Beats News

When I started Holding Hands I was certain about a couple of things. I never wanted to press any stupid coloured vinyl and I wanted to put out some absolute bass bin shaking, massively ripping slam jams. I've done my best to stick with these ideals across the releases and I hope the effects on the dance floors round the world speak for themselves. For release numero 7 I have decided to switch up the format and put out a various artists EP. We've got a couple label regulars and a couple fresh faces, each bringing a different vibe but with one overarching theme. The tracks have gotta slam...

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...

The first thing that strikes you when hearing 'Nosso' is its feeling of intimacy and warmth. The title, which means 'Ours' in Portuguese, is apt since he sees the record as the result of letting a wild variety of people into his world. João notes that 'I didn't know most of the collaborators before meeting up with them in a studio somewhere in the world, so most of these songs are coming from a very immediate and honest sense of collaboration where you spend an afternoon with someone learning about each other at the same time as you're making music. It's a shared experience, a moment where two or more people came up with ideas together, that they probably wouldn't have had if they were in their comfort zone.' These meetings were turned into songs at home in Lisbon once the main ideas were created collaboratively elsewhere. 'On this album, like in everything else I did so far, the focus on the instrumental side of things was experimenting with rhythmic patterns and genres from the Portuguese-speaking universe while applying them to songs created with other artists from completely different backgrounds and places.' There's something in this process that has left the album sounding super fresh as this is a sound without borders that pulls you in. It's music everyone can be a part of, where even the most rugged up-tempo cut sounds welcoming. It's an overwhelmingly positive and joyous experience to immerse yourself in 'Nosso.' It's no wonder that the central motif of the album artwork shows a less common view of Lisbon, one where instead of looking at the historic city centre we face the suburbs, where these musical and cultural experiments have been and still are occurring, undeniably shaping the musical and cultural landscape of Lisbon in the process. As much a soul record as it is a record infused with the beats of the Portuguese-speaking world, 'Nosso' is a reflection of Branko's ongoing musical explorations and his vision of Lisbon as a privileged cultural hub for the Portuguese-speaking world and beyond. Branko fuses local rhythms from kizomba to baile funk and afrohouse through European electronic genres with a clear accessible pop sensibility and the aim of creating a unified sound that puts all these individual musical expressions in perspective as part of a greater whole. For João, this is the logical next step in his musical evolution.

A Detroit ghettotech style of dancing is called the jit, which relies heavily on fast footwork combinations, drops, spins and improvisations. It originated from 'the Jitterbug,' a stateside dance style from the 40's that became a worldwide sensation by way of US soldiers spreading it during WW2, quickly getting banned by authorities on account of being rude, vulgar and against the interests of the war effort. The movements are characterized by a highly energetic and ecstatic movements, and the frenetic mixing style reflects the highly improvisational nature of the dance, and the DJ's who spin ghettotech wildly blend together chicago juke and footwork, jungle, miami bass, electro, hard techno. This is the first in a series of Jit compilations transmitted from planet Detroit and beamed directly into the ghetto of your mind. Elevated Jit is dedicated to the jitters and and to the loving memory of Andre 'Erotek' Brown. Jit the Planet !

Look out for volume 2, coming soon.

Distributed by Rubadub
Mastered by Will Web and Brendan Zacharias
Pressed at Intakt! Berlin

We introduce Comfort Zone, a young producer from Montreal, who has been making music for around 7 years now. He is inspired by "music from late 90s/early 00s video game soundtracks and the occasional snippets of electronic music I heard as a kid". We find that statement very much reflected in this release, as he masters the challenge of blending mysterious samples and different styles to form harmonious compositions.
On one side of the 4-track EP we have 2 groovy House tracks, reminiscent of early 2000s House by the likes of Lance DeSardi, Ian Pooley and Atjazz, on the other side 2 classic Jungle tracks which uphold our tradition of releasing timeless music.

2 darkstep bangers coming from opposing directions. Jackson's Bloom is a black metal infused minimal monster.

Ether's 'Ghosst' floats spooky sound design over it's edgy edits and ghoulish grind.

Indigenous Electronic is proud to present for its third release: 'THIXOTROPY EP', produced and recorded by 'Quan'.

Starting out from more of a conventional musical platform; Quan in recent years turned his attention to live performance, and by 2018 had already played two Boiler Rooms in his native Vietnam. In addition to recording and performing live, Quan has begun a parallel journey in building his own eurorack modules some of which were used on this debut vinyl release of his. The EP which flies in the face of traditional loop structured song formats, present the hard to find confluence of musicality with technical knowledge.

With early support from XDB, and produced and recorded entirely out the box this is one not to be missed.

'Wino go full Zeppelin! Inspired by a recent trip to New Orleans and the deep South, Davy & Co. wrangle sliding basses and pumping organs into 20 minute rock n' roll-on odyssey. Chugging locomotives fall into an infinite groove on the A side, while the B takes the underneath perspecitve- rattling out subdued sub bass frequencies. Full sleeve artwork by (the legend) The Germ . Mastered by the Bastard."

SOUND ENTITY RECORDS PRESENTS A REMASTERED, DJ FRIENDLY, LIMITED EDITION 4 DISC ALBUM, THAT DEFINES THE SOUND OF JUNGLE TECHNO AND ILLUSTRATES ITS TRANSFORMATION INTO INTELLIGENT DRUM & BASS. ORIGINALLY INTENDED FOR RELEASE IN 1995 BUT ONLY 30 TEST PRESSINGS WERE MADE. THIS ALBUM INCLUDES MANY UNRELEASED TRACKS SHOWCASING THIS EXPERIMENTAL JOURNEY IN OVER TWO HOURS OF MUSIC.

For its fifth release Planet Euphorique puts forward Australian-born, London-based Nite Fleit's latest release, Overcast. Her second record, Overcast is a teeth-baring soundscape guided by commanding, rhythmic spells. The record's acidic slaps and punishing bass lines are uncompromising, recalling her darkly transcendental DJ sets. Overcast's masterful doom is punctuated with enigmatic sparks throughout-the light beckoning listeners into the darkness and onto the dance floor.

Austalia's Analogue Attic has grown to become one of the most beloved purveyors or emotive deep house, ambient and electronica in recent years via a steady stream of releases from the likes of label heads Albrecht La'Brooy, Sleep D and a selection of up and coming artists from their homeland.

Thomas Gray & Liam Ebbs:
"The tracks on the record were inspired by a journey to Barrington Tops, a national park in the Hunter Region of New South Wales. The music itself has a physical link to this area through the field recordings present in the songs and is also imbued with with many vague and wistful memories of the summer trip.
Sitting Atop Mount Allen as the sun rose over the distant hill tops, we were struck by the cyclical beauty of nature.
We were visitors in this place, where everything would continue as it was whether we were there to see it or not.
It is this feeling that perhaps influenced us the most in the writing of the record. It infuses organic with electronics, whilst also mimicking the concurrent sense of happiness and melancholy that is often associated with experiences of nature."

'Ladies Well' leads with plucked strings, airy ethereal chords, hypnotic field recordings at its core whilst organic percussion, jazzy piano lines and warm subs ebb and flow within.
'Heatherbrae' follows next, retaining a similarly dreamy aesthetic with swirling atmospherics, twinkling keys and jangling strings while tipping the rhythmic focus over to bumpy, broken, jazz-tinged drums.
Opening the flip side is 'Mount Allyn' which edges into a more psychedelic realms with billowing vocal textures, murky bass tones, shuffled drums and squelching 303 licks ahead of closing track 'Elegy For Nick's Car', which - as the name would suggest - employs a cinematic, orchestral feel with dynamic evolutions of strings, percussion and piano lines throughout.

Bun The Grid start 2019 off with an intensely loud bang coming in the form of label co- founder Bulu's first full outing on his own label. After producing music for 8 years, releasing a full EP on London label Fine Dining as well as his self-released Bulu Sound compilations, 2019 looks set to be a big year for Bulu with multiple releases lined up as well as a full LP in the pipeline.BTG005 starts out with Fiyah, a minimal yet beastly track packed with relentless sub elements and dominant percussion. Fiyah is quickly followed by Bulu's first collaboration with label co-founder Etch entitled Collide which is both unique and acute. A slow building intro of Bulu's ominous synth work quickly gets swallowed up by Etch's signature off grid percussion until Collide explodes into a barrage of both Bulu & Etch's influences in equal measures, relentlessly attacking both your ears and chest. Dark dominant zaps and razor sharp percussion are set to lay siege to any dance floor. Bulu finishes off the A-Side with Change Places a 176BPM throw back to wobbly dubstep with a more modern half time feel. In usual BTG style the B-Side contains solely remixes, this time taken on by newcomer J-Shadow, who is rumoured to have a massive release lined up on BTG in the near future. He takes Fiyah down to a different tempo bracket and plasters his unique sound all over the original elements making the track deeper, and slower building but just as vivid. Finally, one of the early BTG family, and now mainstay at Exit Records, Itoa takes Collide and rips it apart into an entirely new realm which can only be described as Itoa's unique blend of Bassline, Juke and Jungle, you truly have to listen to this one to understand.
The originals will be released physically and digitally whilst the remixes will be vinyl only.

'As an artist it's essential to be connected to your heart, to feel what it has to say. I felt my heart telling me in the past two years to connect to the roots of trance of which I grew up on. This path has led me to find my inner child - his passion for music before he became a DJ producer, his desire to consume pure music without fear or expectation of what people are expecting him to create. I've walked with this child together day after day into the studio, listening to his ideas, translating them into music created by a 35-year-old man. This was the creation process of my 3rd studio album (2nd as Captain Hook) 'Origin'.

Although I grew up in the psytrance culture and genre, influences from techno and bass music played a big role in the formation of my sound. The synthesis of these styles marked the beginning of something new, and the origin of the deep hypnotic progressive sound that is now at the core of my creation. Following my heart to where it was leading me was not always easy, since modern psytrance seems to be pointing producers towards very different soundscape directions. But believing in the path helped me to stay on it despite any doubts - and staying true to my sound allowed me to create my music with sincerity, serenity, and bliss. This internal journey has made it possible to reconnect with this genre all over again, adding a new perspective to its beautiful spectrum, and to myself.

I am very happy to present to you my upcoming album 'Origin', which you can now order as a truly unique 180g, 33RPM triple gatefold vinyl. The album presents 9 new tracks (track 1 has an added intro to welcome you into the Origin sound).' Captain Hook

Following the release of the 'Aset Forever' EP in September, Dusky announce Brame & Hamo and KETTAMA as remixers of EP tracks 'Amongst The Gods' and 'Staunch'.

On the 'Amongst The Gods' remix, Irish born, Berlin based duo Brame & Hamo bring distorted kicks and industrial percussion that are sprinkled with euphoric samples from the original, helping to provide an unequivocally rave ready flip.

Fellow Irishman, and rising star, KETTAMA takes the reigns on 'Staunch', turning the dark and brooding original into a thumping hard house epic punctuated with zapping synths and hefty percussion.

The Overdub E.P. was first conceived by DJ's Mark Summers & Ben Howard in Sudbury, Suffolk, in 1993. Hardcore and Jungle was huge in the UK at that time, with Summers & Howard playing the genres out at their 'Paranoia' and 'The Ark' nights, at venues in Sudbury and Southend.

Over the course of 2 weeks they met at Mark's home basement studio, digging through their vinyl crates to find all kinds of inspirational material for their tracks. Both DJ's had eclectic tastes in music, and so the basis for 'The Overdub E.P.' was born; with some interesting touches added along the way. Mark had sampled an entire Korg M1 Piano inside a Chelmsford music store onto DAT, and later used that same piano to create the huge hook he played on 'Takes 1'. While Ben had sourced an obscure Reggae break used as the basis for 'Skunk Massive'. Later when DJing at 'The Ark',with Ben Howard, the final master mixes of 'The Overdub E.P.' were heard by DJ Rush Puppy - a nephew of one of the owners of Contagious Records, based in Upminster, Essex. The label had become prominent in 1992 for releasing some of the finest Hardcore/Jungle, and within a few days of hearing 'The Overdub E.P.' they were all set to make it their 11th release.

Cell Out lurk in the murk of that Solent Estuarine backwash.
Tense breaks hold the lid on rave licks - padded mists provide audile sanctuary.Transcendence found in an Oblong Room; the dragons tail of an apocalyptic blowout.

It's been a long time coming but we are extremely excited to share with you the debut release from Sydney's newest imprint, Pure Space. A new venture from the beloved radio show hosted by Andy Garvey, and produced by Mija Healey that has broadcast weekly on Sydney's FBi Radio for over two years. The label will focus on Australian music both for home listening and that made for the club.

Coming into orbit this March, the first part in an ongoing series of VA records. Kicking off the A side is Daze, who has stepped out in a new direction delivering 'Advanced Realty'. A driving techno burner with dark overtones unlike any of his previous productions. Completing the A side is Melbourne's Reptant, bringing you smoked out electro with hypnotic synths and trance-inducing pads on 'Microstructure'.

Flipping over to the B-side we find emerging Sydney producer Point Guard with 'The Xhase'. A subtly staunch club weapon that comes as a melodic synthscape complete with broken beats and a rounded bassline. Completing the release, E Davd creates a deeply immersive aquatic world on 'Wavestation (Nu Cycle Mix)'.

Both A-sides feature in mixes by Andy Garvey that have been supported by Resident Advisor as Mix of the Day.

After the success of the digital release of Motorik Voodoo Bush Doof Musik last summer, HAAi is now preparing to release her first ever full length EP on vinyl.

Speaking about the EP, HAAi says: 'This EP was made after I realised that what inspired me most was to combine my love of electronic music with the music I enjoy outside of the club. I decided to collaborate with friends from a couple of my favourite bands, including Fay Milton (Savages) who provides live drums on Motorik Bush Doof Musik and Taigen Kawabe (Bo Ningen) who performs on I Never Cared That Much For Jungle. For me, having live instrumentation on the EP adds an extra depth to the tracks & has given me a vision of how I'd like future releases to sound.

My fave track off the EP, Growing Up With Muscle Cars, is an homage to my step dad who repairs and restores old muscle cars. He also used to take me to the drags in my hometown when I was little. We would push the race cars out onto the track. Some of my favourite memz as a lil kid.'

'Your Disk Is Full' is an atmospheric EP opener, and also became a favourite set opener for Denis Sulta and other DJs over the summer. Title track 'Motorik Voodoo Bush Doof Musik' raises the tempo with shimmering percussion and psychedelic looping vocals over a propulsive sub bass, prompting fans to ask for IDs in HAAi's recent mixes.

'I Never Cared That Much For Jungle' features the distinctive vocals of Taigen Kawabe of Japanese noise band Bo Ningen. The echoey samples are paired with a heavy hitting jungle-influenced production tailor made for the larger clubs and festivals HAAi is increasingly playing. A dub version of this track is also included in the package.

'Growing Up With Muscle Cars' brings a climactic end to the EP. Over the course of over ten minutes, the ambient intro gives way to an emotive breakbeat, with rumbling sub bass and glitchy synths making for a rich, multilayered production.

'Motorik Voodoo Bush Doof Musik' garnered widespread critical acclaim, not only from club rotation but also with plenty of radio airtime across BBC Radio 1, 6Music and Worldwide FM. The tracks gained even further recognition when HAAi included them in her award winning BBC Radio 1 Essential Mix.

The release comes just ahead of HAAi's landmark all night headline show at Mick's Garage on the 16th March - her first since the end of her celebrated Phonox residency. Her international tour schedule continues to fill up, with dates at Sonar Istanbul & Barcelona, Beat Hotel Marrakech, Paris's Concrete, DGTL, Nuits Sonores, Field Day and Love International in Croatia being just a few upcoming highlights.

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

One big tune a day keeps the evil away! Happy to welcome the notorious dub masters Dubbing Sun & Digid on our next output. This monster EP from the infamous duo features Troy Berkley on the vocal and Dj Madd on remix duties. Big tunes!

Gimpmask wriggled out of the London sewer system to present his take on the current state of the social inadequacies in Britain today. From the poorly conceived Brexit vote to the injustice of homelessness and the countries drug epidemic. His gritty music conveys a certain sadness with its heart wrenching melodies enhanced by vague and distant vocals backed by simple yet solid grooves that serve to deliver a pure urban cinematic experience. Imagine if Banksy made music!

300 COPIES BLACK VINYL REPRESS

Remastered from Digital Masters

Originally released in 1990 on hardcore imprint Brainiak - written and produced by Dave Campbell.

INCLUDES REMIXES BY PESHAY & STU M
Limited Edition 12" Vinyl

Remastered and recut by MUSIC PRESERVATION SOCIETY

Heavy, Effective 1990s Uk Hardcore/ Ukg Revival Cuts From Soundbwoy Killah On His Debut Sneaker Social Club 12"

Albion Collective's first record release of 2019 celebrates the return of Reso to the dubstep arena, with his four track 'Focus inwards EP', featuring a version from TMSV.

Reso's title track Focus Inwards lures your senses in to a hypnotic state. A hollow, pulsing bass tears through the low end whilst sparkling drums and percussion punctuate a vivid and diverse rhythm, a soundtrack to an outer body experience. Immaculate production.

TMSV lifts the pace with his progressive tribal edit. The addition of woodwind and rolling percussion dance around the acid-step vibe in keeping in vibe with Reso's trip-out OG. Festival music.

Claremont 56's latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell - a regular remixer of Claremont 56 releases since the label's inception - serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint's very own 'super-group'. The 12' has extra emotional resonance for Bison's Paul 'Mudd' Murphy and Ben Smith, as it marks the band's first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of 'Salmon Spungcake', a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56's 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell's 'Zip It Shrimpy Mix' re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band's original instrumentation - effects-laden guitars, hazy electronics and meandering, deep space chords - float in and out of the mix at irregular intervals. It's the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the 'I Think I've Got Gout Mix', an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track's rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.

TRUSIK Recordings rings in the new year with their latest release from Melbourne's Pugilist whose prolific output has landed him on prestigious labels like Artikal, Modern Hypnosis, Green King Cuts and now TRUSIK Recordings. Jumping between the interzone of 'bass music' and dubstep, Pugilist crafts four tracks that blend his love of dubstep, dub and techno into an EP that delivers new discoveries with repeated listens.

'Truncated Kicks' is formed from thunderous offset kicks and warehouse scanning sonar pulses, building into a monstrous construct comprised of clipped percussion that slowly morphs into a hypnotic roller as it rushes skyward. 'Reformation' slows down the tempo towards the 130bpm range for a brooding, elliptical rhythmic workout as dubby organ vamps ratchet up the tension and urge the groove forward.

'Chrysalis' flits between dubstep and techno as the track blossoms around lavender pads while digital birdsong echoes. Soon a techno-esque 4x4 kick enters the frame until barely contained bass weight leaves the dance gasping for breath. Closing out TRSK005, 'Pheromone' is another slow burner that conjures images of the early morning sunrise or neon lit alleyways. Gleefully playing with dubstep's halfstep stomp and the rolling nature of techno, the track easily dances between the two genres in a delicious synthesis of both.

With appropriately dense and psychedelic-inspired artwork from frequent graphic collaborator Leftanderson, Pugilist's Chrysalis EP marks a new chapter for TRUSIK as a fledgling label.f

On the second TRULE release Al Wootton (AKA Deadboy) drops his first ever record under his own name. Traces of dub, UK garage and techno inform the forward leaning, club-focused sound.
On SELAH, Al creates a driving steppers rhythm shot through with dub manipulations and UK swing.
OMEGA and UNTITLED on the B side continue in the percussive, tracky, swung techno vein of the first TRULE record.

Long before Howard Williams crawled out of Honest Jon's basement to kick out his jams as Japan Blues on NTS, and record, he had been running a micro label, Ethbo. Possibly the slowest label in the world, clocking up 10 releases in over 20 years. But, when they happen to be the first 12' by Mike Cooper (2000); Tokyo bass, drum and vocal outfit Femini Flyers; Electronic Rock Non Music maven Kadmon; and, when most tragic hipsters thought Japan was just sushi and manga, Killing Melody, a killer selection of Japanese gangster soundtrack funk (2010). Not to mention 60s garage rockabilly Dean Carter. To name a few.

For light relief, last year he also co-started JWM Records, with a compilation of 20s to 50s Yiddish jazz from London's East End. Not satisfied with that, he has once again revived the Ethbo mini-monolith. Ramping up the speed a little, with four releases in the pipeline for the first half of 2019. The first, Leipzig unit, EEL.

Ever tried to grab an eel If so, maybe you'll have an inkling how difficult it would be to pin down the sounds you're about to deal with on this EP. Think you've got it nailed down Nah, suddenly, it's slithered out your hand and is lithely hurtling off into the water.

'HDD is EEL's first bundle of rendered audio. Soldered textures wrapped in duct tape embracing recycled aesthetics on four tracks. Yelling snapshots that went down the data bus to result in de-culturalized patchworks. Not from a sphere but from all of them. EEL are Philipp Matalla and Robert Schulze.'

Philipp has released a small, perfectly formed collection of 12' over the last few years, on Prins Thomas' Internasjonal Spesial, Doumen Records, Kann Records (collaborating with MM/KM) and Kashual Plastik - his sound is playful, and impossible to categorise. Robert has joined forces, expect the unexpurgated.

HDD 1 A flock of birds trapped in a shirt folding machine, hurtle down Elon Musk's neon tunnel, disintegrating and constantly re-forming into obtuse consumer objects looking for a market.

HDD2 Memories of a summer festival no one has ever seen, a celestial organ makes formless arpeggios, impossible to recall, lysergic crystals constantly multiply skywards celebrating a spirit's ascent to an illusive enlightenment.

HDD3 Every video game ever created in a last pitch battle to the death. We deserved this.

HDD4 An army of wooden ants, the queen below ground on bass, marching through the tundra to a rendezvous with nirvana.

After the acclaimed double album on Organic Analogue, Aleks is back again with a Sci-Fi banger called 'ground control' on a very limited Deeptrax pressing. Heavenly septic breaks over big analogue rhythms, starting with the trippy rave vocals over massive beats, 'NYM' is delivering for the packed floors. One that should always stay in your bag!

DPTX 014 is limited to 300 copies all uniquely colored with a black label and black sleeves. Pressed at their own pressing plant Deepgrooves on 180gr vinyl!

After the roaring success of last years 'Route Zero EP', headlined by the 2017 anthem 'Low Blow', we're delighted to be welcoming Benny L back to Metalheadz for his debut main label release.

One of the biggest names to emerge from drum and bass in the last few years, Benny L has conjured up a scintillating EP crammed full of his own unique sounds, well and truly carrying on from where his last Metalheadz appearance left off.

Infernal Sounds brings forth the lucky number 13 with a bone-crunching EP from Bristol's finest, Chad Dubz. Having already enjoyed a successful run of releases during 2018, he steps up with a variety of tracks showcasing the hidden depths to his productions, bridging the gap between dubstep and grime, eloquently.

Rinse-FM-DJ Kode9 startete 2004 das Hyperdub-Label, das sich schnell zu einer innovativen Brutstätte für UK Bass-Sounds des Post-Milleniums entwickelte. Kode9 selbst veröffentlichte drei Alben, mehrere Mixsampler, sowie Tracks/EPs u.a. bei Rephlex, Warp, Domino und Soul Jazz. Einer der außergewöhnlichsten und profiliertesten Hpyerdub-Künstler ist zweifellos der enigmatische Burial, der mit seinen zeitlosen Meisterwerken "Burial" (2006) und "Untrue" (2007) neue Massstäbe in der zeitgenössischen elektronischen Musik setzte. Gemeinsam erstellen die beiden Koryphäen einen 74-minütigen, hypnotischen Trip, dessen 37 Tracks mit verwirrend vielen Tempiwechseln bis in die obskursten Ecken vordringen. Die Künstler stammen aus Afrika, China, Südamerika, Japan, aber auch Europa und USA. Der atemberaubende Mix deckt eine Vielzahl an Genres von Gqom, Juke und Foodwork bis Trance, Jungle und Grime, sowie jede Menge Material, das nicht kategorisiert werden kann, ab, und klingt, als ob er aus einer Box aus unbekannten Mixtapes zusammengesetzt wurde, die irgendwo in der Gosse gefunden wurden. Ein gebührenden Finale einer ikonischen CD-Serie!