Drum & Bass | Jungle Vinyl 535 Items

Ltd to 300 copies

2nd pressing on black vinyl! Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album. Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions. The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel. Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’. The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect. This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

The 6th vinyl release on BTG sees a newcomer to the label and a relative newcomer to the scene taking the reins. In his short time on the electronic radar J-Shadow has already had releases on Nous Disques, Car Crash Set, Prime, The Collection Artaud, eatmybeat, Dissident Sound and Dream Eater.

Kitchen sink Scuzz n’ Bass from 1998 Tokyo underground. Existing somewhere between Drum n Bass, Musique Concrète, Noise music, and Free Jazz, and yet occupying a space all its own, Jigen was an integral part of the shadowy yet prolific Shi-Ra-Nui imprint and greater Tokyo underground music scene in general, working as much behind the scenes as in front of them. There is an inherent grit to the work on display here. Free Jazz drumming, bells, and flutes coarsely interact with skipping, precision breaks, and industrial (think equipment not music) atmospherics, punctuated by occasional gaps of silence. Samples disappear and reappear, creating a circular narrative, and the nine tracks on each album perhaps trigger a sense of mild dèjá vu within the listener. Originally released on CD by Shi-Ra-Nui in 1998, ^ ^ is proud to present the first officially licensed vinyl pressings of both albums by Jigen (and of any Shi-Ra-Nui material so far for that matter), mastered and cut by Beau Thomas at Teneightseven.

As well as his brilliant music you may also know Jordy from his regular appearances on FIlthyFellas or his guest appearances on The No Rules Show and The No Behaviour Podcast, but now Jordy is back with the music video for his track 'Cherry B' and a big announcement that fans of his music will have been wanting to hear for a long time. Jordy has been rapping since as young as 8 years old and his personality is reflected throughout his music. His honesty is one of the main themes throughout his music but also his ability to touch on some real subjects whilst not tking himself too seriously makes his music that much more enjoyable.

Cherry B is the latest single released by Jordy and the music video finally comes to bring the track to life. With a catchy hook and a music video full of beautiful women, Jordy's unique style of rapping and ability to switch up his flow throughout the track, Cherry B is going to be one of the songs of the summer.

After a brief hiatus Jordy is back for good, regenerated and ready to silence the skeptics with ‘smh’ being the best antidote for that. Throughout the 7-track project he reflects on an array of subjects including relationships, mental health, equality and self worth. On his return, Jordy has unlocked new levels of creativity he didn’t know existed and harnesses his emotions with maturity which is now what sets him apart from others in the scene, with Jordy himself stating “i'm not a rapper i’m an artist”.

In the mid 90's, Julee Cruise and Eric Kupper were signed to the same music publisher, Warner Chappell. Patrick Conseil, who signed both, thought it would be a good idea for them to get together and collaborate. He was correct in that assumption, and this has lead to an enduring relationship, both creatively and as friends. These two tracks were originally intended as demos, but somehow got leaked onto YouTube, with positive response. Eric thought it would be a great idea to remaster the demos, keeping the raw edge, and give them a proper release, some 20 plus years later. Julee enthusiastically agreed. Having been influenced by the likes of Roni Size, 4 Hero, Jacob’s Optical Stairway, LTJ Bukem and DJ Die (the latter of whom Eric did a collaboration with), Kupper was experimenting with drum and bass. He could often be spotted in London clubs 'The End' and 'The Globe' checking out and enjoying the music and the vibes. 'My Blue Yonder' is one of the few tracks Kupper has ever written lyrics to. They were inspired by his then toddler daughter, Zoe. One day, Eric found his 3 year old on the floor, wrapped up in a blue blanket, looking blissful. When he asked her what she was doing, she replied 'I'm in my blue yonder'. She had heard the phrase in a song from a children's video. Eric then sat down and wrote a moody yet childlike song about a utopia, based on his daughter's likes and dislikes, her joys and her fears. A compelling blend of orchestral arrangements, frenetic beats, and Julee's unique vocal approach. Julee has often commented that it is one of her favourite tracks she has ever recorded. This collaboration also led to 'Satisfied', with lyrics and melody written by Julee. An ethereal somewhat existential track, with jazzy chords and pulsating arpeggios, it still has Eric's vibe, within a different music style. Julee's beautifully phrased vocals and lyrics bring the track to life, giving it a clear vision. This is the first release on Kupper's new 'Hysteria misc.' label. A label for all kinds of music, electronic to acoustic, rock to experimental, and 'misc.'... In Julee’s words, 'Thanks Eric, for doing this. I really love what we did'.

Limited Edition Orange Crush coloured vinyl LP run of 100 in full colour jackets with OBI and shrink wrapped.

Continuing the remastered, repressed series, we have two amazing remixes from Billy ‘Daniel’ Bunter & J.D.S. First there is Just Another Artist – Rhythm, already an amazing track but under the guidance of Billy Bunter & J.D.S. on remix duties they took this track to the next level! Then they turned their hands to what was already an absolute classic, Sunshine Productions – Take Me To The Top. They took parts of the original track and turned the dial right up to the max, threw them back into the pot and added their own flare and style to produce a remix that tore up raves both back in the day and still today on the old skool circuit.