Dubstep Vinyl 510 Items

As an undisputed heavyweight and one of the leading figures within the electronic music scene, Icicle's recognized as a highly respected producer - among other ventures through steaming releases via Hospital Records, Critical Music and Shogun Audio. Propelling his technically advanced production style into the 140 BPM spectrum, it's a sight to behold as DJ Youngsta reveals the next ace up his sleeve. The UK-based veteran conveys his awe-inspiring take on Dubstep with four tracks on a twelve-inch platter - vehemently battle-tested as a dubplate and ready to off at a dance floor near you.

We’ve been fans of Samba for a few years now and have been following his progress as he’s risen to become one of the most sought after producers in the Dubstep scene today. When Sam sent us this EP, we were instantly blown away by the music. Title track “Kings” has become a huge dubplate within the scene with support from dons like Commodo and Mala. To us the quite melodic 808 bassline harks back to early Good Looking records vibes, while the crisp fresh production and drumwork firmly places this release in 2019.

Rua Sound is pleased to announce we are back in action with our first release of 2019, and a welcome return to the label of Touchy Subject.
Fast becoming one of the go-to producers for rootsier takes on up-tempo 160-170 bass music, his second four-track 12" on Rua ups the ambition and knocks it so far out of the park it's broken windows in the next parish across.
The General EP veers wildly between neurofunk-but-actually-funky takes on dusty 90's boom-bapàla DJ Shadow on "Shudder" and 'Turnt Up', cavernous soundsystem workouts on "Seek and Find", and febrile halftime (just) jungle (barely) masterpiece in the shape of "General". Goosebumps. This is soundsystem music par excellence; cerebral, heady, and rousing - suffice to say we reckon it's sicker than the plane to Lourdes.
We apologise profusely to those of you whose resolutions for 2019 involved losing weight, but this is one of our fattest releases yet so you'd better go get them bassbins rumbling instead.

Following on from the success of HOTPLATES001, featuring Germany’s OTZ, comes the boutique Portsmouth-based label’s second release – from noted Bristol producer Theo Bennett, aka Sepia.

The Fargo EP continues along the forward thinking tangent of the label,
expertly blending elements of bass, techno and rolling percussion. Early
support from Hodge, Loefah and Walton, KZN004 provides 6 club ready,
certified weapons fit for the dance.

2020 repress

* The production duo behind the rave-new world sounds of 'Turbo Mitzi' and 'Big Slug (Feat. Riko Dan)' have been busy in the studio recently and return to form with 2 killer cuts designed to shock out the dancefloor.

* ’Control’ picks up the tempo from the duos previous cuts, rolling at 140 beats per minute, in it’s apocalyptic form. Powerful pads create the tension before sub-heavy kicks and cybernetic snares come pounding and chopping in, building up the mood before a radioactively charged Reese-bassline emerges, rising to the surface, unleashing its terror. This is a stone-cold banger.

* 'Strobe Light’ returns to the more familiar 128bpm tempo that the pair have previously worked with. Taking a quite unique approach, ‘Strobe Light’ builds evermore, moving into the light, layering percussion up as an intoxicating drone of swirling strings swells and swells - entrancing and empowering in equal measures. this is a highly versatile DJ tool that also makes for an engrossing listen from start to finish. Refined dancefloor ear candy.

Ikonika’s third album ‘Distractions’ builds on 2013’s ‘Aerotropolis’, and the title answers the question “Why has the album taken so long?” In the last few years she’s been building up a strong CV of remixes, from Chvurches to Dawn Richard, Austra and Junior Boys, as well as DJing and working on ‘Distractions’. ‘Distractions’ distils the character of Ikonika’s music productions across a wider set of styles than previous albums, and she subtly fuses and switches elements from contrasting genres, giving the whole set a uniqueness and consistency that puts it in its own lane. Furthermore what sits at the centre of ‘Distractions’ more than ever is her love of R&B and hip hop, in all its forms, which has opened the door to bring in a selection of guests in a way she’s not fully explored before. From the full throttle blend of grime and 80s synth soul ‘Noblest’ with Andrea Galaxy, to the reflective ‘Sacrifice’ with up and coming MC Jammz, a slowjam that merges dubstep with hip house drums. The final vocal track is the languid ‘Hazefield’ co-produced with Sweyn J and featuring Jessy Lanza on vocals. Its mix of mechanic clunk and minimalist, lulling funk could only happen in 2017. The LP artwork takes its inspiration from West London’s Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It’s this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes.

Next EP on White Peach comes from Neffa-T and makes your guts swing!

A killer eastern influenced Dubstep EP - Tip!

Infernal Sounds are back with their 6th release on the label, this time with the combined minds and talent of Japanese based artists, Karnage and the infamous Rider Shafique on vocals. The A side, ‘Realise’ providers a weighty influx, featuring the elemental voice of Rider, backed by a rugged roller in the form of ‘Bayside Shakedown’ on the B side.

Following the massive success of « Another night » Stepart is
back on Stand High Records with his debut LP. « Playground »
takes listeners on a deep bass journey and presents exclusive
tracks crafted with the Parisian producer’s subtle mixing
technique and attention to detail.
Recorded between 2014 and 2016 the LP is a tribute to the
golden era of dub influenced dubstep with ten instrumental
tracks as well as a vocal by Pupajim. Playing with styles, Stepart
elegantly breaks the rules and invites you to settle in his Lost
World Studio.

Manchester’s Walton returns to Tectonic following last year’s explorations in grime flavoured house/techno offshoots on the killer “Bulldoze EP”. This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, “Gunman” sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight!

Sheffield DJ/Producer Louis 'Taiko' Robson has consistently agitated the boundaries of dubstep music, manipulating eclectic influences in to his productions with bold, original arrangements, intricate percussion, experimental instrumentation and unforgettable subs, and hes not held back with ALBION002.

Title track Splinted dons the A Side of the release and sets the standard high with its heavy sub, percussive melody, and string lead. Robson has taken inspiration from contemporary orchestral composers such as Terry Riley and Steve Reich initiating the creation of the drums and percussion, which add a rich analogue sound to the track, and with that an almighty atmosphere. Folk-like scratchy strings take the lead which is a theme set for the EP and highlights Taikos tenacity for sound design and disregard for convention. Each eclectic element of the track compliments the next resulting in a guttural, energetic dance floor cut, with dark undertones making the listener feel agitated or anxious. A pulse raiser strictly for sound system use.

Over on the flip side, starting with the outer, Taiko offers a much warmer vibe throughout Fractal, flexing another experimental set of instrumentation, this time round building rhythm with an accordion sample. An enormous rolling sub bass instantly becomes dominant after the short intro and meticulous percussion exaggerates the astounding impact from the drums. In the break expect a much murkier tone with a grimey string sample leading to the second drop. Robson achieves a certain level of feel-good whilst maintaining a dark and aggressive tone in his unmistakably raw track.

Nickel takes the inner side on the flip, following form to the prior with its accordion sample adding a distorted guitar drone for the melodic intro. The acoustic instrumentation couples up with irregular drum work solidifying the EPs ‘live aesthetic, whilst maintaining a dance floor orientation. Tonnes of energy meets masses of bass, Nickel is a recommended set opener and a great close to the EP.

Mesck fuses another cog in the label’s machinery, giving Chestplate one more flavor while sticking to the no-nonsense frequency construction that has characterized Chestplate’s aesthetic. The EP offers a cohesive journey through vibrant dynamics, rolling out with the hollowed kick patterns and ominous underscoring of Conquista. Collusion slows the momentum with more minimal percussion, leaving plenty of space for the labyrinth of subtle detail commandeering the atmosphere. A bongo-driven plane of chambered flux transitions the mood as Arcane Glimpse enthralls the soundfield with guttural and interchanging reese patches. Mesck sends us off in Lucid Form with a beat that deploys hefty swing while discombobulating the senses as voices hop left-to-right in the scape.

Finnish producer Desto returns to Rwina to deliver his first full length album, ‘Emptier Streets’. As with his previous releases on the Dutch label, Desto strips the music back to its bare-bone essentials, fulfilling the album’s title with a sound that’s spacious and eerie, bleak and punishing yet still offers warmth in its apparent coldness. Stylistically the album is most obviously aligned with the aesthetics of Dirty South hip hop and the dubstep diaspora, deploying booming drums, rolling hats and cold synthetic melodies and voices inside cavernous sonic landscapes.

12" sampler of the long awaited first album from the young, eclectic and talented DJ / Producer Benton.

2nd pressing on black vinyl! A child agrees then screams the name. Kid-o-suke. Did you hear that right? The music trickles in. It sounds like it was made in a toy factory. Hold on. Let me reach for the button over there. Childhood memories. The magical sounds of a roundabout sending you to sleep. The wonders of the world seen through eyes that don’t yet ully comprehend and ears that find musical potential in everything. Two kindred souls find each other, distance never the issue, they share and laugh the only way they know how.

The new track 'Deep In Thought' which has only appeared on mixes prior to now, will only be released in this format.

A child agrees then screams the name. Kid-o-suke. Did you hear that right? The music trickles in. It sounds like it was made in a toy factory. Hold on. Let me reach for the button over there. Childhood memories. The magical sounds of a roundabout sending you to sleep. The wonders of the world seen through eyes that don’t yet fully comprehend and ears that find musical potential in everything. Two kindred souls find each other, distance never the issue, they share and laugh the only way they know how.

The wonderful pixelated world of a video game. Where does reality end and where does the imagination start? Somewhere in the distance an explosion can be heard, or was it a booming bass drum? There are birds singing a crystalline melody. One I heard before, in a dream perhaps. All of a sudden a child exclaims ‘come, let’s go’. Where did he come from? Is he real or another pixelated fragment of imagination?

Yokatta desu. There’s a castle in the sky. Two boys team up to reach it, carried by the power of their dreams. The same dreams that marked their childhood and brought them to be men. If ever there was music worthy of becoming the soundtrack to a Ghibli movie this could be it. There’s a girl asleep on a plastic deer, going around and around. She reminds me of the hand drawn versions of the pixelated heroes of my childhood. I imagine her dreams filled with exciting adventures.

I swear I heard the sounds of Tokyo’s public transport. It told me we’d arrived at Shibuya yet I can’t see the neon bright lights when I look around. Oh well, I’ll just have to imagine them.

It’s an album, so of course it’s real. The music is the result of a desire to create regardless of outcome, for the simple fact that there is a story to tell. People will consume it whichever way they want. Is it this sound or that sound? Does it really matter? Stop for a minute and enjoy the music for what it is. A synthesis of two aesthetics joined not just by a love of music but also a love of the abstract and the childish, the things that remind us we were all young one day and things were simpler. Things like dancing as if no one was looking or making music as if the outcome never mattered.

Kidsuke is a collaborative project between the UK’s Kidkanevil and Japan’s Daisuke Tanabe. Their self-titled debut is released by Project Mooncircle in November 2012 on double colored vinyl LP and digital.