Drum & Bass | Jungle Vinyl 347 Items

M27 brings out the underground sound with a dark breakbeat hardcore choon. Rolling breaks and hardcore drum machines tear down the house with sprinkles of soul and summertime for the hardcore massive.

Rufkraft brings the darkness with an exorcism of analog jungle breaks in a drum n bass stylee. Dissonant snares and worbly basslines make this track an absolute mental slammer for all drum n bass junglist in the dance. Use with extreme caution. credits Vinyl includes a sample/scratchband.

Exit Records expands on dBridge' sophomore album A Love I Can't Explain with two new interpretations by The Fear Ratio (James Ruskin & Mark Broom) and Kahn. In keeping with the label's ethos the artists were left alone to deliver remixes without any stylistic requests and as a result we have two tracks that are personal & uncompromising.

Dj Beeno is a relative newcomer to old skool music, but an old hand in the Kniteforce world, with a few very strong releases under his belt on Kniteforce digital, and then on Kniteforce White (both EPs selling out in under two weeks), not to mention numerous high profile remixes. In other words, this debut on Kniteforce proper is long overdue. As always, he brings his playful and chaotic style to this EP, includint his trademarked cheeky samples and unexpected twists and turns, always keeping that authentic anarchic vibe that the original old skool masters did with such ease…In short, this will sell fast and be one to remember

Serious sound system pressure on this one! Select tracks from Natalie Slade's debut album 'Control' have been completely reimagined and transformed into Jungle, Footwork, Garage, Broken Beat and Hip Hop by some of the most exciting talent around, including Tek-Life affiliate DJ Taye, Azymuth producer Daniel Maunick, Garage young blood Holloway and Chicago's DJ Hank amongst others.

2013 sees King FiFi return with a double-A side 7" vinyl for 457. Up first is "Oh Baby" and from the opening chords we are on course for this superb dub 45. King FiFi cooks up a serious blend in no time with a skanking guitar line, percussion-laden drums and a compelling rootsy bassline - while his signature vocal samples and effects echo around the mix.

Limited black vinyl re-press due to popular demand.

Heavy tribal percussion and a deep bassline set the pace for a rootsy groove while melodica and horns drift in and out of the mix. Add a few lashings of dub and leave to bake. On the flip Istanbul's d'n'b hero Flatliners returns with "Raw Fi Dub", an unstoppably catchy slice of ziontific bass and beats.

Industries Of The Blend is the latest project from Dj Luna-C, and this is his second EP under that name. Once again aiming for a slightly slower speed and earlier era, this one leans more into the Njoi, Rhythm Section type of original old skool, with light painos and swiftly changing patterns and stabs. Each track is beautifully crafted to fit in with both an early 1992 set, and the modern love for authentic old skool. Each track was made entirely on hardware, and the original soundscape is obvious to any old skool raver.

Argentinian producer Thissperso has been living in Barcelona for a good season while producing music that reflects what he experiences in his day to day life. His productions are harsh and violent, but they have a quality and energy that makes them contagious and addictive. This work, edited by NNY Records, compiles some old songs that have been revisited and remastered, which coexist with new compositions that continue to explore the most visceral and dark side of electronics. This is the work of a producer who is not tied to any style and who enjoys setting the dancefloor on fire when one of his songs is played. Producers like Parris Smith have already been able to verify it in the first person with a couple of songs from this new EP in which we find Electro mixed with Industrial, EBM, Acid and a punk and nonconformist attitude.

A message from the unknown.

As 2020 draws to a close the Surface Tension Series reaches its apex with part III, containing a like number of compositions which continue the sound refined and alloyed in the preceding volumes.

Following a jaw-dropping LP on Ghostly International in 2018, multifarious rave authority Tadd Mullinix reanimates his hi-tek junglist guise X-Altera for an EP on Sneaker Social Club. It’s a perfect fit between project and label, as Mullinix exercises his fearsome knowledge and grasp of foundational jungle and drum & bass on an imprint with strong form in the field (from seminal Foul Play works reissued to contemporary cut ups by Dead Man’s Chest, Etch and more).

Acid Skanking is dedicated to cross-cultural riddims. the first one drops versions of the ‚planck‘ riddim: acid basslines meets dub science on 162 bpm. there we go ska rude girls and boys skanking on acid. the flip side with the ‚hypernism planck‘ brings back old school hardcore on the same bassline inclusive a proper slamming hoover ending.

Mark Boombastik is a human beatbox with advanced technics. Early in his career, he added guitar effects and bass synths to his live sets to push his vocal art to a new level. Mark Boombastik is mostly known for his astonishing crossover pop-song "Putzen" which was licensed for german TV shows among other crazy things. Through this novelty hit he caught the attention of the Berlin record label Shitkatapult for which he produced the long-player "Adios Berlin" together with Eduardo Delgado-Lopez. Lesser known but extremely sought after are his releases on Meeuw Muzak and Gagarin Records. With Gagarin Records chairman Felix Kubin he did countless live and studio collaborations. After a brief release-hiatus, this 7" on Sozialistischer Plattenbau presents two recent tracks. The record comes in a cover that was designed by Hamburg artist Thomas Baldischwyler and printed in 3 punky color-layers with a middle-aged Riso printer on recycled paper.

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.

Utopia Music are extremely proud to present UM023, the debut 4 track EP from Belgian badman Mzine. Based in Brussels, Belgium, M-zine (Joeri Deyaert) is no stranger in the Belgian Drum & Bass scene. Having had releases on labels such as Dispatch, Critical and 31 Records and playing big time parties, such as Star Warz, Rampage, Stealth Bombers, Mentality, he has been cooking his way up, slowly but steadily, in it for the long haul.

Mark is releasing a new EP called Integriert Euch Nicht. It features two tracks taken from his Berghain debut and a freshly-composed drum & bass missile. “Fucking Sick Of Myself Since Day One (Hot Desk Mix)” and “Hats Off To Herr. F” were first performed at Mark’s 2018 Berghain live set during Ostgut Ton Nacht. The former is a breakcore-adjacent call to arms for the self-loathing, the latter an antarctic shiver of predator- mode IDM-illektro. “Integriert Euch Nicht (Commercial Jump Up Mix)” features singing from Blackest Ever Black alum Silvia Kastel. Mark wrote the vocal parts with sine waves before Kastel recorded each tone individually, creating microtonal clusters in the vein of Luigi Nono. The sax-like sounds are Wilted Woman playing the aerophone, an electronic woodwind instrument. Otherwise, it's Mark's most deliberately straight ahead drum & bass track to date, trading the beat science of former releases for a stubbornly boneheaded approach in line with the title's message. Integriert Euch Nicht is something of a spiritual successor to last year’s tech/gentrification/real- estate-investment themed Integrier Dich Du Yuppie and a ruffer, more floor-focussed elaboration of the techniques tested on his unterton debut The Least Likely Event Will Occur In The Long Run. Under his Klon Dump alias, Mark has also previously released a psych-mnml double EP called Klon Dump Vs. The Open Air on A Colourful Storm and Two Rooms, a tape of sound art improv and knackered pop-strumentals on Bristol-based imprint NoCorner. When not playing solo, Mark also accompanies Blackest Ever Black’s Carla dal Forno on live electronics.

FSL007 drops from Corkwegian, Berlin-based producer and dj Ellen King AKA ELLLL. ELLLL has always brought a different cut to bass ans techno music and with Febreeze it sets out into the further realms of breaks, jungle and euphoric rhythms alongside a bass driven tech-house uk funky joint from College Driver G.E.O. Corp.

I-iii kicks up a dust on Livity Sound with two killer rhythm workouts focussed directly on the dancefloor.

dark blue & red marbled vinyl

‘Soy Piccolo’ is the firecracker debut EP from Sydney DJ/producer Unpin. Comprised of 6 high-energy dancefloor bombs, the EP traverses a broad range of sounds through acid-house, electro and experimental club cuts.
On this release, Unpin’s work is heavy on breaks and 303’s, balanced by a subtle pop sensibility with precision-picked vocal cuts tying the release together. All killer, no filler, the release is a gritty, yet confident body of work from one of Sydney’s most promising rising stars.
This is the debut release from Sydney imprint and party collective Velodrome. Released digitally in mid-March, the record has garnered attention online including blog coverage on Resident Advisor, Purple Sneakers and Colors Studios. The two singles from the record have also received consistent airplay on two of Australia’s largest independent radio stations, Triple J and FBi.

DJ Manny on True Color! Label bsed in Barcelona, operated by 7th Sense and Aku.

Maduk is back on Liquicity Records with his 8th vinyl release. This special white vinyl contains three all time Liquicity classics and one brand new remix. A must have for every liquid drum and bass collector.

Sam Binga returns to drop his debut EP for Critical Music. Inviting back the infamous Redders for vocal duties, picking up where his trail blazing single AYO and the much loved 'Lef Dem' from Critical's 'Underground Sonics' LP left off. A deft combination of low slung beats and bass with a nod to the jungle tradition.

Conduct's focus is firmly on the juxtaposition between electronic and acoustic instrumentation, with a cinematic approach to composition influenced by the likes of Hans Zimmer and Jesper Kyd. Conduct strive to create an emotional response in the listener, aiming to create a timeless body of work.

Analha was one of the first approaches I had with the design of analog basses and drums, to understand the way in which we can involve so many sounds and transform them to our own liking, to give it its own narrative, a sense, an identity in which it can be navigated about different styles without problem.

They are two pieces that make up totally different break paths where "Mi ama Dic K no" [a1] is my own exploration and vision of the break beat, three melodies written in F # that count the subtlety, while the bass contrasts in an aggressive idea to the beat of many changing rhythms in the drums, which sorfs between a Mpc, 808, Dsm & V Modular ; Classic trip hop voices samples that guide the way this own idea progresses on the breaks and pads that generate a more complete environment with a very energetic atmosphere that is constantly on the rise in the active and natural development of the track.

Towards the B side "Run mami run" [b1] is composed by a classic intro of acid cut while some seconds of drums interpose which are accompanied by a radio narration of a chase, a return change is present with a vinyl spin between voices from GTA & WU Tang Clan which make an intro for an infusion of breaks fully aligned to the beginnings of oldskool drum and bass which are accompanied by voices recorded, treated and edited to connect more directly between the spaces interrupted by the glitch acid chords.

Among contrary structures "Analha" contains hidden but marked criticisms, it is a project that comes from 2018 and ended at the beginning of 2019 which made him think about how to involve more than music within his own sound narrative.

The sonorous identity of rachiid today is different, he understands his environment but does not believe in adapting, he tells us that each exploration and discovery during these years have led him to think how this first release was born until now but is not connected at all with what nowadays, describes his sonority today as changeable, essential and highly with IDM, experimental and breaks.

A message from the unknown.

With a fundamental emphasis on the encouragement of genre hybridization, Evar Records, the Los Angeles-based imprint co-founded by Trickfinger (John Frusciante) and Aura T-09 (Marcia Pinna), continues its momentum with an expansive 9-track collection from Netherlands-based luminary, Limewax.

After making a strong first impression with its 2020 debut offerings, Evar Records has recruited Limewax to carry forward its mission of blurring boundaries and challenging conventions in electronic music. The Ukranian hard drum and bass hero happily obliged, referring to signing with Evar as a breaking point which allowed him, finally, to take full stock of his background in classical and electronic music simultaneously. Although Maxim Anokhin is widely known for his hard-edged breakbeats, releasing on labels such as Tech Itch Recordings, Position Chrome, Freak Recordings, and Prspct, the full scope of his artistry shines through on Untitled.

The opening cut, "Porcelaineworm," is a futuristic electro cut recalling IDM classics like AFX's "XMD5A." Of course, the virtuosic drum programming and hectic D&B sound which Limewax has built his reputation upon is here in spades on tracks like "Stay Lackey. Cuts like "Ushio" and "Whay1" are fascinating studies in contrasts—the former balances bludgeoning techno of the Ansome and Perc variety with a resolve that recalls Fennesz's pastoral glitch abstractions. "Whay1," meanwhile, is sub-rattling drum and bass nuanced by cinematic string themes. "Getupa" is an experimental beat track that truly bangs, its layers of texture and field recordings placing Limewax in the company of bleeding-edge acts like SVBKVLT's breakout star Hyph11E. The very next track, "19NB," is a subtle update to the original minimal technical template established by Detroit icons Robert Hood & Jeff Mills.

While most of the album hurtles forward at hard techno and D&B tempos, "Maleisae" is a sensual 70 BPM track mixing ghostly R&B and acid. That spectacular cut heralds Untitled's intricate denouement. The brief "Wernmqbram" effortlessly reconciles a baroque minor-key piano theme with the renegade snares of classic jungle. "Hasan" is a true "closing credits" master stroke, half-time acid giving way to gorgeous IDM-meets-Blade Runner synth leads.

Far from a genre-jumping hodgepodge, Untitled is a remarkably coherent full-length by a virtuosic artist free to explore the entirety of their creative influences. The Tilburg-based artist cites the poets Marina Tsvetaeva and David Whyte as influential on Untitled and also listened to works by 1771-1862 works by organ builders when crafting the album. The end result reveals Limewax as a masterful, diverse artist, capable of any style he pursues. It's a clear indicator of the boundless promise of Evar's core principle—a staunch refusal to put artists in boxes.

Young gun Edlan teams up with Septabeat, Syren River and Minos for the next output of Fokuz Recordings. Jazzy rollers for your soul.

DRP (Dom & Roland Productions) was started in 2006 for Dom to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work. Mando is one of Doms closest friends. He has been writing music for over 25 years. A gardener by day, he shuns the limelight and has always maintained writing music is his secret hobby! He had a studio in the room next to No-U-Turn in the 90s which was eventually taken over by Optical and Edrush. Until fairly recently he never released anything! He has an amazing ability to create sick grooves, his style is raw and refreshing and not over produced like a lot of modern music. If i had to pigeonhole his style I would say 90s neurofunk.

Need for Mirrors vinyl containing the tracks Coco & Witch Shark taken from NFM's new album "Flames". "We don't really do albums on 31, so it has to be something special, something a bit different and not just a collection of DJ tracks. What really drew me to this project was the vocal tracks that NFM had produced, they really are different and have a quality to them that I don't hear very often in DNB, coupled with the other experimental tracks and straight up rollers, this to me really is an excellent example of what a DNB album should be".

Wheez-ie joins Craigie Knowes offshoot C-know-evil with bone-shakin' breaks, piercing synths and flavours channeled from 90s UK rave-culture. 'only Human' sets the record straight with chopped and distorted breaks laden with carefully selected voice clips and samples - building a haunting wall-shaker built for any dancefloor willing enough to test their stamina. 'weaponized' continues in a similar vein, injecting acid into the heart of the signature Wheez-ie sound. A record for the bolt of heart, stray carefully.