Beats News

Breaka’s come a long way since he first turned heads in 2018 with shivering bass anthem ‘Rory’s Theme’. After releasing further records on Holding Hands and other labels, he also kicked off his own eponymous label, and held down remix duties for Interplanetary Criminal and Kelly Lee Owens. Now, his musical curiosity gets the spotlight with self-released debut LP ‘We Move.’

Made on a laptop and midi keyboard during the winter of 20/21, the album clearly goes out to the club: singles ‘Mass Gathering’ and ‘Solaria’ earned attention from DJs like Anz, Call Super, and Om Unit, while also doing the rounds on NTS, Rinse FM, and the BBC, as well as featuring on BBC essential ‘Mix of the Year’ by Elkka. Tracks such as ‘Look Inside’ and ‘Solaria’ navigate themes of reflection and isolation, while numbers ‘We Move’, ‘Honeydrum’ and ‘Baile Steppa’ work genres like UK funky, trance, kuduro, and samba together into new forms. Whether considering the dance from a distance or toying with new ideas of what the dance can be, ‘We Move’ is a confident statement of intent, showcasing Breaka’s love for explorations across the electronic axis.

Artwork comes courtesy of Breaka and Jake Elwes, with featured photography from Sophie Jouvenaar.

After levelling up with our last outing, the SPZL team return with 4 heavyweights on remix duty of tracks from Sifar by Das Spezial.

Low Jack, Bruce, Lakker, and Etch all tame and rework the original EP to produce four moments of magic in their own unique style.

Hold tight for the heaters, this one is coming in strong!!!

When Fred sent me the demos for his first release I remember being compelled to shut off all the lights and listen to them in complete darkness at full volume. I’m not sure why his music makes me want to do that but when he sent me this next batch I found myself needing to repeat the same process.

Plate 2 from Kromestar's remastered My Sound LP on Deep Heads.

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Deep Heads in association with Dubstar records are proud to present the 2021 Remaster, Vinyl edition special, of the seminal album ‘My Sound’ by Dubstep legend Kromestar.

Originally released in 2009, with high critical acclaim, the record is no doubt one of Kromestar’s most celebrated and recognised albums he’s ever created. An absolutely timeless collection of music, the album was groundbreaking at the time and still holds up as a quality album from start to finish in 2021.

Plate 4 from Kromestar's remastered My Sound LP on Deep Heads.

...

Deep Heads in association with Dubstar records are proud to present the 2021 Remaster, Vinyl edition special, of the seminal album ‘My Sound’ by Dubstep legend Kromestar.

Originally released in 2009, with high critical acclaim, the record is no doubt one of Kromestar’s most celebrated and recognised albums he’s ever created. An absolutely timeless collection of music, the album was groundbreaking at the time and still holds up as a quality album from start to finish in 2021.

This record is a momentous occasion for me as it is the first release that I have signed from a member of my production tutorial website. This is something I was quietly hoping would come to pass when I started the project but I never knew if it would actually happen. Liebus was sending me tracks to critique as part of a feature on the site and after a batch of them came in that I not only didn’t have any critique for but actually I wanted to ask him how he made them instead, I knew I was onto a winner.

I can’t quite believe this is his first release as the tracks sound so mature and incredibly produced but I was never going to think twice about putting them out.

All five tracks are subby, drummy, mind bending workouts from start to finish. Proper cavernous vibes with a dose of potentially too strong an LSD trip mixed in for good measure.
Not for the faint hearted...

OK enough of my blather. Go and listen to the damn things yourself and decide if you like them, rather than trying to work it out from reading a bloody press release you weirdos.

All four tracks are produced and sculpted for the club. They want big sound systems and dark rooms.

Close your eyes, hold hands and experience transcendental space flight...

Coming correct with a strain of UK informed club music shot through a US prism, Patrick Brian makes his first appearance on Sneaker Social Club with six beats that show how much space for exploration there still is within the Hardcore continuum.

Transmitting out of LA and bringing some undeniable West Coast influence to his productions, Brian breaks a momentary hiatus after a knockout run of singles on Plastician’s Terrorhythm label circa 2014-15 and occasional stealth drops on the likes of White Peach.

From the covert creep of ‘Flooring It’ to the tense pressure of ‘Cry-Baby’, the square wave bass flex of ‘Giant’ to string-stab drama of ‘Ill Wishes’, Brian’s sound is razor-sharp and loaded with detail. Crucially, the productions are agile and weighted and certified by DJ Oblig who’s caned them regularly on his Rinse FM shows.

Sounding distinct from the OG London sound while still nailing the fundamentals, Brian’s generous drop for Sneaker Social is a must for anyone devoted to the progression of Grime and Drill.

Neither Scratcha DVA, nor any of the tracks on this release, really need an introduction. Grime fans will instantly recognise these legendary tunes from radio, raves and mixtapes.
DJ Support
Dream Eater 007 has been supported on radio stations including Mode FM, Rinse FM, Subtle FM by several DJs including Spooky, Scratcha DVA & Nights,

Skins is a producer/DJ based in Leeds with an active history in dance music that goes back over 10 years. He cut his teeth DJing regularly at the legendary former Oxford nightclub The Cellar. He played here as part of the Subverse Radio collective as well as for other favourite local promoters, alongside a regular radio show on the aforementioned station which he co-founded. After moving to Leeds in 2016, Skins focused his attention on music production and self-released a string of white-label techno EPs which garnered support from artists such as Djrum, Jane Fitz and Mike Schommer of Deepchord.

More recently Skins has moved away from the dub techno sound with which he had become associated, with an EP from speed garage newcomers Spin City on heavy rotation with DJs including Evan Baggs, Andrew James Gustav and Sugar Free. His latest explorations have found him returning to the futuristic jungle stylings which originally drew him into the world of electronic music in his teens.

Whether it’s in the studio or behind the decks, Skins draws on a wide range of influences from hip hop, deep house and techno through dubstep and grime to jungle, with a preference for playing vinyl over three turntables. He has performed alongside the likes of Willow, Batu, Answer Code Request, Levon Vincent and Ben UFO.

repressed !

Hot on the heels of AUS' recent releases from Breach, Huxley and Bwana they ready their next offering from Irish duo and long term label affiliates Bicep. Aptly timed for the festival months, their 'Just' EP follows up a series of self-released titles which include collaborations with Ebony and Midland and is an impassioned bundle of broken beats, shimmering synth lines and rapturous piano chords. The title track kicks things off and suffuses a broken kick and snare combo with a poignant sequence and heart-rending synth strings. A vocal refrain drops in and out throughout a lucent breakdown before () lays a soft, filtered croon over a swelling piano motif. Tension is astutely balanced, never quite boiling over and keeping the listener pinned before () drives a tough, gravelly kick under gentle flecks of acid and rich sweeping pads.

LTD 260 copies pressed / printed sleeves / Sealed

Jungle master Krak In Dub’s new album Catleya is a vibrant hommage to Colombia and its incredibly diverse musical culture. Entirely recorded in Bogotá with the who’s who of today’s Colombian music scene, the album casts a brand new light on the fusion of beats and Latin-American traditional rhythms and instruments, blending reggae, hip-hop, breaks and house with cumbia , afrobeat, ska, and bullerengue.
Standing out on this sun-soaked yet heavy-on-the-beats-and-bass adventure is the appearance of female modern folk trio La Perla, the Afro-Colombian combo Absalon & Afropacifico, and Bermudian singer Troy Berkley.

The journey of BASIC RHYTHM, all the way from mid 90s pirate radio, to abstract electronic sounds, has eventually seen a return to his musical roots-jungle and drum & bass. Pushing forward into new territories, his tracks often stand out as brutalist and adventurous, while all the time keeping the dance bouncing. After recent collaborations with Sully and Blood Trust among others, there's plenty of more exciting new music to emerge, starting with 'Sound Killa EP' on Straight Up Breakbeat.

Jeder Song hat die Kraft, Erinnerungen wachzurufen und das Gefühl von Heimat durch Musik nutzbar zu machen: von der psychedelisch-funklastigen Single 'Something's Going On' bis zur kongregativen Energie des neuen Tracks 'We Give Thanks' verschmilzt 'Could We Be More' die Afro-Londoner Synergie, die so natürlich die Wärme und Identität von Kokoroko untermauert. Die Mehrfach-Preisträger Kokoroko sind auf soulige, bläserlastige Sounds mit westafrikanischen Wurzeln und Londoner Einflüssen spezialisiert. Sie spielten bereits auf vielen europäischen Festivals (von Glastonbury über Meltdown bis Elbjazz und Jazz á la Villette) und freuen sich darauf, ihre Reichweite in 2022 und darüber hinaus weiter auszubauen. Die Band trat in mehreren BBC-Fernsehshows auf, ihre beiden Boiler Room-Sets wurden zusammen fast eine halbe Million Mal angehört.

- 'This female-led, multicultural collective of under 30s is a vital example of not only jazz's new form but the shape of things to come.' - The Guardian
- 'Drawing influence from West African highlife and jazz, wellmarinated in enough polyrhythm seasoning to induce fires on the dance floors they play.' - OkayAfrica
- 'Afrobeat, jazz, soul and ’70s psych-leaning funk - luminescent!' - Cool Hunting

The latest on Milan-based DIY label GRAFT, by London-based Italiano, Soreab. Edition of 200, beatless A side and a remix of Equohm's previous GRAFT A side, on the flip.
Each blessed with several hand-stamps to make up the artwork. each one unique.
Comes with a DL code for two extra tracks too.



We're also offering out the 'Early Dub Tapes' on LP, a newly repressed Blakamix classic (originally out in '94, comprising of tracks from 86-90) from the boss Mixman, now available on wax again.
Proper, original UK dub from the 1&only Blakamix crew.

Multidisciplinary artist Jermay Michael Gabriel and producer Giovanni Isgrò team up as Plethor X to present a debut EP of anti-colonial resistance, an unfolding experiment in self-determination.

Colonial trauma has no linear trajectory, and neither does memory. It seeps and sinks into the fibres without a temporal pattern, crossing generations, back and forth between past, present and future. Plethor X channel the multifaceted dimensions of such phenomena, exorcising trauma through sound, embracing cultural legacies and collective memories as a form of healing.

The driving force behind the record is the Habesha musical tradition, distinctive of Jermay's childhood - samples of the masinko, an Ethiopian and Eritrean one-stringed instrument, are used extensively - transposed into rhythmic structures onto which Isgrò playfully grafts elements of footwork, ghetto house, as well as gqom and singeli—a space-time gateway of complicity and experimentation.

Plethor X's soundscapes are Afro-futurist ecosystems of explicit messages—'Don't use the N word' is distinctly heard in 'Negro'—coalesced with frenzied percussive textures built through destruction. With 'Bet' we experience Muna Mussie's hypnotic recitation of Tigrinya words drawn from a set of nursery rhymes and words emblematic of Eritrean culture. The voice of Mussie, who shares the same origins as Jermay, serves here as a vehicle to express a certain identity melancholia, the repetitive mode sounding like a soothing process of reconciliation. PAN-affiliated producer STILL makes his own contribution by reworking Plethor X's material in 'Fendika', raising the rhythmic tension with his signature colourful, plugged-in dancehall style.

That with Europe is a bridge to an indefensible continent, with a predatory, plundering nature, sold as 'civilisation'. In 'What You Mean', Isgrò and Jermay conspire against their own Eurocentrism, regurgitating it from within.

►Mastered by Giuseppe Ielasi, cover-art by Jermay Michael Gabriel, photo by Jim C. Nedd, layout by incepBOY.

►Limited Edition of 100, 140gr. black vinyl, Includes instant download code.





e 05: Fendika (STILL x Plethor X) [feat. STILL]

Consummate Berlin dub science by the maestro.

Beautifully textured, shuffling Lagos funk, on home-made percussion… militant horns… and a walloping, filthy-stinking kick-drum like the bucking, hairy hind-most of the Devil himself.

The Dub is Warrior Charge, 2016.

What a record. Bim squared.

For us at 1985 Music, our Various Artists series are extremely important. It not only provides a great platform to celebrate music from a wide range of artists, but it also enables us to promote both veterans and newcomers in the scene and to introduce them as part of our extended family. We are very excited to share the second part of our Atlas series which includes both new and familiar faces.

Fabric resident Anna Wall and production partner Corbi link up again for the first time since their debut EP 'DATs In The Attic' dropped on Ritual Poison in 2019. Between then, Anna has gone on to release music on her own label Dream Theory and turned in a gorgeous deep cut for music platform 22 tracks' final send off before closing. Corbi has been no stranger to production either, heading up important label Fina records and releasing stand-out EPs on Rough Recordings & Kouncil Cuts.

The pairing bring their newfound knowledge to LTWHT, shape shifting between colorful displays of breakbeat and melodic perfume. Ahead of the release, Anna & Corbi spoke of their love of digging into the past, delving into old techno and rave records and inspired by artists like LFO. While the influences are apparent their sound remains unique, contemporary and flourishing with personality.

Title track 'Persistence' opens with choppy breakbeats and deep subs, adding extra depth and weight; providing the perfect base for the record's shimmering synth lines. 'Consciousness' then conjures wide-eyed atmospherics, joining hands with a soothing, deep bassline and diamond shaped arpeggio. 'I'm just changing consciousness' is gently spoken as the track ebbs and flows across the oceans moon-lit surface.

Subtly euphoric and inherently introspective, B side opener 'Take A Moment' shows a developing side to the pair's growing sonic palette. Early trance meets breakbeat, in an emotive display of otherworldly electronics and primordial whispers. The tracks bassline and lead add an extra layer of playfulness, turning the track from a cerebral workout to a blissful dance around an open flame. The record comes to a close with 'Regardless' an acid inspired dream that unfolds amongst a backdrop of clouded pads and intoxicating patterns.

Foodman is Takahide Higuchi, from Nagoya, in central Japan. After remixing Jessy Lanza’s ‘Alexander’ last year, ‘Yasuragi Land’ is his first release for Hyperdub, alive with Footwork-inspired musical freedom and the sense that everything is a rhythm.Unusually, ‘Yasuragi Land’ has no bass. Instead, the album is breezy and refined; hyper-rhythmic music, made with a few simple tools, dances around your head. ‘Yasuragi’ and ‘Parking Area’ feel like gently deconstructed acoustic jazz, while ‘Ari Ari’ is deep house splattered with a cartoonish hiccup. ‘Hoshikzu Tenboudai’ and ‘Shiboritate’ bounce around the speakers like trance-inducing polyrhythmic updates of the New York minimalists, programmed past human limits. ‘Food Court’ is busy with mechanical rhythm and naive melodies, ‘Gallery Café’ pairs a cute wooden flute melody with micro edited wooden drums, ‘Michi No Eki’ is like a digital take on Magma's complex rock, and ‘Sanbashi’ indirectly approximates 80s R&B. The album ends on ‘Misyuku’, with a treated guitar lick sounding like it was stolen from Daft Punk, woven into dense interlacing drums.

Bardouin Music is back with a new record 1000% rave and acid basslines

It includes 5 tracks of trained producers and new talents like Warn Twice, Charleeps, ESBA, Neida, Larson or Sentiments. Probably bangers only.

The Normandy duo MAMAN KÜSTERS delivers one of the best electro-ebm sound we could find in planet earth, their fully analog sequences create an immediate kind of state of trance that only very few artists reach to delivery.

This EP, that comes out at the same time as their new albumb ” Le Petit Chaos De” released via our partners of UNKNOWN PLEASURES RECORDS, arrives with 2 mind-blowing remixes by GARETH JONES (renowned as Depeche Mode producer, among many other gigantic acts) and the techno producer INSIDER. If you like to make dance, buy this plastic immediately.

Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl.

All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

Reissue

Presenting 'Swinging Flavors #12,' the latest sonic exploration by Tokyo-based sound craftsman, T5UMUT5UMU. In the pulsating track "Bolt," he deftly blends elements of techno, breakbeat, and jungle, offering an intergalactic journey through the diverse universe of bass music. Released under Beat Machine Records'
Swinging Flavors series, this digital and 7" vinyl release invites listeners to embark on a cosmic adventure.

T5UMUT5UMU, a genre-defying producer, skillfully navigates the space between tracks united not by traditional genre labels but by vibe and style. With techno, breakbeat, and jungle as his guiding stars, his music draws inspiration from Eastern cultures, seamlessly woven into UK-style club tracks. Fusing elements like HARD DRUM, dark breakbeats, grime, and DnB, T5UMUT5UMU creates compositions that transcend boundaries, captivating audiences globally.

The remix of "Bolt" by Mani Festo mirrors the rapid and diverse stylings found in his towering catalog. Mani Festo, caught in the tension between futurism and tradition, is a champion for the transformative power of club music. As part of the Club Glow
collective, his dynamic sound ranges from breakbeat science to electro machine funk, elevating 'Swinging Flavors #12' to new heights. The remix, akin to a warp-speed journey, propels the original track into uncharted territories, delivering an electrifying experience anchored by heavyweight rhythm craft.

Together, T5UMUT5UMU and Mani Festo invite you to lose yourself in the cosmic magic of 'Swinging Flavors #12,' a release that transcends musical boundaries, celebrating the joy of exploration within the vastness of bass-infused soundscapes.

Almost halfway through 2023, Voitax returns with a bass heavyweight of the highest order.

Marc alias Tymotica has been showcasing his musical ambitions not only as a founding member of the Munich-based label »Ruffhouse«, but also through his sonic ventures as a DJ and producer. Luca, on the other hand, an equally ambitious DJ and producer going by the name of DJ Ion, has his roots in hip-hop, jazz, and 90s techno. His debut on Don Williams’ a.r.t.less imprint proves that adequately. Their fusion turned out to be quite fruitful, as shown by their diverse yet well-centred record »Anthea« on Club Qu.
With »Bionic Gradient«, their promising collaboration enters another chapter, a representation of their precise curation of musical components, as well as an impressive design of their sounds. This progressive bass EP features dubstep-, grime-, trap-, and hip- hop influences, nuanced with dub and IDM. Through each track, the duo links crispy polyrhythms with well-chosen samples that perfectly complement the contemporary, high defined sound. Catchy leads, long reverb tails, metallic soundscapes, and detailed drum programming are carefully fused with the underlying warm bass body. All this comes down to an astonishingly eclectic bass EP that is built to be dropped on the dance floor, yet invites you to dive into an abstract and dreamy world on its own.

As both are continuously working on new material, we are more than excited about what is to come!

18 freshly baked instrumental Hip Hop tracks from the best of the global underground.
To celebrate Volume 10 we've cooked up something special...
Limited edition 12" vinyl will also come with issue 1 of a 3 part Cheeba comic series illustrated by

At times where technology inexorably infuses into humankind, Ammar808’s next adventures lays within the realms of Stambeli’s invisible creatures, an old genuine Tunisian tradition that has roots spreading out within the depths of the African continent.

Stambeli is a Tunisian musical therapeutic ritual that was implanted by afro-descendant communities. During the ceremonies, music, dance and chants are blended so as for some participants to reach the alternate state of trance while they are possessed by super natural entities. It is a syncretism between Islam and animist Yorisha religion’s voodoo beliefs, that has been disseminated during slave trade by Yoruba populations originating from current Benin’s gulf. Stambeli is a precious legacy the symbolizes the outstanding diversity and complexity of the North-African identity.

Using drum machines and analog synthesizers, he summons super natural creatures to visit our material world and taste human incarnations, form the audience’s collective experience. The album features vocals and gumbri from Bellassan Mihoub, who inherited his father’s knowledge and mastery, and currently embodies the avant-guarde of Stambeli’s revival. Two additional choristers round off the stage band, also playing the krekebs: these are pairs of large castagnet-like instruments oscillating in the limbo between binary and ternary rhythmic patterns. They breathe life and motion into this pagan communion, blessed by VJ Sia original visuals synchronized to the thundering music.

Super Stambeli is a contemporary interpretation of the Stambeli traditional repertoire, processed through a time-travel washing-machine, a parallel-dimension earthquake portal, that aims to echoes ancestral ceremonies through sub-harmonic speakers. It’s a dialogue between the wailing of the gombri, known to call for the spirits to descend into the bodies of the participants, but this time AMMAR808 directs them straight into the digital circuits of his clockwork-crafted machineries.

More Than Ten Years Since He First Emerged On Skull Disco, Appleblim Presents His Debut Album. The Label He Co-founded With Shackleton Was The First The World Heard Of His Productions, But Laurie Osborne's Innate Relationship With Electronic Music Culture Reaches Back Much Further Than Those Groundbreaking Early Days Of Dubstep. Early Days Spent Soaking Up Hardcore, Jungle, Techno And Plenty More Besides Were Fundamental Foundations From Which To Spring Into The Then-unknown Realms Of Sub-low Half-step Club Music. At That Time Fwd>> And Dmz Were The Church For This Ritualistic Sound, And Appleblim Was A Regular Fixture At Both.

As Dubstep Matured, Magnified, Mutated And Meandered, So Appleblim Moved Beyond Skull Disco To Explore Different Avenues Of Expression In The New Many- Layered Club Music Landscape. His Own Apple Pips Imprint Was A Natural Vessel On Which To Explore The Emergent Fusions Of Hardcore-derived Sounds And The Us-born House, Techno And Electro, While Labels Such As Aus Music Equally Provided A Home For His Work (often Alongside Komonazmuk). Meanwhile Long-standing Collaborations With Alec Storey (al Tourettes / Second Storey) Finally Manifested In The Hyper-modern Mind-twist Of Also, Captured As An Album On Legendary Rave Label R&s.

More Recently It's Been Possible To Hear Appleblim Delve Into Electro-acoustic And Ambient Production Alongside Bassweight Sounds On Tempa, One Of The Original Bastions Of Dubstep Culture. As The Existing Boundaries Between Genres, Cultures, Eras And Scenes Continue To Dissolve, On His Debut Album Appleblim Offers Up A Fresh Approach That Brings Some Of The Foundational Sound Ethics Of Rave Culture Into A Modern Framework.

Hardcore Breaks Are Still A Regular Sound Source In Contemporary Club Tracks, But On Life In A Laser It's Instantly Apparent That Appleblim Has Moved Beyond Choosing Popular Drum Samples To Truly Tap Into The Elusive Feeling Engendered By The Music Of The Era. It's A Tricky Feat To Manage, But In The Pie-eyed Chords Of ignite', The Subby 808 Tom Basslines On nci' Or The Mr. Fingers Synth Flex On manta Key' The Sonic Finish Sports The Same Understated Grit And Grime That Made Those Early Records So Timeless. There's Still Space For Modernism, Not Least On Snaking 2-step Killer i Think We'll Let The Gas Sort This One Out', But It's Offset By A Layer Of Dust, Not To Mention An Inherent Moodiness That Can't Be Faked.

This Fine Balance Of Rave Romanticism And Future-minded Approaches Binds Together In A Cohesive Conceptual Statement. First And Foremost It's Appleblim's Personal Reflection On The Music That Has Moved Him On Countless Dancefloors Since His First Flirtations With Soundsystem Culture. At The Same Time The Canny Influx Of Modern Ideas Into The Soundworld Of The 90s Genuinely Results In A New Proposition, Making For A Perfect Fit On The Modern-day 'ardcore Fetishists Label Of Choice, Sneaker Social Club. Many May Claim To Draw On Old-skool Influences In Their Modern Trax, But Take One Listen To flows From Within' And You'll Feel The Same Time-slipping Surge Of Future-shock As The Ravers At Lost, Dreamscape, The Dungeons, Clink Street, Blue Note And All Those Other Iconic Spots.

Repress

One of electronic music s greats steps back into the limelight with his first EP in more than 10 years. Erik Van Den Broek, the Dutch producer who is probably better known under some of his pseudonyms such as Shiver, Essit Musique and Acid Kid dominated the 90s with a slew of brilliant acid and electro releases on Dance Arena Productions and Shiver. Erik was a firm favourite of Dave Clarke and Laurent Garnier who included some of his tracks on their perfectly blended mix CDs (X-Mix Electro Boogie and Laboratoire Mix respectively).
Erik already made an appearance on De:tuned s 5 Years box set in 2014 with the track Primerose and now he s back with more previously unreleased material. The tracks on offer are all on a deeper tip, with warm yet slightly eerie and mysterious sounds, clever programming and subtle effects. Proof that Erik has still got it after all these years. These tracks were made during an emotional time for Erik, something that is clearly reflected in the music.
Once again we enlisted Alan Oldham for artwork duties and Matt Colton for mastering the source material to perfection. This EP will be available on 180 gr vinyl. A digital release will also be available from all the usual outlets. De:tuned are honoured to have worked with Erik on this release, a very personal record for him. Thanks Erik & Emiel for your confidence and support!

The 5th Myor Massiv release also marks FFF's 3rd outing for the label. No split this time, but a full 4 track solo ep by the Dutch Amen manipulator extraordinaire. No time for funny business on this one. FFF takes you straight into moody sci-fi territory and heavy yet intricate choppage on 'It Began In Man's Mind', followed by 'We Sleep', on which he takes a slightly less throat-cut approach, slowly building things up to a dark hoover climax. 'Would D Think It's Smooth Enough' displays a beautiful mish mash of slick sounding synth stabs, 808 Juke drums and break beats. Dedicated to Dyanko. The ep is finished off in style with 'Murder Comet', which kicks off with a loud and clear clash message to all soundboys out there, followed by a spot of smoothness, only to take a turn for the worse again after about a minute or so, before all mayhem is finally unleashed via a set of mentasm stabs halfway through the tune. No prisoners, no mercy..

New Recruit Mister Shifter Drops His Debut Ep For J:kenzo's Artikal Music UK.

Nikki Nair is fast becoming one of the most diverse and forward-thinking artists in electronic music, flying the flag for increasingly hybridized methods and doing it your own way. His sound is inimitable and cannot be defined; readily bottling a multitude of emotions in a relatively short space of time.

Nikki’s meteoric rise has come in the form of eclectic releases like his ‘More is Different’ EP on Dirtybird to the downright filthy and party-starting ‘Trying To’ on Bristol’s Scuffed Recordings - Influenced by anything from Detroit techno, to lush ambient soundscapes and Florida breaks. The Knoxville born, Atlanta based producer continues his journey through shape shifting universes on his debut for Lobster Theremin, with five different but equally impressive tracks.

‘ Shufflin’ kick starts the EP in Nikki’s signature, unpredictable style; as squelchy bass-lines growl at heavily swung drums and low pitched vocal loops, before ‘WWC’ - an off-kilter minimal stepper, walks the tight-rope between entropy and synchronized dance.

‘ ‘I Can’t Stop’ meanders from kinky bass & breaks, to deconstructed dubstep and trap; causing more facial expressions in six minutes than ever thought possible. Nair’s hybridized methods continue to shine through in ‘Yoland And His Tortoise’ - a trippy and colourful dream told through nuance in sound. The EP then closes off with the laid-back grooves of ‘Urquoise’ - a hypnotising ritual best practiced in nature.

Eris Drew und Octo Octa entstammen der queeren DJ-Community der USA, sind wöchentliche Resident-DJ's bei BBC Radio 1 und betreiben das Label T4T LUV NRG. Ihr energiegeladenes, euphorisierendes Fabric-Set aus 21 Tracks entstand aussschliesslich mit Vinyl und umfasst Subgenres wie House, Bass, UK Hardcore, Acid bis Trance. Dabei verwenden sie zahlreiche 90er Raritäten, die zuvor nur einer kleinen Crowd von Vinylnerds geläufig waren und jetzt wieder das Licht der Welt erblicken, und fügen eigene Exclusives hinzu: die trancey-euphorische House-Hymne "River" von Octo Octa und "Reactiv-8" von Eris Drew, ein Electro-Tune mit eigenen Vocals.

Candy Mountain welcomes Tracing Xircles for the second release on the brand-new studio label ran by Steffi and Virginia. Tracing Xircles is the collaborative venture between Blue Hour and A-JX known for their energetic original blend between Detroit Techno, UK Bass, and IDM.

With their First Contact EP on Candy Mountain they dive even deeper to define this unique sound with 4 beautiful driving abstract yet funky broken dance floor bangers. The EP comes with an amazing remix by UK legend dBridge.

Following up Batozsek’s four slices on Vol 2, Ecdisis Vol 3 is fresh and ready to wreak some havoc.

Some familiar names from the first volume of these series return for the third instalment as well as an otherworldly figure in the electronic music world.

Up first is Vinilette, returning after her excellent appearance on Ecdisis Vol 1. A brood of beats take hold for Vinilette’s rework of Flux of Pink Indians’ “Nothing Is Not Done.” Tribal, this rhythmic romp is inspired by the 1986 piece on Uncarved Block. Layers of kick drums, bongos and toms echo and

judder as a cold line circles and closes ever tighter. Following we have the head honcho, Juanpablo with his extended edit of Mac Blackout’s “Do The Dance In Your Head” which original version came out in Valencia’s imprint B.F.E. in 2011. The original song with its guttering guitar strings and nicotine

stained vocals, proves ample ground for the Frigio boss to work with. The intro is given room, adopting a doom disco march, before the fearsome crash of strings. The lyrics, a lurid tale brimming with menace, are sweetened with twirling notes in this grisly stomper. The final attack sequence comes care of Mick Wills with his amazing cut of an unreleased track by Argentina’s great producer NGLY. Dark and looming this distortion streaked encounter will leave bodies and speaker cones raw. Three edits with one central vision. This is music that cuts to the bone, these are tracks that continue

that intent first established by Ecdisis Vol 1. A collection with a serious impact, no doubt.

The Jack Bregman LP was made consecutively in 10 days from July 7th-17th 2020. It was made in the same continuous manner from front to back that it’s listened to. It’s the first of many more advanced albums to come from Citra Lab.