Beats News

Chad Dubz returns to his beloved Foundation Audio with the Ghostin’ EP. ‘Anxious’ kicks things off; a minimal sound system wobbler filled with moody bass lines and eerie atmospheres. This one’s a creeper. Title track ‘Ghostin’, a collaboration with Teffa keeps the theme rolling with its militant wubs and haunting melodies – spooky business indeed!

Flip the wax and we have ‘Headnod’ delivering sound system business with rugged drums, weighty basslines and rough and ready dub siren abuse.
Closer ‘Let Go’ rounds off the EP perfectly with its strong jungle and garage influenced vibes.

All in all this is Chad Dubz most personal and cohesive EP to date and a great way to enter 2020 for both the producer and his label.

Netsh is dead, long live Netsh ! The 24 year old producer is back on Comic Sans Records and delivers a 6-tracker EP that sounds like a
true aggiornamento in his music.
The braindance inherited from Aphex Twin which we can hear in Neural Netshworks, is here replaced by something new that defines
the contours of a 2.0 upddate of his creative process.
Netsh has left aside most of his usual hardware and used different time signatures.
This renewal in his working method gave birth to Cyberbass, an energetic style in which IDM and futuristic bass music blend
to musically describe a close dystopia where humanism has given way to transhumanism.
The EP and its tracks are crossed with contrasts, the ear is often knocked out by a powerful polyrythmic before being released by
emotionally intense breaks.
It's probably Netsh's way of illustrating one of the biggest philosophical debate of our time : will technology free human kind or on the
contrary enslave him ?

Trule materialized fully-formed in late 2018 with zero hype or fanfare, and quickly became a buy-on-site label for fans of dubwise garage/tech/bass hybrids. It took us a minute to realize that the label’s boss and primary artist Al Wootton was none other than Deadboy, who’d been making post-2 Step memories for his many devotees with a decade’s worth of melancholy club beasts like “U Cheated” (Well Rounded) and “If U Want Me” (Numbers). We knew we had to have some of his new works for ZamZam, so we couldn’t have been happier when he crafted some sound system tunes just for us, the first label besides Trule to host tracks under his under his own name.

“Request” marries a steamrolling bassline to a pummeling 4/4 kick, syncopated percussion, dark skanks, and layer upon layer of haunted reverbs, vocal fragments, and decaying tape delay. While full steppers, the slyly swung drum work never let you forget his roots in deep garage and house. Special Request!!

“Philo” cranks the tempo up to 140 for for a dub techno stepper that is at once storming and dreamlike, the pounding kick and militant snare fills contrasting starkly with floating pads that oscillate and shimmer, floating up from the dreamlands only to be shot through with lasers and left in fragments of reverberation. Late night B side for the stamina crew.

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

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

It’s been a little while since I’ve put an EP out on Holding Hands. It’s been super fun working with On Loop, Touch From A Distance and Futureboogie but it definitely feels great to be back at home on my own label.

For my first release of the new decade I have whipped up four club focussed bangers with a nice bit of variety. A smattering of electro, breaks, 2-step and dark UK funky. They are all relatively fast paced but you should hopefully be able to find at least one track for a set at any time, early, middle or late.

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 Delight...

Rider Shafique, Ishan Sound, and Kahn need no introductions. As individual artists and fellow members of Bristol’s Young Echo collective, they are responsible for some of the most crucial music to come out of Bristol in the last decade. We couldn’t be prouder to deliver this powerful message music in these extremely dread times.

In a catalog overflowing with lyrical majesty, “When Shall We rise” is one of Rider Shafique’s most direct and moving missives yet - a critical dissection of the racist foundations of dominant culture - whether UK, EU, or US - and the struggle of the racially oppressed within it. The plea to abandon assimilation into Babylon system, in lesser hands could easily be cliched or flat-footed, but with Rider’s pen and voice it is a revelatory spiritual call-to-arms - there are no saviors coming - we are the ones we’ve been waiting for.

The riddim is classic Kahn & Ishan- uncompromising rockstone mid-tempo steppers that is at once orthodox and utterly, inimitably their own- plucked strings, haunted pipes, pounding kick and heaving bassline in propulsive amalgamation. Straight off the desk, “When Shall We Dub” strips the vocal out entirely, focusing on breaking down the incredibly militant riddim, crafting a dark, roiling ocean of reverb, swells of delay breaking the surface in blackest night.

A closely guarded dub for several years, “When Shall We Rise” is now free to circulate and become the anthem that it demands.

Peace, health, & strength to all.

Some five years after re-launching his Crayon label via a fine EP of vintage "Tracks From The Vault", original 1990s tech-house producer Mark Ambrose serves up more gems from his bulging archives. The quality threshold remains dizzyingly high throughout. Check first "Nightshift (Deeper Mix)", where gentle, alien synth lines and deep space chords tumble down over a heavy analogue bassline and locked-in beats, before turning your attention to the slamming techno beats, looped electronics and mind-mangling TB-303 motifs of "Dusty Acid". Also impressive is "Space Animals", a deliciously dubbed-out affair rich in sub bass and drifting, deep space chords.

*Repress*

Dead Man's Chest delivers the final piece of his opening Trilogy for Western Lore with a trio of expeditions into Jungle's less explored territories, laying down warehouse amens, dub reprisals and the sounds of early 90s 'blunted' Bristol.

DJ Die Soon is a local legend and ongoing inspiration in the Berlin underground electronic music scene. Remaining largely unknown outside the city, with only a handful of releases and appearances to date, the man behind the mask delivers truly freakish beats built from chaos driven crushed drums and eerie horror style basslines.

KAPPA SLAP wrenches the Morphine catalog by the neck, takes it off it’s feet and slams it back unsteadily in front of the fans who loved the Container, Metasplice and Hieroglyphic Being output of the label. DJ Die Soon delivers extreme work here. The album is a mixture of instrumental pieces and vocal tracks featuring the talents of five contrasting MC's. Three Ugandan lyricists feature: there’s MC Yallah, with whom he worked during a residency for the Nyege Nyege Festival , Lord Spikeheart from the Duma hardcore pressure band, and the mighty ECKO BAZZ. Long time friend and collaborator Infinite Livez (Ninja Tunes) appears on the cosmic & eccentric Ranthworth, and finally there’s Japan’s MA, who recently dropped the incredible AMA album on the label. Incidentally, the pair (both Japanese) decided to collaborate after acclaimed performance at the Morphine Showcase Berlin’s Berghain in 2019.

KAPPA SLAP contains a lot of our favorite sounds all in one album. Stunningly, DJ Die Soon manages to paint the Morphine picture in one hard stroke.

Artwork courtesy of Lorenzo Mason Studio

2x12"

Having made initial waves on Cold Recordings and Osiris, Eric Baldwin returns now to Tectonic to release his eponymous album ’Cocktail Party Effect’, bringing his South London roots to Berlin for an all-weekender, under strobe lights.

Drawn by his appetite for powerful rhythmical forms and inspired by the likes of Daphne Oram, The Residents and Captain Beefheart - Eric takes uses background in sound design, knowledge of hacking VST software and adapted spring reverbs and other hardware, to create a truly unique vision of contemporary electronic music. It sits somewhere between Jeff Mills, Aphex Twin & Squarepusher - held together by a connective UK Bass Music spinal chord. A weird but intriguing beast.

We open the track with Japanese cocktail recipes, before moving into the only vocal track of the album, ‘Talking To Bricks’ featuring Bristol vocalist Redders on fine form - charged with disjointed energy and run ragged across a technologically charged dancehall style beat. The LP progresses through the rolling breaks and bleeps of ‘For The Memory Exchange’, into an IDM side-step in the shape of ‘Brutalism’, moving into the gentle, beautiful flickering glitches of ‘PDA’, before we get to the hyperactive twitching alien charge of ‘War On Codex’.

Taking a leap in another direction, we reach ‘Cause For Bad Shelving’, which sounds a bit like Squarepusher when he was on late 90s, immaculate form - taking the tempo up a few notches, while building melancholy. ‘Lack Of Wrong Format’ then gives us a moment to breathe, before diving into ‘Deerhorn’ which brings us right back to the dancefloor. Things are then turned inside out with the jittery wonder of ‘I Get It (Lost Banknote)’, redirected via the industrial clangs of ‘Low_Rise’, before rounding off our sonic adventure with the ponderous tones of ‘Loner’ - which leave you glowing and drifting off into space.

A bold album that’s just brim with a strong sense of originality, direction and grand narrative. From international dancefloors to post-clubbing ear-worms, Cocktail Party Effect is just getting started and you’ll be hearing his name more and more now.

This are three new Tracks, released by 'Pete Cannon' and 'Patrice', for the Label which is called 'Swamp 81'.

UK-inspired hypnotism from Arkajo on his own imprint.

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

This EP, titled "Een", or "One" in Dutch, is a testament to my first release as a producer. An ode in a way to my Australian/Dutch roots, all three songs were produced in either, or both, of my two homelands.

BOA is a new collaboration from Best Available Technology and Orvis Arum, this 12” is their debut release

The duo explore dub and classic UK bass vibes in heavy, desiccated forms, produced entirely across an array of analog gear

RIYL Vex’d, Andy Stott, Kahn, Cannibal Ox, K-Lone, DJ Normal, V.I.V.E.K., Old Apparatus

12” is backed with a humid, animated remix from Mosca that features various strands of BOA’s DNA from these two originals, as well as their forthcoming debut album Outer Gateways

Borai & Denham Audio follow up last year’s official release of rave banger ‘Make Me’ with a varied club tool focused EP for E-Beamz. 5 tracks ready for any time of night.


DJ Support
Ludwig A.F. Röhrscheid, Hans Berg, FYI Chris, Rich Hawtin, Banoffee Pies, My Nu Leng, Deft, Neinzer, Nick Craddock, Ame, Tensnake, Iron Curtis, Lovefingers, Shadow Child / Polymod, ABSOLUTE., Extrawelt, Samir / Happa, Nightwave, Maceo Plex / Maetrik

'Schmeichel' is back on Defrostatica with new tales from the 160 bpm footwork continent. Again he demostrates a deep understanding of the unity of body, mind and soul.

He's a beatsmith and electronic music producer from 'Leipzig' - his puzzling artist pseudonym (to schmooze someone) is nothing but purposely deceptive. In the last six years he was busy making and releasing music which never sounded quite like the same as before.
His diverse musical flex in abstract hip hop, drum and bass, broken beats, techno, acid and ragga too shows his ability to sweep away genre-expectations.
He is committed to fuse every style into an immediate but ever-exciting minimal music experience. As a dj he switches virtuosic between jazzy improvisation, stokey UK-rap, dark and spiritual dance redemption. Nothing really much beside his work is known about Schmeichel since he is not playing the social media game that much which forces attendes of his performance to listen and enjoy without any distraction.

... When he turns on the amp in his basement studio underneath one of Leipzig's record stores he leaves mundane matters behind. 'Schmeichel' loves being in the zone when he is exploring new sound territories - like a sculptor he carves out a vision of soul with a minimalistic blues vibe that is looking for an essence rather a presence.

While the title of his five track EP "Mana, Focus & NoBreakfast" sounds like a work spec it deflects humbly from the musical richness of his second release on Defrostatica. Once again, the whole is more than the sum of its parts: he is telling different stories in each track that belong to one carefully composed saga.

"Feel" in its intensity resembles the soundtrack of a remake of Scenes from a Marriage. "Sting" could be the melancholic story of a hip hop writer about his most epic stunt. Another hip hop reference and artist wisdom drops in "Judge Mee" almost prayerlike.
The b-side of the record opens with "G i o i", a powerful mantra of an unknown procession. "Yin Yang" marks the outerworldly coda to this EP as a soothing salvation.

Hope, you enjoy.

'Break The House' is a brand new label from the crew who brought us the highly successful 'Rave 2 The Grave' series. This time, fusing rare & classic influential house hooks with a modern & highly original breaks house vibe.

Boxed return with the third edition of their various artists EP series, showcasing the best in forward-thinking grime. Boxed's own Mr. Mitch leads the EP off with a rare and special appearance on vinyl, simultaneously graceful and unsettling the anthemic Friend of Mine flips a soul sample in screwed and chopped fashion while ghostly hi hats rotate around its vibrating bass core. For the A2, the debut vinyl appearance of AS.IF KID. Mashman Riddim Pt.2 recalls the technical ruffige of prime Plasticman or Mark One whilst pushing his sound in to new hi-definition territory. OG grime don JT The Goon unleashes his long awaited slate Flux Capacitor, a staple of Oil Gang's DJ sets. Fairlight-era flutes orbit a classic JT bassline for pure emotional, end-of-night vibes. Closing the EP Sirpixalot drops his VIP of All In One, trademark modal keys and skittering drums combining with triton bass.

The long awaited Elevated Jit Vol.2, marrying new school electro producers and Detroit OG's like B Calloway.

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

The first release on Optimo Music founder JD Twitch’s new compilation-focused label Cease & Desist will be a collection of pioneering turn-of-the-90s British “Bleep & Bass” techno tracks curated by author and music journalist Matt Anniss.

Join The Future: UK Bleep & Bass 1988-91 is a partner product to Anniss’s critically acclaimed book on the foundations of British dance music’s ongoing love affair with sub-bass, Join The Future: Bleep Techno and the Birth of British Bass Music. The book, which was published by Velocity Press in December and features a foreword by JD Twitch, documents in vivid detail the previously untold story of the Yorkshire-pioneered style and the impact it had on the development of UK dance music.

The compilation is the first to focus on Bleep & Bass since the sound’s heyday in the late 1980s and early ’90s. It features a mix of historic cuts, period classics, overlooked gems and unreleased material. It was mastered for release by Warp Records co-founder and Forgemasters member Rob Gordon, a producer, remixer and studio engineer who arguably did more than anyone else to define the sub-heavy sound of the style.

Gordon also contributed a previously unheard version of Alfanso’s “Dub Feels Nice”, a near mythical track he produced in 1991 that has never received a proper commercial release. The cut has been a secret weapon for a handful of Sheffield DJs for almost 30 years, most notably Gordon’s fellow Forgemasters member Winston Hazel. Fittingly, the compilation also includes the original unreleased instrumental version of Tuff Little Unit’s Steel City classic “Join The Future”.

Many of the other tracks on the compilation are rare, hard to find or have not been issued on vinyl or digital since their initial release. It opens with Unique 3 and the Mad Musician’s “Only The Beginning” – the 1988 A-side of the first ever Bleep record – and also includes tracks and remixes from fellow scene pioneers Ital Rockers (an early alias of dub hero Iration Steppas), Nightmares on Wax, Cabaret Voltaire and DJ Martin and DJ Homes, the previously unheralded Chapeltown duo behind the influential Leeds-based studio and record label BASSIC.

Elsewhere on the compilation you’ll find Birmingham producer Demonik’s sought-after debut single “Layrinthe”, a hard-to-find cut from Bedford-based men of mystery Original Clique, two classic cuts from the vaults of influential Midlands label Network Records and a glassy-eyed slab of Bleep/deep house fusion from 100 Hz.

Join The Future: UK Bleep & Bass 1988-91 will be released on double vinyl and digital download. The 10-track vinyl version features an insert with extensive liner notes by Matt Anniss. It also comes with a code to download the 12-track digital download version. The compilation will be released by Cease & Desist on March 25th 2020.

First release of 2020 for Auxiliary comes in the form of a six-track EP of slower grooves by ASC. The emphasis is purely on analog synth sequences and drum machines. Cryogenic opens proceedings, with a heavy kick drum, backed with a weighty bass for maximum effect. Monomachine arpeggios are the order of the day here and are used to devastating effect. Following on is the laid back synth swells of Erosion Of Time, which leads into the more pronounced hits of Anthe, which tops off side A with a heavier crescendo. Meridian starts off the flip side in melancholic fashion, with it's half-time beats and pads that pluck at the heart strings. The final two excursions up the sci-fi notch a little, while ASC demonstrates his prowess with film score-like textures and sound design.

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

Breakbeat Kaos Returns To The Forefront Of The Bass Music Scene In 2018 Celebrating 15 Years Since Its Inception. Founded By Dj Fresh And Adam F The Bbk Brand Has Been Synonymous With Some Of The Biggest Talents Homing Over The Years The Likes Of Pendulum, Nero, Brookes Brothers, Chase & Status, Sigma And Of Course Fresh Himself.

W&P by Ondarituale Mastered by Stefano Rocchi 2016 (Berlin).

An EP that explodes into life as much as 'Eternal' does is always a breath of fresh air and that's exactly what HLZ has pulled off with a thoroughly well executed 4-track EP for his debut solo Metalheadz release.



This is a showcase of HLZ's raw and uncompromising approach to production with each track offering a different glimpse into his portrayal of drum and bass, from the euphoric introduction of the title track which barrels into a fierce auditory onslaught all the way through to the intergalactic sounds of 'Hidden Memory' - HLZ really does mean business.



PRESS/ONLINE: Support in Mixmag, DJ Mag, UKF, Drum & Bass Arena, Hyponik, Bass Explorer, Tsugi, PhutureLabs, Bonafide Mag, In Reach, FACT, The Wire, DJ MAG USA, Data Transmission, Resident Advisor, Electronic Beats, Big Up Magazine, XLR8R, Skank N Bass, Boiler Room, Faze Mag, Noisey, Rolling Stone, Dazed and Confused, The Ransom Note, Electronic Beats, The fader, Billboard, Drum & Bassics, Mixmag Asia, Vice, Faze Mag, Thump x Vice, Track It Down Feats and DJ Mag Aus

Acts like Legion & Logam have been pivotal for bringing the Ram Records sound transatlantic. Becoming the first US act into break their renowned roster, the trio have time and time again delivered hard-driving riddims and melodic rollers for Ram's sought after compilation series and their genre defining sister labelProgram. However, this time they've recieved their first standalone single on Ram, which is set to establish them as an even more integral part of drum & basses expansion throughout America. From the tearaway success of 'House of Cards', their first single on Program, to the release of 'Coming Home / When Stars Fall' on Ram Records, Legion & Logam are continuing their meteoric ascent. Following the same carefully strung melodies and voice overtures which has become a signature for the production outfit, 'Coming Home' takes you on a heartfelt journey underpinned by its tightly knit composition. A wavering bassline pitches between each signature of eight, helping to create a more driving force perfect for the dancefloor and bolstering the mix, whilst keeping its softer touch with 'House of Cards' Adam Wrightreturning on vocals.

On the flipside 'When Stars Fall' featuring Wendy Johnson follows the same vibe, with intricately layered instrumentals helping to set out a journey which flips between more percussive elements and well-orchestrated breakdowns. Each segment builds on the next until you're once again left with a record which exemplifies the producers' stellar song writing ability. Together both tracks help to pedestal an act whose versatility can be seen across each addition to Program, and now Ram's, vast back catalogue. Legion & Logam's story on Ram has only just begun - with more releases scheduled for the coming year, it's an exciting time for US drum & bass and its growth.

Bbk Is Back!

Breakbeat Kaos Returns To The Forefront Of The Bass Music Scene In 2018 Celebrating 15 Years Since Its Inception. Founded By Dj Fresh And Adam F The Bbk Brand Has Been Synonymous With Some Of The Biggest Talents Homing Over The Years The Likes Of Pendulum, Nero, Brookes Brothers, Chase & Status, Sigma And Of Course Fresh Himself.

We are proud to present the second record on Axces, which comes from our close friend Frits Caroe aka Popmix. Recorded in 2017 in the Nordvest Auto facilities, the three tracks on his debut give a sense of Frits' mastery of effective, simplistic melodies.

The A-side kicks off with Funtema, a candy like IDM tune whose strong melodic core will be stuck in your head for days. Next up is Klub Frimis, a Detroit meets Mario Kart DJ tool that we guarantee will rock any party. Finally on the B-side we have Teenage Club Fantasy, whose acidic bassline and dubby stabs will help ease that comedown.

Welcome to the world of Popmix!

After gracing the Ram Records back catalogue with his addition to 'Ram Records Goes to Let it Roll EP 2.0', Sound in Noise is moving through the ranks alongside his first standalone single on RAM's definitive platform. A-side Duppy Bass begins with creeping atmospherics, and rolling breaks which make themselves gradually known. A smashing, jungle-esque drop and pumping drum patterns pull you deep into a reverberating, metallic bassline which pulses and stands out prominently against the mix. The added snipped up, distorted ragga samples only add to the dancefloor appeal against its throbbing stabs. The Estonian producer nods to the old-school whilst adding a new flavour with his incredibly powerful engineering, presenting himself as a hard-driving yet multi-faceted artist.
On the reverse, Sound in Noise presents the other side of his musicality with 'Rising Up'. Featuring female vocal talents and electronically tuned notes, it's vastly different from its forerunner but still hits just as hard with every stab of euphoric synth. Each layer of melody carries the track forward, providing you with the perfect soundtrack for a slowly diminishing summer. Together, Ram Records and Sound in Noise yet again push forward their commitment to drum & basses many dimensions, with both sides continuing to prove their longevity.