowton, a debut album release for both the artist and the label. Combining the powerful reductionism of classic Detroit techno with the inventiveness and originality of the Bristol sound, Kowton has produced a body of work that will no doubt be looked back upon as a landmark UK techno album.
* While his trademark hypnotic rhythms, dramatic transitions and chest-rattling bass are all present and correct throughout, 'Utility' is more than just a collection of club tracks. Here Kowton has distilled both his influences and experience to create an immersive journey that twists and turns, encompassing not only weapons-grade 4/4 techno, but also geometric minimalism, deep abstract dance and skeletal, grime-influenced ambience.
* "The name 'Utility' came from a series of conversations I had in the build up to finishing the record, what feels most prescient to me right now is writing concise music with purpose and direction - visceral music that's uncluttered both sonically and theoretically', explains Kowton. I wanted to create an LP that works on the floor but is nuanced enough to justify repeat listens and self-aware enough to sit properly as a complete album.'
* From the opening bars of Comments Off', we're straight into the fray: the booming bass and intricate staccato rhythms coaxing the listener into a tunnel of repetition only ruptured by bursts of sub-bass. This sets the tone: each track on 'Utility' is comprised of very few elements, but it's what Kowton does with them that makes it such an engaging listen. Take the Sahko-indebted bleeps of Balance', for example, as Kowton layers them into a cerebral ping-pong before unleashing its brazen percussive chassis.
* Following the immersive 'Scido' and pummeling 'Sleep Chamber' the tempo drops for mid-album centrepiece 'Some Cats', which writhes on a slippery arpeggio providing brief respite. Things kick back up a gear with the disarmingly stark and simple minimalism of 'Loops 1', segueing perfectly into the frenetic polyrhythms of 'Bubbling Under'. 'A Bluish Shadow's spaciousness is the final calm before the storm of album closer 'Shots Fired' where hints of bitter sweet melody meld with stattacto subbass and disorientating arpeggios.
* 'Utility' may be Kowton's debut LP, but he's definitely no newcomer. Over the years he's accumulated sonic influences and geographical bases that span way beyond Bristol and its associated categorisations, eventually leading him to Peckham in South East London, where he now resides. Born in the relative isolation of Grasmere in the Lake District, Kowton's early musical education depended greatly on late 90's print magazines like Jockey Slut and Muziq and the blistering techno favoured by the local rave community.
* In the late 90's the way we consumed music in the Lakes was incredibly different to anything that happens now. We'd buy to tape-packs from Eastern Bloc in Manchester, or loan Metalheadz and Moving Shadow CD's from the local library. There were the monthly magazines and people's older brothers but our knowledge of scenes as a whole was patchy. As we got older there were always quarry raves going on but the music there was hard techno and if we ever got a warm-up slot it wouldn't last long.'
* Kowton studied at music college in Manchester from 2003 to 2007. Heavily influenced by the staff at Pelican Neck Records (Boomkat's old physical shop) he became aware of seminal European techno artists like Basic Channel, Monolake and Mika Vainio. A period of record buying obsession coincided with the golden era of Grime and Dubstep and soon Kowton's attentions were concentrated on the stream of new 12's coming from labels like Tectonic, DMZ and Tempa. This combination of low end pressure and European repetition has come to define Kowton's sound.
* In 2008 he moved to Bristol, co-inciding with a change musical direction, as the city, and the UK underground as a whole, began to once more embrace house and techno. An integral part of the team behind the newly minted Idle Hands record shop, it was their accompanying record label that allowed him to explore the possibilities of the darker end of dance music. The series of 12's Kowton released for the label drew comparisons with German wizard Kassem Mosse, known primarily for his ability to employ obtuse rhythms in a manner that still kept the dance floor bubbling.
* Around the same time, Bristol luminary Peverelist began sharing ideas and collaborating in the studio with Kowton, the pair eventually linking with Asusu to form Livity Sound: a label and collective intent on creating no nonsense dance music with an emphasis on pared down rhythms and classic sound system approaches. The critically lauded opening salvo of releases the label put out culminated in the accolades of Resident Advisor's #1 Label Of The Year and #2 Compilation Of The Year for 'Livity Sound'. The trio subsequently assembled a powerful live hardware set-up, using improvisation and dub effects to meld their music together into a thrillingly raw, unbroken whole.
* Over the course of the last five years, Livity Sound have cultivated a reputation for releasing some of the most exciting and visceral UK dance music of recent times, placing Kowton's grime-infused techno alongside Pev's exquisitely balanced rhythm science and Asusu's atmospheric, percussive club tracks. Resident Advisor called the label's output some of the most inventive dance tracks in recent memory', with the trio at the forefront of a new wave of UK techno that's as much about pushing originality, experimentation and futurism as it is about club functionality.
* Starting to work with Pev and Asusu on the Livity Sound project did a lot to edify for myself how I felt about dance music: I'd felt a little dislocated previously, writing moody techno but playing things like Theo Parrish and Soundstream records. With Livity Sound - and particularly the live show - we were just playing music we'd written and it felt so satisfying. We hadn't invented a sound but we'd definitely cemented our own take on techno. It's changed the way I write tunes and DJ significantly.'
* As a solo artist Kowton has been equally busy: a stellar run of brutalist, grime-infused bangers ('Des Bisous', 'TFB' and 'H-Street') pricked up the ears of many leading DJs, he's remixed Paul Woolford's classic 'Erotic Discourse', collaborated with the much hyped house producer Julio Bashmore on their murky Ekranoplan project and released on Hessle Audio, All Caps, Hemlock, Ilian Tape, Hotflush and R&S. More recent additions to his catalogue - such as the synth trill tension of 'Glock & Roll' and the stratospherically euphoric pads of Peverelist collaboration 'End Point' - have highlighted the more playful and melodic elements of his sound while still imbued with a heavily immersive atmosphere.
* There's been many facets to Kowton's musical evolution, the constant feature throughout though has been a focus on effective, strpped back, raw tracks that reduce dance music to its essence and in doing so give the form new life and energy. Simple utility done well.

For Well Rounded's 11th release Bristol's Skinnz drops a trio of infectious and melodic creations that share a kinship with today's garage and funky house sounds whilst standing apart due to their unique character.

* 'Better Strangers' is the debut album by Manchester based producer Acre, set for release by Tectonic Recordings on 6th November 2015. The album follows EPs on both Tectonic and sister label Cold Recordings and Visionist's PAN collaboration label Codes.

* As influenced by rave & jungle, grime and techno as electronica, ambient and drone; his EP releases have been rhythm driven snapshots of other-worldliness spliced with dancefloor sensibilities. Acre has sought to explore a wider variety of textures on 'Better Strangers'; to re-contextualise elements from UK bass music, bring them away from the dancefloor and open up new possibilities.

* 'I tried to include more emotion in this album than my previous releases and wanted to represent a broader side of my productions. The title 'Better Strangers' comes from the feeling that some people make better strangers than friends (or better off being strangers) in your life, and the album is about recognising that."

Macro has been the home for the albums of some of electronic music's most exciting live acts, such as KiNK and Elektro Guzzi. So when a live band enters this context, it should better enter with a bang. KUF do just this with their album debut. The band: Three-piece outfit KUF, featuring keys, bass and drums, cooks up a sound that is as warm, cozy and exciting as it is utterly alien. The rhythm section hints at the great history of dirty funk and bouncing R&B, but the grooves are firmly of today: dance-centered, thrillingly interactive and broken up at the best possible joints. The bewildering thing about KUF is that it is a vocal-led group that has no singer on stage at all. All vocal elements are based on self-recorded samples which keyboard whizz kid Tom Schneider melds, bends and squeezes in real time. As if it was the most natural thing to do. With no artificial synchronization in place, Valentin Link on bass and Hendrik Havekost on drums push the disembodied voices into an arena of hyperintegrated realtime magic of rough soul, intertwined by improvised outbursts and shaped with the aesthetics of raw MPC-based cut-up techno. The album: The album's grabbing openers Gold' and Princess' are full-on instances of the brightly burning world of KUF, with the other ten tunes never ever letting you down. All along, the Berlin based trio take their audiences through a full range of emotions and constantly shifting dynamics. The thorough integration of this extraordinary degree of sheer diversity into a unified experience is simply astonishing. But never forget this is a live band, and that's how anything here has been developed: live, in direct interplay. Seeing is believing.

Ya Tosiba ist ein Duo aus Berlin, das bass-triefende Synth-Riddims mit hochenergetischen Frauenvocals verbindet. Am Mikro steht Zuzu, die gefundene historische Texte in ihrer Muttersprache Azeri toasted. An den Synths und Drummachines: Mesak, der Chef des fantastischen Harmönia Labels. Der Finne ist einer der Pioniere der skandinavischen Skweee-Musik.

Strictly limited sealed release, comes with stickers, poster. The FilosofischeStilte sound is an unique take on instrumental experimental West coast Beats at the same time he is trying to make a musical point by keeping things as simple and blunt as possible with both his arrangements and structure. After releasing his Home Grown EP for Saturate he returns to Lowriders for 2 EPs divided in 2 independent releases collectable in 1 sleeve. For his forthcoming releases on Lowriders he has increased the richness of his sound but kept the space he is well known for in his sound. Munch Palace Vol.1 is part of a series split in two vinyl releases and a digi EP. Vol.1 is 3 original tracks combined with on the flip 2 amazing remixes by LA producer Co.fee and Rotterdam based producer Dagger DX. Both take the work from Luuk to another level: Banger to the max. Played by Scracha DVA, Hudson Mohawke Julien Mier - Luuk progressed nicely, this record is a great example of his sound being matured. Loving Adjust and the Dagger DX remix! Alex Laurenson - brain trapped is really dope!

Kypski is also the 4 time National Turntable Champion of the Netherlands and has won the dutch DMC Finals. Apart from being best known for his project C-Mon & Kypski he was part of the turntablism band The WaxWankerz and is currently active in the Matangi String Quartet. Wreck Fader is turntablism taken to the next level, combined with composing, electronics, beats, break beat science. "Wreck Fader represents the best of me, as a beatmaker, producer and scratcher." tells Thomas Elbers also known as Kypski. Wreck Fader is not just the average collection of beats but an album with songs in which verses are not only constructed by singers or rappers but also with scratchin'. The album contains a variety of impressive collaborations (as in co-creating) with the likes of Daedelus (Ninja Tune, Anticon), D-Styles (Low End Theory), K La Boss (EPMD/ Lil Wayne) and last but not least international recording artist Caro Emerald. The release of the album is accompanied by the release of the Wreck Fader (online) video game. It's a 3D roller coaster ride which will have you scratching while you get lost in the world of the Wreck Fader. 'The album is, indeed, some majestic headfuck. Sounds like Mellow Gold era Beck if he was raised on a diet of chip tune and Invisibl Skratch piklz and teleported to 2018.' THUMP USA (Vice) '...highlighting the future of turntablism, which sounds a lot like pure hip-hop colliding with electronic music.' Do Androids Dance Brilliantly-executed electronica that showcases not only Kypski's production skills but also his scratching chops. Whether it's pimp-rolling hip-hop grooves (Headcrack), jittery bassline (Wreck Fader) or deconstructed soul (Armitage Skank), Kypski's meticulous, at times frenetic, production serves as the perfect vehicle for his intricate, melodic scratching which, rather than being the usual arbitrary sonic pyrotechnics, takes us on a journey through the tracks, adding character and soul to each. Crack Magazine

This new Strand release on Lowriders, Maleza is a very personal take on bass music, Juke, west coast hiphop, Jamaican music, prepared pianos, old detuned synths, odd time signatures and huge live reverbs. The idea of the record came when I was going through a lot of personal struggle and I was not able to get out of it. In the same period I decided to run in the woods near my home early in the morning. I ran every day, and ran and ran. Eventually I got out of my problems. So I left the 'maleza' away. This is a very personal record, each sound has a deep meaning about me and my loved ones. Maleza means 'bad herbs, weeds, undergrowth' in Spanish.

* The album is advertised in The Wire 376 June 2015, and a new ad will be placed in No. 378 August 2015.

* After his highly acclaimed and widely considered an all time classic debut album "The Crack Capone" released in 2010 on Planet Mu, DJ Roc returns with a follow up on vinyl, an 8 track mini album titled "Practice What U Preach". Roc is one of the main DJ's at the weekly Battlegroundz meet-ups in Chicago's South Side, where the different crews and dancers flesh out who is the coldest in the game. This special release gives a very good impression of what is happening musically in the eye of the storm. Featuring a collection of pure battle tracks, made without compromise, yet it's variety of modes and moods is breathtaking. This is an excellent release if you want to dig deeper into Footwork's vast landscape of infinite possibilites and enjoy the raw energy of one of todays most exciting electronic dance music styles.









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Promising Bristolian producer JoeFarr released his debut EP in late 2012 for Tiga's ever reliant Turbo Recordings, picking up plays from the likes of Dave Clarke, Ivan Smagghe, Dexter & many more.

A further EP on Turbo, 'Clocks', followed, as well as remixes for Tiga and Zombie Nation, so enamoured were they with his production prowess, and now kick starting HypeLTD's 2014 campaign, JoeFarr presents four cuts for the Hypercolour offshoot.

Lead track 'Trapington' in instantly grabbing, fuelled by serious horse power, with its nagging and incessant stabs, clangs and vocal chops, underpinned with a meaty and distorted drum pattern. 'Pocket Face', built around a crunching 909 workout, slaps you around the chops, coming up for air with the spacey synth hook, then back down for more with some almost 'Red 1' era Dave Clark-esque vibes on this techno banger.

Flipside, 'Stuckfix' keeps things rough and ready, with a mechanical break beat juggernaut and tension building strings, whilst closing the 'Lounge Vibes' is 'Fola44', indeed perhaps the release's most restrained offering, with its deep organ melody springing to life over the dysfunctional beats, doffing its cap to some of the jazzier elements of Detroit techno over the years.

JoeFarr, defo one to watch for 2014, and if his 'Lounge Vibes' are like this, we're keen to see what he comes up with for the more peak time vibes of his repertoire....

've been involved in two or three major genres that are very different from each other,' says Vaughn Robert Squire from Canada, better known as Prison Garde, who is making his True Romance debut with our TREP009. About his 'Melody EP', he says: It's gospel-influenced house stuff. It's in line with the last couple records that I put out, but I feel like it's a little more mature and that the quality of the recording is a lot higher than anything else I've done as Prison Garde. I recorded it at the Phi Centre in Montreal - it's a beautiful cultural center in the Old Port. Ango and I locked ourselves in there and did a live record on an SSL in a big room.