Beats News

Since Jim Coles took on the mantle of Om Unit, the English producer has sought to challenge himself and his audience by going beyond the confines of genres and styles he has so far explored. In the process he has found success by striving for more feeling, for a more human and daring electronic music. This journey continues with 'Self', Coles' third album as Om Unit and a true follow-up to his 2013 debut 'Threads'.

'Self' captures Coles in a period of growth, change, and experimentation. Inspired by personal psychological and emotional healing work, and a vision of the self as an egg — which Coles later on discovered is a Jungian archetype — the album blends dubwise, bass-heavy music with the space of experimental ambient compositions and the daring imagination of a cold wave science fiction soundtrack.

The first Om Unit album on Coles' own Cosmic Bridge label, 'Self' offers new forms amid familiar touches. Stripping away what people might expect, Coles deconstructed and reimagined his work so far as a challenge to himself and, in turn, to his fans.

The album opens with 'Cold Love' and 'Passages', two minimalist tracks that deconstruct the tropes Om Unit has become best known for and teases the listener with games of tension and release. This approach is revisited later with 'Unmasked', what Coles describes as 'a power diagram' of dancefloor ideas, and 'Field of Dreams', which began as an imagined dream about hardcore and ends up like a rave track heard inside someone else's head, a mediation on the roots of a sound that has been central to Coles' career so far.

Some choice vocal collaborations help anchor 'Self' beyond the abstractions of instrumental music. Bristol's Rider Shafique lends his rugged voice to an inner monologue on 'Nothing'. As the track's rhythm unfolds at a seemingly glacial pace, Rider invites the listeners to embrace suffering and see how in order to grow, we need the sunshine just as much as we need the rain.' Manchester's DRS, whom Coles calls one of the realest lyricists in drum & bass,' takes an equally empowering approach on 'Make Believe' over a beat that skews structural expectations. The last, but by no means least, vocal contributor is Amos, aka Amina Osmano of A/T/O/S, who lends her soulful tones to 'What I Can Be', an uplifting song that leads listeners into the light.

Fans of Om Unit's more dancefloor-minded output are not forgotten. There's the epic 'Out of the Shadows', inspired by the importance of releasing trauma from our bodies, it's meld of soaring strings and gentle breakbeats bringing to mind classic era Metalheadz or early Massive Attack, the hopeful dance music of 'Twilight' with its inviting flute sample and punchy rhythms, the dubstep meets jungle of 'Despite It All', and the romantic yet melancholy footwork of 'Cloudwerk'. The album ends with 'Tahatan', the Sioux word for hawk and — via its rhythmic lurch, bird samples, and layering — an invocation of key steps in Om Unit's journey to date.

As Coles admits 'Self' is not an obvious album, but then again he has never been an obvious producer. Over the years that has meant exploring the potentials of hip-hop beats, the space of slow-motion house music, or the frenzy of footwork patterns and coming out the other side with personal takes fashioned from experience, experimentation, and excitement. With 'Self', Coles is once again putting Om Unit forward as a connector — between musical ideas, studio techniques, and potential emotional outcomes — rather than a purveyor. The album hides its beauty behind stylistic flexibility, inviting listeners to hear and feel the experiences and memories that make up who we are.

Alessio Natalizia aka Not Waving rides the wave of a lifetime on his magnum opus, Good Luck. The London-based Italian artist's second album for Diagonal is an emotional but fiercely optimistic LP of skewed cathartic dance pop written in the midst of these dark and uncertain times (made perhaps more uncertain by the recent birth of his first son). It represents the most ambitious album in his own unique catalogue, a discography that features acclaimed work as part of Banjo or Freakout and Kompakt techno duo Walls — plus half a decade spent at the axis of underground electronics via his own Ecstatic label and his recent, raved-up output for Diagonal.
This latest record sees Natalizia fine-tuning 20 years of recording and rave experience into a vibrant, pop-ready statement that's never felt so necessary. It abandons the sensitive streak hinted at on Animals, his debutLP for Diagonal, to pursue a creative hunch for concision and social unity. This new perspective drives the album's flux of emotions and guides what some may find to be a utopian outlook, wrapping his trademark experimental urges, clever song arrangements and winking edits in a larger narrative: a new system, if you like, that offers a way out of the contemporary condition towards something pure, sweaty and wild. After all, rave 'floors were conceived for many as a way to forget/abandon the dark undercurrents of late 80s political turmoil. Good Luck does something similar.
The record is constructed as an album proper and follows a novel narrative: from the ego-pinching computer punk of Me Me Me, which jabs it into action, to the new wave thrust of Tool (I Don't Give A Shit) and the ambient flush of Roll Along With The Pain Of It All (I'll Text U), Natalizia clearly delights in taking us on a frenzied ride, but he never forgets his fondness for contemporary club culture (see the fulminating iridescent EBM-pop of Where Are We — with Montréalais minimal wave chanteuese Marie Davidson guesting on vocals — or the acidic punk jabs of Watch Yourself).
Good Luck is a thrillingly positive record — like a big slice of pink and blue sponge cake, it's delicious, sweet,creamy and wonderful. And that's the thing: even the title feels like a much-needed injection of optimism, a return to the utopian ideals of rave. Contemporary olitics/culture/life/love/music/media seem to be infected
by a feeling of impending dread — of fear, alienation, division. Perhaps it's the job of artists to present an alternative vision for the world (and music) rather than simply to reflect one's reality back into the echo chamber of their own lives. It feels like thereís never been a more important time for a record like this.

When legendary Drum and Bass pioneers, Bad Company UK and the equally pioneering twenty-five-year strong RAM Records joined ranks, it was clear the consequences would be historic. Both have spent decades helming the drum & bass genre, becoming a definitive part of its fabric. The most recent chapter of the story began when Bad Company UK made a welcome return in 2016, which led to them signing exclusively to the RAM Records imprint. Longstanding fans and new listeners alike have been treated with brand new music; from their remix of the Prodigy's The Day is My Enemy, to their standalone singles Equilibrium, Nomad and Tetris. Tetris provides a nod to the sound which made Bad Company UK so infamous whilst bringing the 2017 flavour. Following an extensive worldwide tour, which saw them take their sound across Europe and the USA, as well as Japan and New Zealand, D Bridge, Fresh, Maldiniand Vegas aka Bad Company UK breaks the commercial stereotype yet again with Primal Fire, whilst utilising the emotive vocals of featured vocalist Sitka, and these two tracks demonstrate yet again how Bad Company UK are continuing to burn the flame as brightly as ever.

Zero Sum is a track that has become a stone cold classic. Its timeless sound and feel, is up there with tracks that form the golden era of Jungle .Available for the first time on 10" vinyl, Sully has worked his magic on this release.
There is also a refix on the other side from one of the golden era's classic duo's - Dem 2 Ruff.Their Refix keeps the vibes of the original but in true Dem 2 Ruff fashion. It comes to slaughter your speakers, be warned its ruff but still nice too.

PATRIXX Matic

ABA-ARIGINAL

He's bBeen a player of many years with groups such as UB40 Aswad Dub Band Ruff Cutt just to name a few. He and his brother formed the band MATIC 16 to which the horn section is called MATIC HORNS. As a horn section they played on many reggae recordings for producers from the UK JA USA and Europe. He has in resent times produced instrumentals for his own label HFP (HomeFront Productions) that has been released 1.lucrative and 2 Aba-Ariginals as well as producing dub plates to the big sound systems such as Aba-Shanti-l Channel One Jah Shaka and sound systems in Europe.

He has now taken to DUB STEP with one of its biggest producers COKI in bringing the horn to the electric digital sound with great success, new to the scene and new to both artists. This is an extension of bringing the sound of TRIXX to the club scene.

After the success of DJ Khalab & Baba Sissoko's afro-futurist masterpiece "Khalab & Baba" LP, and winning the Track of the Year award at Gilles Peterson's Worldwide Awards, K&B return to Wonderwheel with two remixes of tracks from the album on a limited edition 7". First up, Black Acre labelmate Clap!Clap! delivers an absolute monster that veers into 4/4 territory with hints of classic jungle vibes, while Brownswood recording artist Nikitch delivers a devasting, bass booming footwork inspired reflip of "Lenke"

The first live incarnation of Naples' infamous Mystic Jungle collective.
Analogue improv captured live in front of an audience of around 100 people in an art-space in the city.
Sprawling across 2 sides of wax uninterrupted and encapsulating the tribe's cosmic drenched machine funk 'Live In Napoli' is a fascinating document of a crew formulating something that touches equally on Boogie, New Age, House and Esoterica with ease while oozing the sophistication and singular style the MJT have become known for in recent years.

Amsterdamian duo Know V.A. aka Feico De Muinck Keizer and Marjin Brussaard step up to plate for the second release of Signal Life's black label series 011-015. Having worked with the likes of DJ Shadow for his label Liquid Amber, Know V.A. present four tracks of dystopian club futurism inspired equally by their native gabber parties that the duo still occasionally visit as well as hardcore, bubbling, hardstyle and Atlanta rap manifested in a very distinct, unique, raw way. As the duo states, they are inspired by music that surpasses the function of just music and creates a lifestyle, adjoined with fashion, art and film.' The EP sets off with RIP, a nearly 10 minute epic of splintered grains and distressed, slowed down bubbling rhythms. Just To Hurt lurks in with equal doses of dancehall rhythms, icey synths and skittering alarms. On the flip, Xeno opens with a murky riff reminiscent of ATL rap's most prominent producers and rhythms mutate effortlessly between bubbling and rap in a way that will make any dancefloor move. The final transmission, Endless mixes grimey detuned squarewave leads, melancholy vocal synths and distorted bass. As Know V.A. phrase it, How would music sound in a club in a dystopian world We are slowly progressing to the end of the world, the future of the planet atm doesn't bring up an optimistic view.'

Mancunian newcomer LOFT lands on Wisdom Teeth with a stunning set of dramatic, dynamic and cinematic club cuts. LOFT debuted on Astral Plane Recordings last year with the 'RA Recommended' Turbulent Dynamics EP, which featured five stylistically varied slices of experimental, sui generis club music. The EP's centre point, 'Heffalump', stood out in particular. Across 7 minutes the track rises and falls, its rhythms and melodies constantly shifting and changing, building to a fanfare coda of trance stabs and tumbling breaks. Resident Advisor, who placed the track 8th in their Top 50 Tracks of 2016, called it 'disorienting and strangely danceable' - a pairing that, on WSDM007, turns out to be LOFT's calling card. Three Settlements Four Ways picks up where 'Heffalump' left off. Dynamically and structurally, the EP operates miles outside of traditional club territory, eschewing techno's constant, linear structure in favour of unpredictable narratives that rise and falter in a series of dramatic crescendos. Baltimore rhythms and gunshot breaks build to violent peaks before tumbling into thin air, giving way to yearning melodies, romantic synths and pitch bent choirs. WSDM007 secures LOFT's place in that special class of artists - think Objekt, Bruce, A Made Up Sound - capable of creating impeccable, challenging dance music that is at once cerebral and unfalteringly functional. If mindfuck dancefloor moments are what you seek, look no further.

Sleeper's Crucial Recordings imprint comes bearing generous sonic offerings of its characteristically standard-setting and ever-expanding output with their newest release, CRUCIAL014, a compilation comprised of Crucial's own family lineage. The highly prolific label has build themselves a resounding reputation within the underground scene for pushing their unprecedented mission for delivering multifaceted and boundary shattering bass music, with CRUCIAL014 proving as the newest groundbreaking addition to their vision. Featuring the stylings of Saule, Moonstones, Mesck, Oxóssi, Samba and labelhead Sleeper, CRUCIAL014 is bursting at the seams with four weighty, innovative, unorthodox and infectious beats that abandon all stylistic expectations with its addictive, future-facing grooves.

This mighty compilation reveals itself through Saule and Moonstones' Triple Threat,' an alluring web of enchanting melodies juxtaposed with undeniably thunderous, militant power that evoke exceptionally contagious primal energy. Mesck continues to fuel the highly volatile flame of this release with Johnny, Are You A Ghost,' boasting an unmistakably powerful, highly original and explosive sound that blurs the lines of headphone and dancefloor listening. The B-Side to CRUCIAL014 commences with Sleeper's contribution, Holy Guacamole,' a mixture of the earthy meditation of dubstep's powerful roots and unmistakable percussive sway while keeping the energy dark, moody and forward-facing. Lastly, Oxóssi and Samba's Orbitals' draws this complex and eclectic musical roller coaster to an exciting climax, offering a collaboration brimming with angry growls and guttural midrange melodies. Encased within its four tracks, Crucial's latest collaborative release, CRUCIAL014, offers a multifaceted buffet of sounds, styles, textures, moods and emotions that demonstrate the far reaches of Crucial Recordings' diversifying and irreplaceable personality.

REPRESSED !!

Inspired by Mjølner, the hammer of Thor, and Tandgrisner, one of Thor's two mighty goats.

Inspired by Sleipner, the eight-legged stallion of Odin, and Tandgnjost, the second of Thor's two mighty goats.

Shanghai/Taipei-based producer Tzusing returns with (In a Moment a Thousand Hits), continuing his exploration of the seamier side of life, his music mutates from industrial and EBM roots into stranger territories. Like the titular martial arts master of his recent LP, who can only achieve invincibility by denying his own masculinity, asks if obsessive pursuit of a specific identity can only lead to its negation, the opposite of the intended image. Amidst the malevolent throat singing samples, suona-like drones, and occasional shouts and howls in Taiwanese, the music's slamming percussive weight nods towards the most reviled forms of mainstream dance music. Treating every available tool as valid, Tzusing interrogates taste, constructed identity, and the desire for power through five tracks of destabilised funk and thundering processions.

If Osiris' recent releases have signalled a change of pace, new artist The Things They Left Behind represents the logical conclusion with this 12-inch comprised of two half-time, dubby tracks. The first, Life Through Sepia, floats along to the ethereal backdrop of spoken word samples and distinctively melodic synths; the second, 68, sets a hazier and more abstract tone amidst on top of a sensual, rolling groove — distant guitars ring as huge snares echo into the mist.

DJ Swagger returns to E-Beamz with one of his most sought after jams Holly Wood backed with 2 club heaters! Major TIP!

Homeys Records new release,'Something new', features the first collaboration between Marina P and the upcoming french producer KSD. Once the original track was completed, the vocals were given to three other producers close to the italian singer for remixing. Stand High Patrol's version offers a jazzy take on the track with unexpected footwork influences. TWM, for his very first release, presents a steppers version made for the soundsystem. Homeys brings a roots reggae touch with a flute part that leads the theme.

Ploy follows up last years 'Iron Lungs' on Timedance with an EP of deep percussion exercises. 'Intrigued By The Drum' sees the London-based producer explore evolving rhythms and electronics. While the tone stays relentlessly tribal, Ploy variates on the theme. The opening tracks dread is balanced out by the warm, colourful strings on 'Zoom', whist 'Blow Poke' bounces with frenetic propulsion. The EP concludes with 'Bad Seed', where a sultry groove is programmed alongside the wooziest of pads. All four tracks showcase Ploy at his most subtle and accomplished, it's well worth the wait.

S.P.Y has been prolific of late returning to the vanguard of the drum & bass circuit with his 'Alone In The Dark' trilogy. He's a man-turned-machine, firing out bass weapons from his Bristolian treasurecave of synths throughout 2017 all leading up to the final chapter, EP:3. Opening track 'Transmission' is ready to cause disorder. Turning vocal hums into premium merkage with a deadly cocktail of percussion and electrostatic bassline that prove to be all the ingredients required for the ultimate floorfiller.Dominator Mode' is a primal tech-stepper, bringing classically rugged drum & bass stylings well and truly into the contemporary realm. Rustic and tribal with a distorted vocal sample sitting top, manufactures a truly dystopian audio atmosphere. We all dare to dream but S.P.Y appears to bring these feint fantasies into reality. Reaching for his alter-ego classic liquid movements, the pertinently named 'Dreaming' pictures a cosmic landscape with astral synths, a majestic key-lead hook, distant vocals and wistful melodies.
Now it wouldn't be a S.P.Y release without that signature grit. Fear not, this is delivered in 'Hardcore Harry'. Latin chic breaks are met by jagged sounds and the warmest of sub licks - this anthem is a wall-to-wall banger. Equally, there's the full flux of 'Lockdown' with sci-fi bleeps and wired rhythms that follow an up front lyrical injection before the climactic drop.
They say three's a crowd but they couldn't be more wrong with S.P.Y seeing his 'Alone In The Dark' trilogy off this October and ending on a high.

Reggae dub classic remedy.

To gain some grasp of the genesis of this new project, that may seem surprising at first, let's address what both artists have in common, rather that what differentiates them. Internationally recognized masters in the styles, respectively reggae & dub, that they are developing in parallel for almost 20 years, without never really meeting each other, the two protagonists strive to challenge their codes in an ever greater respect to their Jamaican roots: two decades furthering a relentless fight against musical orthodoxy, to the benefit of interbreedings that have always been major contributions to music — and arts in general — History. This is evidenced by jazz and Jamaican traditional music fusion in the case of Harrison Stafford, and notably with his amazing adventure with Groundation, as well as by Martin Nathan countless experimentations, over Brain Damage prolific discography, always digging in more unlikely and audacious directions.

From this unexpected collaboration will stem « Liberation Time » album, an LP that will delight many fans of the two artists' works, all what builds their respective uniqueness being there so well intricated. Harrison Stafford unique voice supports, in a most elegant way, the delivery of a uniting message focused on self-empowerment through music and his universalist vision of Rastafarian faith. Brain Damage writing and production, on the other hand, appear always more subtle and personal, intellectualized yet visceral. Solid compositions, hit melodies and classy dub effects are among assets that will undoubtedly confirm « Liberation Time » as one of the most accomplished collaboration project of this year.

After almost a two year break in releases, D-Operation Drop returned with releases on Lion Charge, ZamZam & Moonshine to cement their place as one of the finest Dubwise acts in the business.

October will see D-Operation Drop link up with Rarefied to bring three darker, purpose built cuts under the DPRTNDRP moniker, each track carrying their signature production qualities while also delivering a darker edge which is synonymous with the Rarefied imprint.

Full force photosynthesis - Foamplate's Plantpower Records is back for another round. The second installment, catalogued 'PLANTPOWER002', welcomes the brilliant duo out of Slovenia by the name of DubDiggerz. Themselves already having had critical acclaim with their recent debut on venerated label GourmetBeats and repeated support by tastemakers such as J:Kenzo, Rinse.FM - the double-trouble delivers botanical vinyl grooves bathed in capsaicin - hot!

Starting off with the A-Side's 'Spear Dub' - the murky atmosphere presents itself lateral to an archaic snare-esque percussion element. Loitering alongside a steady kick drum, the arrangement leaps and hurls itself against the shattered soundscape. Supremely dubbed, only the most essential elements remain in unequalled quality. Tending to the low frequency content, a cutthroat bassline deserts its superfluous upper harmonic content, leaving the mid-range free to be swept around by atmospheric echoes, reverberations and alterations thereof, continuously changing their tone ever so tastefully - a living, breathing entity.

'InTemi' - a title as mystical as its corresponding music. Entranced by the unadulterated weight of being swept into the spooky low-end upheaval, keen listeners will find themselves hypnotized by alluring melancholy, embalmed in space. Metallic lead stabs propel their anguish as the percussive movement speeds up its pace. Meaningful vocal chants tremble through a thunderous cut, expertly woven into the dreadful soundscape DubDiggerz mean to summon. Arranged as a journey, the flipside of 'PLANTPOWER002' smoothly travels from scenery to scenery, with relentless sub oscillations as its steady companion.

This release has been mastered by Jason at Transition Mastering.

'Pusherman' is the debut release from London based label i&i Musik, featuring soulful rootsy vocals and a powerful message from Jamaica's highly acclaimed reggae veteran Mike Brooks. On the flip side, Wallace Adalphus' infectious positive character and charming storytelling style brings an uplifting vibe to 'Good
Morning'.Recorded together at Archiver's North London studio, 'Pusherman' is a soulful roots reggae track, full of organic percussion, catchy guitar riffs courtesy of Matteo Boyero and a killer heavy bassline, blending perfectly with Mike Brooks' sincere and soulful vocals. A dub version courtesy of Archiver, strips back the track allowing all the intricate layers to breathe with the guitars, flutes & driving bass and drums taking centre stage.On the other side is a three way collaboration between Archiver and fellow producer Matteo Boyero, and features vocals from Wallace Adalphus. Recorded at Matteo Boyero's studio in East London, 'Good Morning' is an upbeat and uplifting dancefloor friendly track with a blend of both organic and electronic instruments. Wallace Adalphus' truly original message and storytelling ability provide the backbone for this distinctive and catchy track.ABOUT ARCHIVER Archiver is a musician, producer and DJ from London. He takes influence from his vast, eclectic record
collection, love of old recording equipment and passion for sound recordings. He has been producing for a number of years, releasing under different guises and genres that he takes influence from although has a particularly strong connection with bass and dub inspired music. He regularly collaborates with fellow producer Matteo Boyero, whose label Wahever Records, also features a track they co-produced together, 'The 4th Session' on its debut release.ABOUT MIKE BROOKS Mike Brooks needs little introduction with a career as a reggae singer and producer stretching back to the early 1970's. He began his career at Channel One Studios and has worked alongside well known artists such as Jah Lloyd, Prince Far I, Glen Brown, Delroy Wilson, Pat Kelly and U Roy. He has released tracks and albums on numerous labels such as Duke Reid, Trojan plus his own Coptic Lion imprint to name a few. ABOUT i&i MUSIK i&i Musik is a small independent record label based in London and setup by producer Archiver. The label is centred around Archiver's own productions and collaborations, but will also showcase other artists and producers. Not wanting to be pigeon holed, the label will mix styles and genres where dub techniques and bass feature prominently.

Spear of electronica Core breaks on the A side... B side goes more cheaptune electronicarabian bended melodica

With a taste for dark, grimy substance, Czech imprint Harmless Youth leaps forward - proudly presenting their next release. With strong roots in Grime, Dubstep & Bass, it continues to serve as a basis for some serious dancefloor shells - label founders WZ & Insane continue to put forth. Besides radio play on stations like Radar Radio, Rinse.FM and BBC Radio with support from artists like N-Type, Ishan Sound, Madam X and Truth, the label has already gained a substantial following since their first release last summer - all thanks to the beat onslaught of co-founder WZ. Jonah Freed is now being welcomed to the roster alongside Farsight, featuring the intricate vocals of Rider Shafique to top it all off.

Cueing it up, listeners are thrown into a sea of complex grooves and preposterous weight without further ado. Toasting at its finest, Rider Shafique takes the audience for an impressive ride in 'Guns' - top-notch vocalist on a quality instrumental - no joke ting! Augmented by silky soul and subterranean piano samples, as well as lofty arpeggios all coming together perfectly. 'The Marshall Plan' kicks off with a desolate and atmospheric introduction, introducing lively arpeggio movements apace with power surges and frozen winds. With Ishan Sound's initial play on Boiler Room, this cut still causes a full-force shutdown, the monstrous oscillations in the bottom-end join the madness - leaving no fibre of you being un-reverberated. B-side business number two 'Septum' by Farsight reveals itself to be an eclectic flute ecstasy, covered in distorted 808's and grimy drums, no eye left dry. Fiercely stomping onwards, occasionally tamed by ethereal melodies. Dubbed as 'HY002', this massive 3-track instalment is exemplary for the imprints refined taste in both Grime instrumentals, as well as first-class vocalists.

YOU KNOW FILMS & ATLANTIC FILMS FEATURE LENGTH DOCUMENTARY CHRONICLING THE INCREDIBLE STORY OF THE ROLAND TR-808 DRUM MACHINE

BTG return with their 3rd release.

A debut vinyl release from Philadelphia's Gohda. A multi-coloured combination of shimmering grime synth work, spaced out beats that occupy somewhere between the boom bap of classic hip hop, the half pulse of dubstep and the skittering high-end work of southern rap knitted together with a soulful vocal & atmospheric touch not distant from that of the elusive Burial. Gohda's sound owes itself to both sides of the Atlantic but operates nowhere within them.

The vinyl only release sees remixes from BTG's very own Bulu, twisting the original into a dancefloor ready terminator & TMSV known for his genre expansive excursions on labels such as Black Box, Cosmic Bridge & Artikal again taking Gohda's soulful and playful original and turning it into a weighty dancefloor focussed banger.

Not to be missed for fans of genre defying, psychedelic bass-weight.

SUPER LIMITED !

Pearson Sound returns to his self-releasing label with the hyped 'XLB', accompanied by new track 'Tsunan Sun' on the flipside.

* DJ MC aka Mario Cooper coming from the Southside of Chicago was first introduced to the world outside of Footworks inner circle through Planet Mu's second episode of the legendary 'Bangs & Works' compilation in November 2011. One of the collections most remarkable and memorable tracks 'Y Fall' already made very clear that Mario Cooper plays in his own league.

* DJ MC is part of the movements second generation comprising such heavy- weights as DJ Roc and EQ Why, a group who could be dubbed the Fruity Loops wizards. Countless times he appeared spinning tunes at the scenes long lasting core event Battlegroundz.

* After having released quite a few digital EP's on various labels and on his own Bandcamp page lately, Duck N' Cover is very happy to announce his first release that makes it to wax. This monster of a record comprises 11 tracks on 2 sides, has an ultra fast pace as it contains tracks lasting from 1:38 to 2:39 which makes it demanding material for the DJ, no time to sleep. Prepared yourself for a rollercoaster ride.

* This record is a snapshot which offers us a look into the cultures innermost workings from the producers point of view, where also the track game is just as quick as the dance moves. DJ MC's Footwork is very much rooted in Hip Hop and Rap. This given fact adds a very classic and classy touch to all of his output. Experience a modern day masterpiece and tune in into the 'Lowend Jungle'.