New York based Irish artist Orlando drops Happy Bossman, three different styles of bass cuts with the A1 "Happy Bossman" on a more grime club sound tip aswell as "Orogony" and "You Still Echo In Me" on the more experimental side. The b-side features two tripped out mixes by WhereTheTimeGoes head Lastminuteman known for his excellent tape series."
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"Are you still there?"
"Yeah so she said the body is the mind's measuring instrument or something - the mind renders information registered on its sensory surface, combines it with old info from the same source and keeps the whole accumulated stock poised to guide action"
"Hence why it sounds like this?"
"Yeah exactly"
8 Spinhaunt Coil
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Celebrating the 50th release on the Nonplus label, Instra:mental return with their sophomore album Timelines. A long awaited record that finally uncovers the unreleased gems of the legendary Autonomic Podcast series. This eleven track album features five, previously vinyl only cuts, with another six unreleased tracks from the vault. This is an album that will feel nostalgic to some but new to others. Classics like Photograph and Pacific Heights transport the listener back to a time where Instra:mental started to blur the boundaries in a pool of multiple genres, allowing artists to dip their toes with creative freedom. This release is mainly rooted in 170bpm (with the exception of “More Than”) but effortlessly feels like its spanning multiple tempos. With the techno infused Encke Gap to the slow pulsings of Deep Night. Timelines represents the embodiment of the Autonomic “Drum & Bass” movement, a slice of time that sounds modern despite being more than a decade in existence. Timelines is a collectors piece that will sit happily in your physical or digital collection, an essential record that highlights the golden era of Instra:mental’s illustrious career.
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My life with M. - an organic contact with sound where theatre and music could be perceived as a tool for the creation of a distant dream. Doerell’s sonorities transpose a nostalgia for something never met or somewhere never been, an osmosis of absence and memory interrupted by scattered fragments of abstraction.
The album reveals Oliver Doerell’s artistic collaboration with German-Iranian dancer and choreographer Modjgan Hashemian. All pieces are reworked compositions for theatre plays from 2008 to 2018. A wide acoustic spectrum is built throughout the merge of home-made instruments, electro-acoustic and digital means. The artist is subtly mastering sound textures, distortions, altered frequencies, voice insertions and blends reality and mysticism into his unique soundscape.
The founding member of Dictaphone/ SWOD, Oliver Doerell (aka Cummi Flu) releases the first album under his artist name and invites the listener to contemplate and to discover another one of his artistic personas. Grab a comfortable chair and enjoy the audition.
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Bash (AKA Julio Bashmore) graces Trules fifth release and the first in a series of ten inch singles with Jubilee, a sub heavy, minimal, UK garage dub that manages to marry the sparser techno vibes of his Conch releases with the subtle anthemic quality of his other alias. A real dance floor sneak bomb.
Al Wootton provides a two-stepping dub remix on the B-side, chopping the drums and echoing everything out to infinity.
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Yellow Vinyl 2x12"
‘Dropped Out Sunshine’ is NYC mutant Madteo’s incredible new album of trigger-happy club graffiti on Demdike Stare’s DDS, weighing in a keenly anticipated follow-up to 2012’s cult-classic
‘Noi No’ LP for Sähkö Splitting at the seams with deviant funk and irrepressible attitude, Madteo’s first LP in 7 years forms a fractal, mixtape-like mosaic of asymmetric techno informed by skewed traces of rap, House, R&B and dancehall. Its 12 tracks are delivered in an enviably nonchalant, freehand style that’s become the Italian-American artist’s ear-snagging signature since 2012’s ‘Noi No’ and ‘Mad Dip Revue’ albums, and also a dozen 12”s and mixtapes over the interim; all of which exerted heavy inspiration for everyone from Andy Stott and Joy O to Demdike Stare over the past decade, making this new LP a perfectly unusual fit for the anything-goes DDS aesthetic shared by label alumni including Mica Levi, Equiknoxx, Iueke and Shinichi Atobe.
Without beating around the bush, ‘Dropped Out Sunshine’ is a straight-up masterpiece of cut-up sampledelia bound to make the club dance differently. Crammed with sawn-off edits that never lose the thread, its wild and effortlessly inventive turns of phrase are anathema to linear club music convention, generating fizzing alchemy from mutually exclusive bedfellows such as dancehall and techno, or R&B and noise that could really only be executed by a producer of Madteo’s calibre. Yet for all its singular nature, the album is also patently symptomatic of the times,
sub-consciously parsing a gripping intimacy, personality and urgent yet elusive psychedelia from ubiquitous media overload.
Kicking off with another *****-sampling zinger ‘1 4 U’ (following his infamous use of ‘Marvin’s Room’ on ‘Noi No’), and ending up mired in the melancholy gauze of ‘The Lies That Bind’, at each step the
album effortlessly resists a struggle to square the nature of artistic expression. Fragments of gospel blues noise intersect gauntlets of filtered house fuckry, while restless Autechrian electro rubs up against uncoiled trap and needle-worrying levels of textured bass turbulence, leading to an outrageous turn of stuttering ragga-tekno in ‘Resident Alien (Broke-’n-Steppers Reluctant Club Mix)’ and a final side of collapsed, post-club styles that will leave listeners wondering wtf just happened, and ready to do it all again.
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Overmono return to their own Poly Kicks label with their first release of 2019
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Arguably the Netherlands’ most prominent grime artist, JLSXND7RS’ name is synonymous with some of the most iconic productions around, with a vast back catalogue including collaborations with Wiley, Footsie, Rocks FOE and Discarda. For the debut vinyl release on his fledgling label, Dark Knight, he’s brought out a long-awaited fan favourite alongside two gargantuan reimaginations.
From its brassy opening notes, “ Marching” is instantly recognisable – a minimal, yet menacing instrumental which has enjoyed countless plays from esteemed DJs including Slimzee and Sir Spyro since it first surfaced on the airwaves in 2016. It also comes with Mala’s seal of approval; the Digital Mystikz legend has cut the track to dubplate for use in his sets.
On side B1, dubstep royalty Caspa pares back the original to its base elements, instead introducing gritty basslines, mesmerising percussion and a grimy harmony to bridge the gap between the two genres.
The release concludes with a remix from Brighton innovator and Sector 7 signee J ook, which Outlook festival-goers will recognise. His melodic interpretation of the song includes swelling reversed synths, shuffling drums and cinematic breakdowns.
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‘Flush Real Pharynx’ is the title of sound designer/artist/composer and DJ Lee Gamble’s new three-part album for Hyperdub.
The triptych loosely explores three stages of the Semioblitz – the aggressive onslaught of visual and sonic stimuli of contemporary cities and virtual spaces. From ‘In A Paraventral Scale’ (the first part of the triptych released at the start of 2019) the coil springs out into the straight-up choked semioblitz of part 2 — ‘Exhaust’. Gone are the serpentine dopplers and seductive supercar engines. ‘Exhaust’s neon-charms coalesce into an MDMA rush of Boston Dynamics dog barks, hypnotic voices and imploding motion sculptures. From the backfiring splinters of ‘CREAM’ through disorientating photo shutter snare patterns of ‘Shard’, ‘Exhaust’s sultry voices take you for a 300mph ride down the psychedelic high street stitching together clashing strands of club soundscapes on its way.
‘Exhaust’ engages in a world well and truly with us right now – explosive, chaotic, unpredictable, contradictory, intoxicating, hyper-colourful, blown-apart and disturbingly engaging in its surreality. It’s Gamble’s ‘Gully Automated Music Concrète’, sounding out from a high rise overlooking the Ballardian motion-sculpture of a collapsing motorway system.
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The fourth instalment of Dub-Stuy’s riddim series takes a slight detour from its modern dancehall focus with a darker, hip hop influenced riddim featuring contributions from an international cast of vocalists affiliated with the label.
Santa Muerte Riddim puts forward a new sound for the series with a fresh beat courtesy of Brooklyn producer Jonah Freed. The slower 80bpm riddim combines a hypnotizing string melody, eerie sweeps and punching boom bap kicks bringing to mind the heydays of 90’s NYC reggae hip-hop or classic Bristol fusion styles (think the Wild Bunch, Portishead or, more recently, the Young Echo crew). In fact the riddim has a direct tie to Bristol. After Freed first made it, while studying in Chicago when he was just 18, he sent it to Bristol MC Rider Shafique and the two eventually connected for a show in town where Young Echo member Kahn wheeled up the song. After that it was clear this was a riddim that needed to be put out into the world.
Taking turns on the vocal tracks are three artists with a wide stylistic range. Bristol’s Rider Shafique kicks things off with striking confidence, his laid-back flow flexing between boasts and elevated reflections to make ‘Santa Muerte’ a new outernational standard. Next up is veteran NYC artist Jahdan Blakkamoore who showcases his versatility and delivers an uplifting call to leave violence behind on ‘Liberation Over Liberace’. Pupajim from Stand High Patrol takes on the last version with “Open Mindedness”, an unexpected rendition of the riddim laced with a layer of Rhodes harmonies. With his unmistakable vocal style, the french MC urges the music industry to break down musical barriers and embrace the diversity of styles and sounds.
To echo Pupajim’s lyrics, the Santa Muerte Riddim is a testament to the rich history of fusion and eclecticism in sound system culture.
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Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.
Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.
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The Tokyo based producer Yoshinori Hayashi will release his new EP, ‘Y’, on November 8th via Smalltown Supersound. The EP will be his first release since his debut LP, Ambivalence, from last year which received a glowing 4.0 review from Resident Advisor.
Hayashi has studied under Japanese avant-classical composer Mica Nozawa. When not DJing, he works in a record store in Tokyo. Thus far, Hayashi has released a string of 12”s on labels including Going Good Records, Jinn Records, Lovers Rock, Gravity Grafittiand Moscoman’s Disco Halal. Previous work by Hayashi has been called “a complex patchwork of studio gear, live instruments, dusty jazz records and smartly cut library sounds, whose textures are soft and inviting. But its arrangements are constantly ruffled, squeezed, brushed and pinched—which is to say, nothing stays still for long” (Resident Advisor).
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Sent from a nearby star system, from one world to ours. Wondering the streets with misguided importance. How du is new to our planet, but does not yet know why he is here, only that he must heal himself and all those he meets in order to find his home. An inherent feeling that he has arrived to protect and serve others from the deepest patterns of evil overwhelms him. Evil that spreads through the mind in conscious frequencies of the brain. Areas we call the Shadow Realms of oneself. Unable to communicate in the correct language his correspondence with Earth people can only be transmitted through sound and melody. Music is his language and his tool. This is the Landing.
Deep Garage with a minimal spin and a broken beat format. A story in sounds. Best served on the rocks. Shouts to the bristol crew. Banoffee x
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Livity Sound's final transmission of 2019 comes from the esteemed Freerotation resident and UntilMyHeartStops co-founder, Leif.
Quietly earning himself a well-deserved reputation for his outer-worldly production stance and forward-thinking approach to Dj-ing, Leif has spent the last decade refining his musical palette with a slew of releases including highly acclaimed LPs for Whities and UntilMyHeartStops. In 2017 he launched the TIO-Series label as a vehicle to showcase the more off-kilter rhythmical side of his own productions releasing contemporary anthems such as July V and Bluebird.
This new EP for Livity Sound continues in the exploratory TIO-series vein finding Leif in percussion mode, combining nimble rhythms, deep bass and hazy synths in his idiosyncratic style to dazzling effect.
This 12” vinyl release comes with brand new art direction from Tess Redburn in a full colour artwork reverse board sleeve.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.
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A leading figure and respected elder in the Teklife family, Traxman has waited patientlywhile releases from young upstarts like Taso and Dj Earl have been enjoyed by footwork lovers all over the world. Now the time has come for Traxman to take centre stage, presenting a collection of new material that demonstrates his mastery of the footwork sound. Tekvision arrives hot on the heels of Teklife 005: Greenlight by DJ Manny, bringing an interesting contrast of production methods and styles. A prodigious crate digger, Traxman has provided the sample sources for many of Footwork's classic tracks over the years. So while DJ Manny recorded the majority of the vocals on Greenlight himself, Traxman uses his expert sample flipping techniques to add the human element to his productions. Traxman is a mainstay of the Chicago underground, with a discography stretching back to the golden era of Dance Mania Records in the 1990s. Ghetto House was an important precursor to Footwork, and Traxman was a key figure during this transition.
Echoes of the Ghetto House sound resonate through Tekvision, with tracks like Drop It Down and Twist The Party Out paying homage to the origins of Juke and Footwork music. Be Gagen feat DJ Earl is a beautiful opening track, with a soulful, melancholic synth unfolding patiently over a half-speed beat. When the bass kicks in after 1 minute 10 seconds it has a profoundly uplifting effect, and the late arriving vocal rounds off the composition perfectly.
Many of the tracks demonstrate brilliant and playful manipulation of vocal snippets, with Let Me Get Up and Control Ya Bitchezzz among the finest examples of this art. Finally,Tone Deaf and Whop Line show yet another side to Traxman's sound with an intoxicating and angular mix of bass and bleeps.
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expected to be published on 30.12.2020
On his second 12", simply titled "More", Mischa Lively manifests a colorful world of vigorous techno journeys. On the A-Side, the record greets us with the psychedelic extraterrestrial funk of "Phuhkwiddem", followed up by the freestyle drum-break electro of "Pain in the Vein". On the flip side, the trip continues with the breathing techno pounder "More" which vividly deconstructs and rebirths itself through an agile series of peaks and valleys. The EP closes with the broken-beat grime of "WIP Limits", a finishing move that bounces with no restriction.
Released through Mischa Lively's own freshly-established New Love Unlimited imprint, a portion of all sales from More will be donated to the Equal Justice Initiative - an organization "committed to ending mass incarceration and excessive punishment in the United States, to challenging racial and economic injustice, and to protecting basic human rights for the most vulnerable people in American society
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The Fifth Kingdom presents it’s second release, 3 transcendental trips from label head Ancestral Voices. Title track Samhain is a return to dexterous syncopation, a rhythmic ritual that aptly celebrates our descent into the new season. Fómhar slides deeper, translating the Autumn harvest into a mood that seeps from the tracks pores. Blewit Mist captures the morning glow, a glowing ambient passage that carries us into our new environment.
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Onwards and upwards, Dub Sector perseveres with its fourth physical discharge, welcoming Repulsion to the (vinyl side of the label roster). Taking the reigns in succession of the latest heaters by Dalek One, the following three low-end fiestas are brought to you by the swiftly aspiring producer, his base of operations residing in Oklahoma, US.
Active since 2011, the promising artist has since then put forth a multitude of releases on various esteemed imprints, including two 12" appearances, and digital publications on labels, such as Dubstar Records and Dayzerzo's Vomitspit. Reviewed by the likes of MixMag as well as receiving airplay from Dubstep ambassador Joe Nice and inDepth Radio among others, Repulsion has also joined Denver's SubMission agency roster and is actively involved in various musical projects. His sonic signature is situated within the sphere of Dubstep, embedded in Lo-Fi sampling aesthetics. A refreshing take on modern sound system music, infused with lush vintage flavours, Hip-Hop influenced grooves and swingy basslines.
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Special Request joins forces with Nina Kraviz and Anastasia Kristensen, shattering the doors of perception over a four-track EP. 'Through The Looking Glass' drops July 20th on Houndstooth.On the A side, Nina Kraviz provides two interpretations of 'Curtain Twitcher'. 'Alice Was Here Remix' takes the intensity of the original and boils it into a 4/4 spin of frenzied basslines and distorted acoustics, punctuated by her languid reading of the Mad Hatter. For the 'Samba Version', syncopated polyrhythms take charge of a fragmented melody.
Opening the AA side, 'Looking Glass' lures you down the rabbit hole with mysterious bleeps, only to reveal a whirlwind of stormy breaks and junglist percussion. Closing off the trip, Anastasia Kristensen's remix of 'Tiresias' marches its way through a field of swollen bass and glitchy percussion.
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DJ Support
Hodge, Rob Smith/ RSD, FaltyDL, The Black Madonna, Ciel, Riz La Teef, LMajor, Candy Pollard, Barely Legal, DJ Guy, Mani Festo, Foul Play, Franklin De Costa, Lukas Wigflex, Stones Taro, 96 Back, Interplanetary Criminal, Ryan Elliott, Sherelle, Addison Groove, Deadboy, Sam Barker, G-23, Lorenzo BITW, Etch, J-Shadow, Eliphino, Sandy (Dr.Banana), Glenn Astro, Coco Bryce, Amy Becker, Laurent Garnier, Sean O'Keefe (2 Bad Mice/ Deep Blue) + more
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Dream Cycle returns for the third instalment in his series of EPs on Sneaker Social Club. 4 tracks cover a range of moods from the tough, club ready 2 step on “Told You” to the slo-mo ambient throb of “Untitled Dream”.
DJ Support
Dusky, Deadboy, Breaka, Changsie, Barely Legal, LMajor, Foul Play, Jackie House, Jossy Mitsu, Kate Miller, Etch, Kornel Kovacs, Coco Bryce, Delfonic, Octo Octa, Avalon Emerson, Silvia Kastel, FaltyDL, Ciel, Gigsta, 2 Bad Mice, Etch, Kornel Kovacs, Coco Bryce + More
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In compiling a remix 12” for the most recent Homemade Weapons LP - Gravity, we approached 2 titans of underground electronic music who have both been supportive of Homemade Weapons and Samurai Music. Donato Dozzy and Tommy Four Seven have each been utilising our releases in their sets and we have been inspired and grateful for their fearless deployment of drum and bass to their predominately Techno audiences.
No stylistic directive or requests were given. We trusted these two gifted artists to interpret the music in their own unique fashion, but in all honesty expected remixes around the techno tempo. What we received back are 2 landmark drum and bass versions that re-define the nexus between Drum and Bass and Techno.
Samurai Music has worked for many years in both Drum and Bass and Techno and constantly explored the middle ground between the two. Many Drum and Bass producers have been releasing their version of this cross over but producers from the Techno sphere coming at Drum and Bass have been fewer and less successful.
Donato’s remix is a poignant reduction that strips Svalsat to a potent shuddering core, splashing grey swatches onto a constant rhythmic build. The maestro’s power of subtle, hypnotic transformation applied to the 170 tempo sculpts the rhythm to searing perfection.
Tommy Four Seven reforms Red Tide into a grinding undulation, a thrusting and propulsive menace with titanium strength breakbeats bulging at the edges of it’s construction.
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Dubz 4 Dancerz EP is Main room Bruk heavy bass music / broken beat meets 2 step garage from Xtra Brux in Sheffield. Having already released on IG Cultures CoOp presents label and other labels such as Dogmatic and Formation Records.
Leon's music has been played on BBC Radio1, BBC Radio1Xtra and BBC Radio 6 throughout his career and has gained club support from DJ's Xpress-2, Fabio and Grooverider, Oliver $, Tom Findlay (Groove Armada), Oris Jay, Mr G, Gerd, Doc Martin, Maya Jane Coles, Darius Syrossian, I.G. Culture, Audiojack, Murder He Wrote, EVM128, Jeremy Sylvester, Afronaught and Simbad amongst many others.
A1. Dubz 4 Dancerz - Heavyweight shuffling broken beat drum patterns with chopped vocals ‘Keep On baby’ that sit nice ontop of a seriously rude bassline that will shake any dance floor! This is warehouse bass music at its finest.
A2. ‘I NEED U’ Straight in with heavy syncopated broken beat / 2 step riddims with chord stabs and bleeping risers entwined with chopped vocals ‘I Need U’ that move in and around a low swung sub bass that you will feel deep in your solar plexus.
B1. More beats on a Bruk tip, some call it Bruk, we call it Raggage! Hush starts with a killer Bruk step riddim again with vocal chops and drops into a mind bending, gut wrenching bassline that will definitely keep your body moving !
B2. Deep Down Inside - Starts with a sweet vocal “Deep Down Inside” and another shuffling Bruk beat with rising arcade arpeggiator before dropping into another dutty Raggage sub bass! Think Jazz meets Garage meets Ragga… TUFF
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We welcome for our final release of 2019, Germany’s very own Max Hock aka Es.tereo. This, our third release on our ‘Earthbase’ series, sees Max arrive with an already solid pedigree of output via such labels such as the now defunct but seminal Hidden Hawaii imprint, as well as Ireland’s Abyss Records and German modern dnb staple Urban Poetry. His perhaps most notable previous work is arguably his ‘Theme’ project (via Samurai Music) which saw universal praise from the leftfield dnb scene and beyond , taking the landscape of dub techno atmospherics into a whole exciting new format of 170bpm-led excursions, when most people where hypnotised by minimalist sub-lead dread.
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Fresh from releasing his first artist album for Deep Medi (‘Dark 365’) and overseeing a prolific year in charge of his Navy Cut imprint, J. Sparrow debuts on Coyote Records with two tracks of abstract, excursive pressure. Although long revered as one of dubstep’s core UK innovators, Sparrow has also spent time experimenting with different sounds, palettes and rhythms over the last two years. ‘Single Time’ and ‘VHS’, both written during this period, not only spotlight Sparrow’s willingness to aim for the outer reaches, but also embed themselves neatly within a Coyotediscography defined by the new-gen grime of producers like Last Japan, SilkRoad Assassins and Utah?. Still cut with a rolling dubstep lean, A-side ‘Single Time’ is heavy on the hollowed-out, dubby weight and scything bass jabs, while B-side ‘VHS’ – referred to by Sparrow himself as ‘Egyptian grime in the 1980s’ – is a bleepy, filmic, widescreen stepper that draws from the past as much as it does Sparrow’s take on shiny, sci-fi grime of the future.
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Dan HabarNam returns to Chris Farrell's label with a follow up to last years acclaimed 'Draw Your Pattern' 12". Picking up where that left off 'Major Blinks' delves deeper into sub heavy techno with superb sound design and depth. On the flip 'The Source' transfixes with its eerie pads and broken drums. Another strong release from this label and another chapter in this unique Romanian artist's story.
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