Beats News

Time 2 time u find ur gaze wandering out of the windows of ur local transportation system 2 the stars beyond....

Young gun and badman producer Retina returns to Foundation Audio for his debut vinyl release and quite frankly it slaps!!!!

‘Dusted’ kicks things off with a hyper 4x4 beat and an eratic bassline – this one comes flying straight out of the gates! ‘Nameless and Nothing’ a meaner, beast with its eerie atmospheres and plodding bassline takes the A2 spot. Flip the record and we have ‘No Fear I’ a subby monster best described by the word SUB. ‘If Not The Orb’ closes proceedings with a 07-08 old skool antisocial kinda vibe wrapping up the ep perfectly. Dubstep goodness from front to back and solid proof that Americans can also do the dubstep.

Yellow Vinyl

NNT’s Hakuna Kulala drop dancehall fire voiced by Kampala’s Swordman Kitala and Sekelembele on a pair of bouncing bombs produced by Scotch Rolex and DJ Die Soon.

Ruinous rave tackle on both sides of this plate, dialling up the energy of ‘90s Kingston and Brixton to equatorial boiling point with rowdy and industrial scale riddims supplied by two Japanese producers.
DJ Scotch Egg renames himself after Uganda’s favourite street food with a hardcore mix of dancehall and frenchtek strapped to rasping, barked vox by Swordman Kitala, while DJ Die Soon follows a turn for Rabih Beaini’s Morphine with a jabbing steppers beat for producer/MC Sekelembele, debuting on record like a turnt Elephant Man with ‘Moto Nyama’.

After he featured on Various #2, the Russian artist Yssue is back on KUMP with three, slightly incantational, Industrial/Tribalistic tracks.

In this EP, Dmitry Nekrotkov explores Nature and expresses his vision of the bonds which Mankind shares with It. What's more? Two remixes. Ayaz, an artist from Azerbaidjan and founder of the Yalanci label, delivered a Dub-Techno remix which will turn your brain upside down before chopping it in tiny bits.

The second remix was made by the Duo DJ PG, from Lauzanne (Switzerland). The two pals, both members of the group "La Sacree Deter" revisited the track "Lust" adding a Psyche-dubik touch to it. Perfect for a matinee on your sofa.

"My music is often a reflection of the state in which I am at a certain period of my life, since I grew up from a musical punk scene, this often involves a certain set of means of expression. In essence, I am in an endless struggle to express some quite lively and human emotions through the cold and artificial world of electronic sounds. That is why there is a lot of melody and sometimes even drama in my music, and this is why I'm often got bored with a static music. This EP is called "Naturalist", a terms that defines a person who has devoted his life to the study of nature and its kingdoms. This directly relates to my strong belief that the further society advances, the more people are losing touch with nature, something that is real and to which they all belong."

- Dmitry Nekrotkov.

This is Abstrakt Sonance's long awaited album on DDD.

The second release on Raw Basics is a solo single from Basic Rhythm that brings a summery Techno vibe to your turntable.

The A side opens with a bright lush pad lowly panning from left to right, coupled with a bouncy kick drum and light percussive hits, before unleashing a heavyweight bass line designed to rattle your sub stacks and knock the air out of your chest. Cha is a stepper that draws from, and combines Dancehall and Detroit Techno with a deftness that only Basic Rhythm can bring to the dance floor.

The B side is a more subdued affair, invoking clear blue skies and a warm summer breeze. Opening with a lush chord and muted 4/4 kick drum, the layers of tape hiss obfuscate and add a little lo fi fuzziness, while gradually building layers of percussion in that unique Basic Rhythm style, adding hints of sub bass before finally opening up into a straight stepper around the half way mark, with a solid kick drum and warm bass line that compliments the lush airy chords. This is one for the summer!

Following his debut outing on our most recent compilation, Delay Grounds is back with three bass heavy submissions, each bubbling with effervescent melodies that twist and transform into the imitation of their phonetic namesakes.

On the A-side, Coruscant builds and modulates with glitching rhythms and glittering synths, leading us onto the storming tantrum of Stompy; both tracks demonstrating the innovative intricacy we’ve come to expect from this burgeoning producer.

On the flip, Clatter’s playful yet introspective trajectory completes Delays Grounds’ solo excursion with fellow newcomer, Suze tapping the brakes in their explosive “Heeley Mix” to round off the EP.

Onomatopoeia's inviting digital landscape offers us an uplifting, yet ponderous escape during these times of uncertainty and change.

Trule drops its 9th release and the second in its 10” white label series with a collaboration between label boss Al Wootton and Montreal’s Priori. Al Wootton heads up the A-side with JL, a deep, dubby and minimal house/techno number. Priori reworks it into a ‘Sharp Tool Mix’ for the B-side, a rolling, drum heavy techno workout primed for dancefloors. Priori co-runs the labels Naff and Garmo with Ex-Terrestrial and is one half of the Jump Source project with Patrick Holland.

Multidisciplinary artist, rapper, producer, and performer "Ojay Morgan" who performs as Zebra Katz is a first-generation Jamaican-American who burst onto the scene with the likes of Azealia Banks,
Angel Haze and The House of Ladosha, when his runaway hit single “Ima Read” paved the way for his distinctive genre-defiant sound.

'LESS IS MOOR', the debut album due out March 20, announces a deeper look into his sonic universe. Sexually charged and abrasive,
the collection is a bold, sonic experiment that meshes industrial hip-hop with drum ‘n’ bass and unidentifiable sonic territory.

Auf seinem zweiten Album "Neurofire" treibt L.A. Producer und FadeToMind-Betreiber Kingdom seine Suche nach schnellere, turbulentere und experimentellere Club- und Popmusik voran und fusioniert deepen aund aggressiven Club-Bass mit synkopiertem Scifi-Pop- und -R&B der Marke Timbaland und DanjaHandz, ohne dabei sein Faible für emotionale Synths und Vocals zu vernachlässigen. "Neurofire" bietet darüberhinaus ein Feuerwerk an Features von jungen Talenten wie Ghost, Kayla Blackmon, Tiara Thomas, Pheona, UNIIQU3, Semma, LUVK und Tre Oh Fie.

Following up 12”s for AD 93 (formerly known as Whities), Timedance, International black, and Yume, Neinzer lands with Where To Now? for a suite of leftfield slow steppers and deep melancholic psychedelia. Having been quietly turning heads for the last few years Neinzer cuts an interesting figure in today’s electronic landscape as someone whose creations walk the lines of heavy, otherworldly, hypnotic Techno, explored by the likes of Avalon Emerson, Metrist, the Hessle Audio crew etc, whilst maintaining a gauzy, acid washed dreamy quality which recalls the work of more restrained, melodic electronica stalwarts such as Floating Points, Four Tet, Clark, etc. Neinzer’s work stands apart from all of these touch points however by utilising an often tense & unstable approach to sound design, but always injecting his worlds with huge flashes of melody, joy, and power.

We dive in with heads down intent on the opener ‘Traum’a’. Deep pads and quick paced percussive flurries shuffle below detuned piano keys, bringing an almost jazzwise leaning to the dance. Next, we lean back with ‘Nabi’, where Neinzer flexes his electroacoustic influences and explores tone & tension by melding a natural pallet of human sound with synthesized pressure to create a unique and destabilising piece.

‘Rassalin’ brings the Machine Funk and slows things right down with dizzying effect, deeply swinging its way with gritty intent through a trembling landscape on the brink of collapse. From here on out, Neinzer shifts his previous beat led focus towards something more psychedelic and exploratory – on ‘Hebdamu’ we find flourishing swathes of freeform melodic beauty build and build, snaking around the precise percussive hallmarks of Neinzer’s sound world, and ‘Shifting Values’ ends with the gloriously dubbed out experimentation of ‘Cause Pan Tact Insoluble’ – coming off like Adrian Sherwood jamming with Popol Vuh.

For this new release, the French UK am-bass-ador comes back with a 5-tracker Ep, on the infamous imprint Brothers From Different Mothers, expanding a bit more his tempo range with few special riddims. Influenced by dancehall music this Ep collects five party-oriented moods and interpretations of the genre with Simo Cell's signature and sound design skills.

Lord Tusk has associated with acts like Klein, John T. Gast, Dean Blunt, Yasiin Bey AKA Mos Def, and released on Jon Rust's Levels, Funkineven's Apron, Soul Jazz Records and Low Income $quad.

Communiqué is made of breathy, glossy Sci-Fi electro, bitcrushed drum samples and Minneapolitan funk feng shui, the hits and stabs of new jack swing and FM boogie, all pieced together with a one-take energy but a meticulous attention to detail. It's songwriting for a miscellaneous kind of soundsystem music, body music, flamboyant across tempo, from the yearning thump of Shyne Eyed Gal to the puffed-up strut of Champion Lovers (sounding like a home-taped Electrifying Mojo opener), the staggered slink of Beyond Limitation's unfiltered tones to the 4x4 uptempo skid of Don't Be Shy or the veering slap-bass groove of Elevation. It's a record that shoots around corners, conjuring lazy romances and smokey vistas, lit by the nocturnal shimmer of an electrified city, streaked with gargantuan, shrill, birdlike call-and-response riffs and visited by the astral bodies of Teddy Riley, Gerald Donald, Prince.

FFF continues on his rich run of form with a heavy double hitter on Foxy Jangle - classic jungle signatures meet cutting-edge production precision across both tracks.

"No Ice Cream" fuses rare groove, ragga and neo-classic jungle rhythms, the resulting roller a molotov cocktail of club-ready jungle for the big soundsystems and low-slung, sweaty basements.

"Backstreet Dub" is an altogether smokier affair than the flip. Pulsating UK hardcore DNA meets dub sensibilities and DnB breaksmanship, creating a strong-armed sonic journey littered with emblems of soundsystem culture.

All tracks by FFF
Lacquer cut by Shane @ Finyl Tweak
Mastering by Bob Macc @ Subvert Central
Artwork by CISTO
Additional graphic design by Yorobi

**REPRESS**

DJ Support
Tessela (Overmono), Jessy Lanza, Mark Archer (Altern-8), Andy Garvey, Sicaria Sound, Sinistarr, 2 Bad Mice, Addison Groove, Ben Sims, Mantra, Rob Smith/ RSD, DJ Barely Legal, Appleblim, Sherelle, Gigsta, 96 Back, The Black Madonna, Andreas Baumecker, Jerome Hill, Kirsti, Alienta, Etch, Aquarian, DJ Fart In The Club, Peder Mannerfelt, Oliver Hafenbauer, Barker, Interplanetary Criminal, Foul Play, Nick Craddock, Roi Perez, Mor Elian, Karima F, Darwin, Re:ni, West Norwood Cassette Library, Matthew Herbert, Mani Festo, Vladimir Ivkovic, Sarah Farina, Ciel, Kornel Kovacs, Cop Envy, Yak, James Zabiela, JD Twitch (Optimo), DABJ, Sully, Dusky, Appleblim, Shedbug, Ste Roberts, Mr.Mitch, Denham Audio, Dario Zenker, Or:la + more

Walton returns to Tectonic to drop his latest EP of deadly dance floor weapons, as Tectonic sets up to celebrate being 15 years old!

With releases dropping on Illian Tape and Kaizen, Manchester’s Walton is a producer in high demand for his inimitable style the blends grime and pirate radio aesthetics with forward-thinking dance floor sensibilities..

‘Scooped’ opens the EP with mood setting pads and 128bpm drums, in preparation for a gut-wrenching bass line, bringing elements of grime, dubstep and techno altogether.

Following on next is ‘SBWYS’. The title references a vocal sample that decorates the rough 138bpm beats, “Sound boy watch ya space!”. Point made.

‘Smashed Crabs’ takes a 2003-era grime style rhythmic framework and paints over hard bass sonics and laser blips at 134bpm.

Lastly, the title track ‘Abyss’ continues the rave lazer aesthetic and tempo of Smashed Crabs, but sending things more intergalactic in trajectory, wrapping up a great EP in fine style. Definitely a bit of something for most dancefloors, crafted in the way of the Walton.

Eye socket tickling outernational riddimz from the Manchester-based Alan Johnson.

Introducing Maes (Manchester UK) the newest crew member on Navy Cut. Serves up 3 cuts of hard hitting sub bass with complex percussion and packed with energy while retaining the original Dubstep sound.

Long-time Muslimgauze fans with keen eyes and/or photographic memories may immediately notice something about the newly unearthed Sadaams Children album; with some slight orthographic differences, it just about shares a name with a short track from the classic Narcotic (Staalplaat, 1997; the similarity and the difference is pretty much expected from someone who both liked to reuse names and didn’t care for consistency in spelling as Bryn Jones did). While none of the four lengthy tracks found on Sadaams Children actually sound like sparse, clean string sounds of Narcotic’s “Saddams Children”, three of them never previously heard extended versions of tracks previously found on that release – well, one is both an extended and truncated version, but such are the idiosyncrasies and joys of the ever-complex Muslimgauze oeuvre.

That extra-special track is the mighty, dubbed-out “Gulf Between Us”, which does appear on Narcotic as a brief palate cleanser but in the same year was also released by Staalplaat as a standalone track in its ultimate, 23-minute form. That sprawling version takes a rather circuitous route as subtle electronic elements wear away at the track; the more compact 10-minute version here instead dials up the bass wobble for a track that’s about as chilled as Muslimgauze ever gets.

“Believers of the Blind Sheik” and “Effendi” are slightly more straightforward, in that both are about twice as long as their Narcotic excerpts, with the former’s echoing drum hits and quiet pulse proving to be a natural fit with “Gulf Between Us” at the beginning of the release and the even sparser, slower building version of the latter seeing the album out in slightly abstract fashion. Before that track, however, there’s the previously unreleased and similarly lengthy (at nearly 17 minutes) “Trikrit Brotherhood Quartet”, the only track of the four here to get more of Jones’ traditional layers of instrumentation and distortion to form a track that seems to shimmer in the summer air like a mirage. As “Trikit Brotherhood Quartet” winds its way from roiling static to more of Jones’ classic use of hand percussion it’s clear that these extended editions make for another compelling look at Jones’ archives and the seemingly infinite flexibility of his muse.

Following a string of bag-on-site releases on leading 140 labels White Peach, Pearly Whites and his own No More Mailouts, Sir Hiss debuts on K-LONE’s label Wych with a pair of fresh 140 anthems. WYCH004 sees his signature sound on full display and at its best: all driving subs, skittish beats and N64-indebted earworm melodies. The record closes with a hyper-melodic K-LONE remix.

it's been a while since we decided to open and launch this new project, we were just waiting for the right moment, and maybe we waited too long. or maybe not. we were a little stucked by the indecision of when to put it out, how to contextualize, and all the usual "psychological" practices that one faces before starting a new journey. but ever since we received the masters of this wonderful concentrate of different minds, we have been looking forward to smashing it out. and whether it's the real right time or not, it's now finally here! the true meaning behind this capsule is not so definable in words, perhaps because it is an attempt to look back and forth at the same time, without getting lost in a one concrete definition. but when we got to the tracks, first individually, and then together, it came spontaneous to glimpse something new and unconventional as a whole. we are therefore proud to present another of our musical journeys, this time in certainly more experimental and odd territories. the sounds you hear can definitely be taken as the true manifesto of this new chapter. proto? post? everything in between. ENTER >

Impressing the next set of colossal armaments onto wax, 'Order / The Mould' introduces a multitude of esteemed producers from London's musical melting pot to the high-grade Sentry artist roster. Fusing the sounds of bass music heavyweight Boylan and the enigmatic Logos, Slimzee the Grime visionary and co-founder of Rinse FM as well as the trio of veteran producers USF top off this epic collaboration. Following up on the latest anthem with Killa P and Long Range on the microphone and the label boss Youngsta himself on the controls, the 14th vinyl release of the esteemed UK imprint once again demonstrates its eminent value.

An exemplary no-holds-barred sound system eclipse, 'Order' kicks off with granular foley and restrained percussive ambience, invoking the impending militant pressure excursions with haunting precision. As the mammoth bassline unloads onto your listeners with unbridled might and the full force of the law, the ensuing staccato pressure artillery leaves no headroom behind - dance floor levitation at its finest. Witnessing the B-Side, 'The Mould' incorporates meticulous breaks alongside the scattered percussion and thunderous bassline foundation, not for the faint of heart. Two murderous sound system cuts, primed and ready for the dance.

Under the pseudonyms 4 A.M. and Beat Per Bar, Lupos Sobre-Vega released two eccentric 12”s, of what, in retrospect, can be called vernacular house music. Both records are individualistic collisions of New Wave, Bass, Freestyle, Hi-NRG, Acid, and Sample House recorded in Sobre-Vega’s home studio in Orange County, Los Angeles. Using a Yamaha QX-5, Roland S-50, his mom's Roland Juno 60, EMU drum machines, and Yamaha DX-7, he put his nascent jazz chops to use and laid down the idiosyncratic dance tracks that he would self-release on his own label, House Hold Records, in 1988 and 1989 respectively. Although both 12”s were credited to groups, Sobre-Vega confirms that “the so-called band members were club friends. A couple were models and actors, or just plain good ol’ dancers. They were strategically picked by me, of course. So yeah, 4 A.M. and BEAT PER BAR are 300% me. There is no other.”

Despite working within the confines of dance music’s ready-made rhythms, Sobre-Vega’s sensitivity transcends the inarticulate 4/4 beat - vulnerable, idealistic and yearning. The timeless themes on the records reveal his youthful worries about money, intimacy, love and sex. Looking back at dance music history, it is luminaries such as Arthur Russell, Sylvester, Grace Jones, Theo Parrish, and Larry Heard, that stand out as enduring visionaries that transcended stylistic trends. Mixed Signals is proud to illuminate Sobre-Vega’s work in the constellation of dance music’s radical dreamers with this EP comprised of two songs from each his scarce and singular 12”s

EP00001 is the first audio release from Matteo Zamagni's Seven Orbits project. 5 original tracks including a collaboration with Nervous Horizon's TSVI, plus remixes from 33EMYBW, Gooooose and Zaliva-D. Seven orbits is an audiovisual performance designed for immersive sensory experiences. It plays with the senses through vibration, light and sound to induce potential altered states with an emphasis on the transcendental and animistic connection with the natural world and the divine as can be found in past and present rituals around the world. The softwares used to create the experience communicate with each other so that the sound, played live on DAW, drive the real-time graphics as well as physical live elements; Further control of the experience is also achieved by using external physical interfaces.

Following the Turner Street Sound collaboration with Rings around Saturn, Melbourne producer and DJ Midnight Tenderness presents his second offering to Butter Sessions, Digi Modes. Throughout, Midnight Tenderness maintains his fixation with dub-wise rhythms and heavenly melody, delivered with his signature silky smooth production.

Digi Modes begins with the complementary pairing of tracks Crosswinds and Dub Dreams which feature on the limited yellow 7". Crosswinds is a bright medley of garage breaks against hazy synth-work that gently inhales and exhales. Dub Dreams, as its title affirms, is a mirage of sweeping synth loops and chattering rhythms. Elastic Dub is a more traditional homage to early dub works of the 1980s, marked by persistent echoes and rumbling bass that divides and conquers. Reflexitones, and the EP's endnote Regent St Dub, both add a sprinkle of house and electro, primed for a discerning dance floor or perhaps for now, a dance at home. As a whole, Didi Modes is an affirmation of Midnight Tenderness' mastery to adopt and adapt acquainted sounds in a unique way.

Repress!

To mark Osiris's 60th release, label head Simon Shreeve dons his Mønic guise for a richly saturated three-track EP that pays homage to the label's Drum & Bass origins and Shreeve's own past as Kryptic Minds. From the screaming call-to-action horns of 'Regeneration' on the A-side, to the creeping menace of 'Research Methods' and the Jazz in fuelled beats of 'Always for Tomorrow' on the B-side, a return to the rhythms and textures of D'n'B contrasts Shreeve's recent outings as CUB with Karl O'Connor, solidifies Mønic as his most experimental, genre-defying, and preconception breaking alias.

4 tracks of lush downtempo house mixed with grime and jungle influences. J. Albert has released with labels such as The Trilogy Tapes and Opal Tapes and has been crafting his quirky and unique style for years.

Long term friends of Geddes Chris Wood & Meat deliver four stomping cuts for nofitstate's white series

Vitamin D returns with its second release “Dubs & Grooves Vol. 1” from Bristol’s D&G. Label mainstay Wilfy D teams up with selector Simon G to give you 4 vocal driven classic UK Garage cuts in true VITD style. A1. “Al’s Groove” blends organ bass and R&B vocals for a no nonsense summer garage slammer while “Request Line” and “Cherry Rover'' provide soulful classy garage house cuts. The B2. Leigh Delamare gets a bit naughty, a certified 2-step club roller. Does what it says in the tin - club dubs and vocal groovers!

The far west has long been known as hollowed ground for Dub Reflective arts, from the birth of Reggae and subsequent Jamaican diaspora to the more recently developments that ultimately informed Dubstep. Many key figures have emerged on the left coast of the USA throughout these developments in Culture and Roots-centric Dubstep, with key among them being the surfacing of LoDubs, and its rise near the advent of the sound in 2006 serving to inform and cement Dub's true DNA at a time when the field of those carrying the torch throughout the region could be counted on a single hand.

Green Vinyl Repress

The next release on Hi Tek Sounds sees the inimitable JEB1 bring his distinctive sound to the label.

The A side, ‘Guyana’, is a mournful, melancholy affair full of lush melodies and choral arrangements, accentuated only by a pared down percussive rhythm track and growling bass line. The title connects the contemporary sound of inner city London back to JEB1’s ancestral heritage.

East Man steps up for the remix on the B side, stripping the track back even further, reducing it to a bouncing tin pan percussion and driving rhythms, and alternating between a warm low sub bass and a gritty growling bass lead to cut straight to the dance floor.

These run of releases on ‘Existence Is Resistance’ comes from the Legendary Proto Garage Record Label ‘Same People’, and see’s Persian & Long time musical partner DJ Texsta, repressing some of their most pioneering UKG E.P.s.