Garage | 2Step | UK Funky | Bassline Vinyl 325 Items

On Gift n Curse Principle, Jnn Aprl puts forth her own signature interpretation of “techno”, relying on her art school drop out sensibilities and analog ear. After spending the better portion of the last decade immersing herself in the heartland of electronic music, The Seoul by way of Chicago by way of Detroit by way of Seoul again producer and DJ is proud to present the debut of her new EP as well as her new label, Rene Koala. Find on the record a set of tracks spanning the gamut, made with the assistance of a MPC 1000, a Prophet Synth, vocal effect and some grit. For the dancers and for the artist alike, each song represents a journey. 'Gift n Curse Principle' employs a minimal beat with raw intention. ‘Freedom Bondage’ taps into a low frequency and steady modulation, emulating a heartbeat. All tracks ask to be heard in their entirety. This EP was made with support from Piranhahead of Rustbelt Studios and Bill Skibbe of Third Man Records.

Super deep n’ rolling ambient junglist mutations from hyped cloakroom attendent Florian T M Zeisig and mysterious XPQ? operator Pvas, uniting under the NUG moniker for a highly atmospheric session beamed directly from that short-lived, elusive sweetspot in the mid 90’s when Omni Trio and DJ Crystl collided with Mo Wax’s Some Scientific Abstract Type Shit! and Gescom’s Disengage, all red lights dappling thru a dense fog of smoke.

Rinsed out under the timeless influence of “bong & sterni” - who sound like a legendary Berlin ambient duo, but are just weed and beer - Zeisig and Pvas collide in midair for a stereo-swirled recollection taking us back to 1995 - that Autechre radio show on Kiss FM, peak Mo Wax, Kodwo Eshun’s ‘club trax’ column, just before everything went fully tasteful. Throwing links to more contemporary refractions found on various J. Albert workouts as much as Skee Mask’s most vapourised breaks, the NUG sound keeps toes and heads off the ‘floor with a rugged but lush suite of rave suspension systems making critical use of negative space and recoiling dub dynamics.

One for the early hours of the club, ‘Not Many People Here yet’ gives acres of room to bounce off the walls, while the ruder ‘Filthy Club’ sounds like the backroom heard from ceramic tiled bogs, and you’re already healthily zonked for the zombie float of ‘Is Under The Blanket.’ The radiant pads and swingeing breaks of ‘Morpheus’ dial up Skee Mask’s most pendulous rave visions, and ‘Napping Under God’ rolls out on 9 minutes of webbed breakbeat for the locked-in steppers, with Florian’s ambient texturing fully coming into effect on the blurry-eyed flex of ‘Lite.’

Uncanny just how well this one nails the sound - top marks and full reccomendations for anyone looking for that liminal, junglist special sauce.

Numbers will release ‘Clear’, the debut album by FFT, on 24th June 2022.The result of three years of focused writing and programming by the London-based producer, ‘Clear’ is deeply psychedelic, defined by a mature sense of melody and structures crafted at a monumental scale. Though FFT has previously released a handful of tracks under various names, it wasn’t until 2017’s ‘fft1’ EP on theUncertainty Principle label that his production talents began to fuse into a distinct and personal style, especially evident in FFT’s‘Regional/Loss’ EP on The Trilogy Tapes in 2019, multiple releases on Bruk Records and2021’s ‘Disturb Roqe,’also released on Numbers.Through it all, FFT has mastered a complex sense of mood catalyzed by sound itself: He builds patches and presets from scratch, and feels these synths and software have their own objectives and reactions, creating a kind of compositional feedback loop.The result is an album that brings to mind a collision of electronic pioneers like Delia Derbyshire and Bernard Parmegiani, 2000’s braindance, the Max-imized wares of an OPN or Objekt and the rough rhythmatics of SND or Mika Vainio The layering of sonic elements and intentions is starkly audible across these nine tracks.They can be seismically concussive and grandiose, but granular and fluid - echoing the Icelandic volcanic eruption that features in the artwork photography byGeorge Cowan. ‘Clear (Eight-Circuit Mix)’sets a euphoric tone immediately accelerated by the jagged sounds and vocal textures of ‘Redeemer’. ‘3 Sided’ channels hyper-urbanity from its almost entirely analogue palette, and by contrast ‘Disturb Roqe 2’is bracingly digital, gyrating in random cycles between clustered percussion, metallic splinters of audio and artificial vocal tics. Opening side two, ‘You’ve Changed’ adheres to a more abrasive core, while ‘Heal’ and ‘Heal (Alt Mix)’evolved out of linked pieces in FFT’s live sets that grew into complete tracks in the months before Covid-19.The significant intensity of ‘Heal’ in particular was refined during strobe-heavy live performances and is the album at its most turbulent, the claustrophobia interrupted by dazzling arpeggios.The overall impact of 'Clear' is cinematic and precise, marking the arrival of an impressive electronic musician who is not new but has come into his own as a fully developed artist

"Unbroken Dreams of Light" V/A Blueberry Records 2020 Side A;Who is Glen Faba? Hint: I could tell you but then I'd have to undo it. Arable sounds like philip glass if he took some K. Ruby Rod, a track which made the rounds in my live set for 3 years. I'd open with it in front of bands and everyone would take about 7 steps backward from the stage. '5' Todd Osborn sent me a zip of music after my hard drive crashed and I lost everything. I got the complete Blue Note recordings and a collab with Luke Vibert. Here it is. Side B;UC is deadly with the 12" versions. Track comes with cool techno sound effects as well. Horsepower Productions deliver a super rare hardcore artifact from their archives! Side C; Cousin Cockroach on Blueberry!!! You already know. Spurge - a total delight to know and watch out for more from this young beat scientist. Tune is called Deadass. Xglare - Jessee kills it, check her Morph EP on Blueberry - the balance between light and darkness in her sounds astound. Dasychira is slowly turning into a preying mantis and this is what that sounds like. Pretty much exactly. Bénédicte has been busy crafting away at their debut EP for Blueberry, I can't wait for you all to hear it. Softillusion is a dreamy warm blanket. Side D; µ-Ziq on BBR, another dream. We are coming full circle here for this IDM fanboy's wildest dreams. Brrd - I had to straight up jack this 2 minute section from a beat mix that Stewart sent me a few years ago. You can master from an MP3 folks! Focus Group 2. Meet my piano. Her name is Olympia, and my friend Margot named her. The Other Functions - my friends no wave alias is better then yours. Tenant - the rent is still to damn high. Peak acid programming here.

Limited to 300 hand-numbered copies including hand-silk-screened poster by Vladimír 518.

Duo Lucas Brell and Marvin Uhde deliver fire-powered percussion to Osàre! Editions. Longtime friends and collaborators, they channel a liquid medley of drum menace that flips sideways, swiftly pivoting between wildly different tempos. As disorientating as it is formidable, Purest State Confusion offers up a fractal prism of ever-shifting beat patterns – an endlessly warping vortex of guttural, narcotic sounds. The titular number, a wormhole techno ordeal, builds steadily, layer upon layer. A crystalline dancefloor pleaser, it subverts classic four-to-the-floor with a delayed kick drum that punctuates every 8th beat. Like black oil diffusing in water, the bass creeps in menacingly to 'The Disappearer', in hard and fast contrast with the sharp fluctuations of the amen break. Slamming in mercilessly, 'Channeling Bryn Jones' opens up the B-side, its fluttering rhythms joining together with an infectious klaxon melody before the IDM stylings of 'Brain Massage' closes out. Purest State Confusion was recorded at various locations in Leipzig and Berlin. Final touches and mixing assistance were performed by Mike Bierbach at the Wsnwg studios. The pioneering techno producer inflects the record with his staunch taste for aerobic club rhythmics, teasing out the whirling tempos and pointillistic harmonics.

This remix compilation, affirming the friendship across both sides of the former Iron Curtain, is released by a bunch of music lovers in association with the independent label Xion (xionlabel.bandcamp.com), right in the heart of Europe, the city of Prague. Enter "Holan Remixed" – a full tribute to Ota Pavel's and Luboš Fišer's work and its typical poetics, compiled from six electronic music remixers. UK based pioneer of atmospheric drum'n'bass Lucida represents the west side, while Sintez, a skilled producer hails from the east side with his deep dnb roller. The rest are 3 guys from the Czech republic – Rabbit with his 2 reworks, one in breakbeat rhythm and 2nd with mellow deep dubstep vibe. Prague based owner of Pathfinder Records Title brings his vision of deep drum and bass and Martin Kuška closes the whole EP with an ambient piece.

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (uk), Nice Music (aus), Clan Destine (sco) & Night People (us), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'cft' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

South London’s James Massiah returns to Jon Rust’s Levels imprint with the highly anticipated follow-up to the 2019 underground hit ‘Natural Born Killers’ EP. The six-track EP ‘True Romance’ is the artist / poet / DJ / producer's richest work to date, autobiographically charting the peaks and troughs of 21st century love, life and relationships. Massiah’s rap leanings ride over his signature neon productions, taking in an arc of influences including dancehall, dub, acid house, grime and left field pop. Gritty and shimmering in equal measure, this is essential for devotees of the Dean Blunt, Lord Tusk axis, or anyone switched on to the stream of rap bubbling up from the UK right now. Heavy rotations from Benji B, Jamz Supernova, Shy One & Scratcha DVA. A vital release for 2024.

Emerging from a generative paradox of laser precision and fluid dynamism, Metallur fuses percussive, metallic force with warping tempos and a field of ethereal resonance and debris.

The result is an insurgent, elemental, time-smearing of hyperspace, where "tellurian beats merge with alien glossolalia and vocal samples blip tesseracts of human affect into a ghostly, melodic aether". Music for a crushed infinity.

Presenting 'Swinging Flavors #12,' the latest sonic exploration by Tokyo-based sound craftsman, T5umut5umu. In the pulsating track "Bolt," he deftly blends elements of techno, breakbeat, and jungle, offering an intergalactic journey through the diverse universe of bass music. Released under Beat Machine Records' Swinging Flavors series, this digital and 7" vinyl release invites listeners to embark on a cosmic adventure.

T5umut5umu, a genre-defying producer, skillfully navigates the space between tracks united not by traditional genre labels but by vibe and style. With techno, breakbeat, and jungle as his guiding stars, his music draws inspiration from Eastern cultures, seamlessly woven into UK-style club tracks. Fusing elements like Hard Drum, dark breakbeats, grime, and DnB, T5umut5umu creates compositions that transcend boundaries, captivating audiences globally.

The remix of "Bolt" by Mani Festo mirrors the rapid and diverse stylings found in his towering catalog. Mani Festo, caught in the tension between futurism and tradition, is a champion for the transformative power of club music. As part of the Club Glow collective, his dynamic sound ranges from breakbeat science to electro machine funk, elevating 'Swinging Flavors #12' to new heights. The remix, akin to a warp-speed journey, propels the original track into uncharted territories, delivering an electrifying experience anchored by heavyweight rhythm craft.

Together, T5umut5umu and Mani Festo invite you to lose yourself in the cosmic magic of 'Swinging Flavors #12,' a release that transcends musical boundaries, celebrating the joy of exploration within the vastness of bass-infused soundscapes.

Double 99’s speed garage anthem ‘Ripgroove’ celebrates it’s 25th birthday with a reinvented set of mixes to the original.

The seminal UK club weapon, and speed garage blueprint ‘Ripgroove’ by legendary garage outfit Double 99 turns 25 years old. The often imitated, copied and consistently worshiped dancefloor classic sees its story continuing a quarter of a century later.

Originally produced and recorded in a kitchen in London, N7 back in 1997 by Omar Adimora and Tim Liken aka Tim Deluxe. Distributed by Ice Cream Records label boss, Andy Lysandrou from the boot of his Mini-Metro; record shops from the South to North of England were staying open until past midnight waiting for new stock. Pirate radio stations hammered it from the moment the vinyl landed – The Sound Of The Summer of ’97 had arrived.

Mainstream radio stations refused to playlist the record on its first release due to it being “too different”, too urban and too underground, despite its unparalleled popularity throughout the summer. Thanks to A&R man Nick Raphael’s belief in the record, it was eventually playlisted on Radio 1 (the first ever UKG record to be added), with newly added vocals from Top Cat it went on to enter the charts at No. 13, opening the floodgates for a UKG takeover of British radio.

As well as Sherelle featuring the Fixate Remix in her seminal set at LDN Boiler Room, with an insane reaction and worthy re-wind, the track has been supported by a multitude of music heads from DJ EZ to Annie Mac to Four Tet to Pete Tong to Diplo… the list is endless, with it even appearing as the lead track for Kurupt FM’s “People Just Do Nothing: Big In Japan” movie.

Double 99 have re-recorded the UK classic at RAK Studios with a 16-piece string section (The 12 Ensemble & Friends) alongside a newly recorded re-vocal from the legend Top Cat. Complementing their Reimagined versions are remixes from Ewan McVicar and Daffy, ensuring that the cultural relevance and unadulterated dancefloor power of ‘Ripgroove’ will live on for years to come!

"Monstas brings out our street and theatrical sides to a fiasco, combining Grime/Dub MC's and tunes to make a Soundtrack-like experience. The release also marks an end of a Trilogy - which allows us to wrap up our sonic architect skills, and to start from scratch, to dive deep in the unknown - audio and visually." - Traka

Mastered and cut on 140g transparent vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

About the Album

‘Isthmus’ is Ross Tones’s 5th album for Houndstooth in 10 years.
It only seems fitting for it to return to the eclecticism of 2014’s ‘Mosaic’.

An isthmus is a narrow strip of land that connects two larger bodies.
The two islands contrast in time, topography, chaos and character.
One sears.
The other, buried by blizzards.
A land bridge fights the tide; offering harbour.

Connecting the estranged.
Giving battle to the noise.

It is uncertain who won.

Arriving as the third album on Supreems ‘Sweet Sun’ label – an imprint gathering a reputation for future-facing, storytelling electronic music – Sloucho's 'NPC' explores the duality of his main character and non-playable lives. With a strong Irish artistic presence featuring Rory Sweeney, EMBY, Curtisy and more, Sloucho navigates through Cloudcore-inspired broken beats, bass-driven percussion, alternative dreamscapes and wubby fuck-steps on his most complete release to date, laying the foundation for an origin-story in the process.

Garnering support from Surusinghe, Roza Terenzi, Two Shell and more; some of the tracks on NPC have already been heard in clubs around the world - from Antwerp to London and Mumbai to Paris. ‘Mind Traveller’ offers an ambient introduction to ‘Athrú’, Sloucho’s home world, as the artist's pitched vocals act as the listeners guide into the island's core. ‘Mutant’ features experimental electronic artist Rhoshi on a track that follows the kaleidoscopic sonic-themes of Sloucho’s previous Cloudcore releases ‘Slow Feet’ and ‘Silver Veil’, before the Rory Sweeney-featuring ‘Come Around’ ignites the dance with its dutty screw-face two-step, balanced by moments of melodic contemplation before evolving into a techno-dancehall hybrid.

‘Brand New’ stays on the steppy aesthetic, and brings MCs EMBY and Zack Oke into the frame with a 3D Meta-human video created in collaboration with respected, exhibiting digital artist Aisling Phelan. Using a motion capture suit, they captured EMBY and Zack’s performance and imported it into Unreal Engine, using different environments scanned from around the Greek Islands as the backdrop. The result is mind-blowing; a complete digital realm, shot like a real-life rap video as EMBY and Zack spit bars across an elasticated garage riddim. Full video is on YouTube.

‘Super Maramu 2000’ is a cut of alien-club beamed directly from ‘Eile’, the afterlife of Sloucho’s Neolithic ancestors. A waltzer-ride through Latin-bass and techno with an oxymoronic blend of maximalist and minimalist futurism, it’s as silly as it is serious, before the stuttering, juke-influence of ‘Make It Work’ brings the album’s rapid first half (and a bit) to a close.

Sloucho seamlessly weaves from front left of the club to dark, fume-filled rooms on ‘Two Thousands’ (featuring EMBY and Curtisy), ‘Rocks’ (featuring Zack Oke, who sounds remarkably like experimental spoken-word artist Coby Sey here, and Chilean artist Vatican Jail) and ‘Lights On’ (featuring Yamagōchi), Sloucho explores a previously unseen side to his sound, meandering through alternative trap and hip-hop laden beats that are both dreamy and nightmarish, bringing NPC to its starry-skied climax.

"Following on our first EP, 'Collisions', we wanted to explore the use of modular synths, and also hardware, in more depth. Exordium was crafted from countless modular jams, passed back and forth between London and Liege, and polished into a piece of work that captures our love for club music, with an experimental edge. We wanted to get out for a moment from the 170 which we are a bit more known for. Hopefully you will enjoy this exploration into our shared sound and influences as much as we enjoyed creating it." - Fearful & Mtwn

Mighty strong 4 track fire UK 12". Underground London 2024. Limited copies

Midex is a recording alias of London producer Acolytes. He has previously released with Alter, 5 Gate Temple and Xquiste. His roots are in the London noise scene. His music draws from this, as well as grime, glitch and ambient.

Highly anticipated would be an understatement - so influential are his releases to date, it's difficult to believe he's never released a full length project. The name of the mixtape may already be familiar - an evolution from 2019's acclaimed "Slipping" EP and also the name of a Joy Orbison curated radio station ("Still Slipping: Los Santos") within Grand Theft Auto's immersive world - but in terms of scope and ambition, "still slipping vol.1" is without doubt O'Grady's boldest and most expansive project yet.

First coming to prominence in 2009 with his debut single “Hyph Mngo” - a track that became a bonafide phenomenon and changed the dance music underground forever - the London musician, DJ and producer is undoubtedly one of the most renowned, respected and influential electronic artists of his generation. Whether through his own game-changing releases such as “Ellipsis”, “GR Etiquette”, “Big Room Tech House DJ Tool-TIP!” or the “Slipping” EP, collaborations with the likes of Mansur Brown, Overmono and cutting edge Japanese clothing label Cav Empt, a run of genre-defining releases on his Hinge Finger label, a BBC Radio 1 residency and live appearances that span the most credible underground nights to festival headline slots around the world, the name Joy Orbison has been a constant byword for understated, uncompromising quality. "still slipping vol.1" is the next evolution in his journey. Fans of Joy Orbison's DJ sets and radio shows will already be aware of his diverse tastes and inspirations, represented here through a roll call of delicately curated, mainly UK, collaborators that include Herron, James Massiah, Bathe, Lea Sen, Goya Gumbani and Tyson. Just as important are the voices Joy Orbison's family - mum, dad, sister Sarah, uncle Frankie, uncle Keith (recently departed), auntie Helen and cousins Lola, Mia and Leighann, who was the first person to introduce O’Grady to drum and bass and garage as a kid and stars on the mixtape’s cover art. They appear throughout the record via a series of voice notes, his only contact with his family during this year of worldwide lockdown and an intimate, vicarious glimpse into the personal world of an artist who has generally side-stepped the public gaze. The result is Joy Orbison's best music to date and a powerful distillation of his musical career so far. Recorded in his Walworth Window studio in south east London, this is serious, future-facing sound system music cut through with a sense of warmth and playfulness much needed for these times. In O'Grady's own words, "I made a point of making it feel really human. I wanted it to be quite light hearted and humorous so that the weirder bits of the record didn't seem too wanky or self-indulgent. In my head it’s a soul record but I'm not sure that's how people will hear it”

Schon seit seinen Teenager-Jahren gehört Peter O’Grady, alias Joy Orbison, zu den treibenden Kräften der elektronischen Musik-Szene, der er immer wieder mit seinen Veröffentlichungen neue Wege aufzeigen konnte. Nun erscheint endlich sein erstes Mixtape „still slipping vol. 1“, das beweist, dass er auch in 2021 nichts an Relevanz oder Aktualität verloren hat.

„Heiß erwartet“, trifft es hier wohl, wenn man sich vor Augen ruft, dass Orbison bisher noch kein Album oder mehr als eine EP in seiner Karriere veröffentlicht hat. Der Titel erinnert dabei an die gefeierte 2019er EP „Slipping“ sowie an seinen kuratierten Radio-Kanal „Still Slipping: Los Santos“ in der Grand Theft Auto-Gaming-Welt – gleichzeitig ist dieses 14-Songs umfassende Mixtape die wohl ambitionierteste Veröffentlichung Orbisons bisher und ein Meilenstein in seiner Karriere. 2009 begann diese mit der Debüt-Single „Hype Mngo“, mit der der Londoner Musiker, DJ und Produzent hohe Wellen im Dance Music Underground erzeugte. Es folgten weitere Singles, EPs, Kollaborationen mit Acts wie Mansur Brown oder Overmono, eine BBC One Residency, DJ-Sets und Live-Auftritte in Clubs und bei Festivals auf der ganzen Welt. „still slipping vol.1“ zeugt wie gewohnt von den mannigfaltigen Einflüssen und Strömungen, von denen sich Joy Orbison treiben lässt und rollt den Teppich aus für Kollaborationen mit Acts wie Herron, James Massiah, Bathe, Lea Sen, Goya Gumbani und Tyson. Daneben bietet es einen intimen Einblick auch in die persönliche Welt des Künstlers während den vergangenen Lockdown-Monaten, beinhaltet das Mixtape doch auch einige persönliche Voice Messages seiner Mutter, seines Vaters, der Schwester und Cousinen.

Analogical Force is kicking off 2024 with a stellar "all things Electronix" album from well known producer Vertical67 (who also runs the Vortex Traks label)! It's hard not to have heard of Thomas Pahl in the electro underwater depths after multiple appearances over the course of more than a decade and under a ton of aliases. With the illuminating title of 'Changes', Thomas gets rid of corsets and presents an entrancing voyage into post-euphoria, displaying a radiant and emotive side which the artist's new discordant sound emerges. A defiant cry in the face of existential angst. Navigating between breaks, dreamy melodies and reflective landscapes 'Changes' could be defined as a deep introspective journey into the machines. Cop while u can.

After United Identities' successful first vinyl release "Modern Intimacy Volume 1" in 2020, founder, DJ, producer and music curator Carista decided it was time for round two. Named after her debut mixtape, we are proud to present "Modern Intimacy Volume 2". This album is a blend between contemporary and futuristic sounds by 10 rising Dutch artists curated by the label head herself. The intention of the compilation is to nurture and showcase contemporary Dutch homegrown artists and the range of their craft; Breaking the boundaries of sound and genre as we know it, with a refusal to be categorized or caged in. The album starts with the hopeful and soothing track "Whistle, accompanied by a saxophone and flute that gently guides you through the story of Brintex Collective. Then we are moving onwards to genre defying artist Phantom Wizard, who takes you from experimental synth jazz to an electronic dance riddim named "Awa". These two tracks serve as the perfect introduction and sets the tone of the label's versatile compilation. Followed by Thrills in +41 eerie, steady soundscaping drum patterns in "Strangelove64'', groovy bass heavy breaks that invite you to move your whole body to EYCEE's "Crunk", or to be enticed to a dark forest full of raving dancers with the dark but dreamy techno banger "Body On The Floor" by DutchAfro featuring vocals by Luka Eyrie. On the second half of the LP we are transported to an utopian dream reality in "On" by Sansouni with ethereal voices and sounds; Percussion and sample heavy "38a" by Conrad Soundsystem; The glitchy and dark "Personal Reality" by Mayo and shortly after we are taken on a journey through time and space by futuristic artist audt98 in "6 Identical Atoms". The compilation concludes with Acidic Male's "Zero Authority", shifting between cutting snares, alluring synths and poetic vocals.

new project from Future Times.. proper out-there steppers. tip!

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.

There’s something to be said for getting noticed, for standing out from the crowd. West London’s T.Williams is one of those people, having accomplished a full sweep of merited recognition over the years. Emerging onto the house scene in 2010, T.Williams instantly marked himself as a breakthrough artist with a difference; his unique take on house music turning heads. Far from a newcomer, his path as a musical artist started in the grime scene as Dread.D. Signed at the tender age of 17 with grime anthem Invasion on Jon E Cash’s Black Ops label, Williams went on to have mass success in the grime and bass world selling thousands of singles worldwide. After a five-year reign, Williams found himself veering towards the world of house music. With a new found love for the sound and its sub-genres, T.Williams forged a signature sound influenced by his grime days, jungle, and garage. With a style that undoubtedly impacts, T.Williams’ crossover has been the catalyst for his success. Not only rife with groove and feeling but meticulously produced and engineered with deep rumbling basslines, the unapologetic bounce of grime and smooth vocals that bleed through African infused percussion work. While in 2010 the industry took note when hit record ‘Heartbeat’ featuring vocalist Terri Walker made an impression, it was throughout 2011 that T.Williams defined himself - releasing solo works on his imprint Local Action and Pattern with remixes for Maya Jane Coles, Ben Westbeech and Skream. Not stopping at pricking the ears of fellow artists and those on the dancefloor, the end of 2011 saw Williams nominated for ‘Best Breakthrough DJ’ by DJ Mag, ‘DJ Stars of 2012’ by Time Out and featured in The Guardian. Two relationships came to the forefront in 2012 that propelled Williams to greater heights. The first was his weekly show on legendary London station, Rinse FM and the second, Williams’ relationship with label PMR through his remix of Javeon McCarthy’s ‘Lost Time’. The remix was named Record of the Week by BBC Radio 1 and supported by tastemakers Annie Mac and Fearne Cotton. From here T. signed to the label exclusively releasing his debut EP for the label in September 2012, and in the process receiving further support from BBC Radio 1. Further remixes of Mikky Ekko, Wretch 32 and Lianne La Havas followed suit, as well as his biggest to date - Disclosure’s ‘Latch’. Powering dancefloors across the globe, T. went on to play three US tours, numerous festival stages, and deliver a second EP on PMR titled ‘Feelings Within’. The EP once again spanned a number of bases, from club bangers to heartfelt vocal driven tracks alike. Gaining his own monthly residency show with BBC Radio 1, 2013 ended with T. having played over 100 shows across four continents. 2017 marked the launch and release of the first collaborative EP with UK producer Julio Bashmore, via their joint independent Conch Records, a label aiming to push out more underground cross-genre music with heavy rotation from the likes of Moxie and Shy One. With an ever-expanding global tour schedule and further solo releases on the legendary NYC house label Strictly Rhythm turning heads, T.’s upward trajectory has never showed signs of slowing down. Selected to soundtrack the social media campaign for boxer Anthony Joshua in 2019 and now using his technical prowess as a musician to educate the next generation of rising stars at London’s respected Point Blank Music School has cemented his status as one of the UK music scene’s key players.

Chrome-plated sound design and bristling textures frame the latest speculative sci-fi experiment from Xao, meshing sonic concepts inspired by Rabit, Visionist and Lotic into the cybernetic scapes of Hyph11E or Algorave proponent Renick Bell.

Xao has been working alongside the C.A.N.V.A.S. label since the beginning, and his second album builds on the promise of 2019's Astral Black-released "Eternal Care Unit", by burying some of his most recognisable inspirations into an algorithmic shimmer of vaporous sound design and cyborg percussion. The roots of ‘Wirehead’ can be traced to the mid 2010s obsession with shaping global club echoes and videogame FX into music that accurately scored our descent into digital dystopia, but Xao makes a clear link between those ideas and the brain-fried cyberpunk vistas of William Gibson. His guiding theme is the idea of the contemporary digital attention economy with its algorithmically-powered tidal wave of content, and the mental states that follows - employing procedural and algorithmic compositional methods to shatter this status quo, reaching in the direction of a proposed "digital spirituality" in the process.

On opening track 'Bone Theory', he burns fragments of death metal into warped airlock club stumbles, welding evocative, clanging sound design to tempered forms of weightless grime and gravel-throated trap. 'Aqua Tofana' is more fucked, sounding like a frosted-glass take on Autechre's latter day post-electro rhythms, or an algorithm-warped AI rendition of Lanark Artefax's 'Touch Absence', while 'Hyperfixate For Me' stutters barely-audible vocals beneath cracked Vladislav delayed percussion and the corrupted data throb of guitar noise and loopy synthesis.

The rest of the album plays like a Johnny Mnemonic-style braindump: the last few years of underground electronic music melted into a frayed patchwork of textures, rhythms and sonic signifiers. It comes to a head on 'I Wed My Shadow', when opera singer Marie Requa Gailey's voice just about cuts through the static like a candle in the dark, making the escape route from the techno dystopia just about visible. Moments later we're exposed to the corrosive 'Ophanim Plushie' - all jazz clatter and anodised rolls, accompanied by drones and squashed breaks that barely make it off the surface. By the time we reach the album's final track 'Threnody for the Child of Omelas', it’s all repair and recovery, twisting beatless echoes from strangled neural networks into blankets of aesthetic warmth.

Wirehead is a smart album that fits well into the deconstructed club/post-club lineage, deploying hyperkinetic sound design and a whelming flux of feelings echoing contemporary classics in its progressive field by TCF or Lee Gamble or indeed the same algo-powered artificiality as James Ferraro, or even the hyperpop set, fused with nu-metal and dembow somewhere between Arca and Oxhy.

A solo project from Cairo underground fixture Youssef Abouzeid (aka Captain Solo and Yzeid), PanSTARRS is described as a "sensitive synthwave" project and comes across like a fluffed-up Suicide or an Arabic-language answer to Cold Cave.

Multi-instrumentalist, producer, effects pedal designer and the founder of Cairo's avant garde artspace and label Hizz, Youssef Abouzeid mutates into a new form on "Batee2", feeling his way thru a coarse set of reverb-drenched darkwave/no wave jams that nod to Suicide, Das Ding, and more modern proponents like Cold Cave and Lust For Youth. Singing in Arabic, Abouzeid avoids traditional song forms in favor of more punkish expressions, squealing forcefully over rolling analog synthesizers and blown-out drum machines.

PanSTARRS has been a prolific project for Abouzeid in Cairo, and his workshopping of these tracks has helped make the album feel completely coherent and unified. There's a distinct, hyper-saturated sound to each song that removes Abouzeid a step or so from his influences, giving him a space to work in that feels fertile and kinetic. It's a pleasure to absorb.

Deeper States Volume 2 is another installment of fresh sounds from producers who have come through a competition that set them to making proper deep hose with a specified sample library. Across four sides of wax, there are some mighty fine cuts here such as the deep garage inflections of Enrico Dragoni, some Motor City vibes from Scott Andrews, the deepest of dub techno workouts from Montreal courtesy of Dealin', soul-drenched late-night cruisers from Khalid Ali on 'Elevate' and some nice bubbly vocal vibes from Dublin don Oscide with his 'Free Your Mind.' This is another hugely effective and stylish EP from the Interweaved community.

Rua 29 is both a physical and a virtual place. The Milan-based electronic producer Maxwell Simons brings together a bunch of diverse worldwide collaborations into a work of boundless energy. Shuttling between hard techno, footwork, and bass, the artist orchestrated every bit: “ Big Space and I worked side by side on 4 tracks, starting from his ideas to which I added my own approach to chopping and editing samples over a pad of arrhythmic drums”. From Johannesburg to LA, all the way to Philadelphia and back to Milan through a virtual connection that creates a collective scenario where different characters find their home base. The first track, In Yo Feelings, kicks off with the audacious rap by Shamon Cassette on top of chop and stitch materials and a rolling bassline. To keep up the frantic rhythm, Nhjf, and The Beast They Made (Redux) feat. Buddy Leezle add even more obsessive drum interplays, creating a weary zig-zag among hard techno and jungle. The tiny dexterous moves of Sax Appeal feat. Richi Rich reminds the most sped-up cricket sounds of DJ Rashad, which follow through into a perpetual motion with Mr Kind and High Love where the bass gets physical. Getting down even harder in Showing Rage with powerful gutter beats and the dissident rhymes of Shamon Cassette. Nhjf Remix closes this world-wide virtual journey clustering unbridled bass intensity delivered by the UK based producer Deft.

The London-based producer has joined the likes of Mumdance, Batu and Bruce in redefining the traditional confines of UK Bass music. His forward-leaning experimentalism and unconventional take on grime takes a step forward in the realm of the dance floor, creating an abstract universe where no predictable structures seem to exist. Resident DJ on Threads Radio known for his eclectic selection of tracks and exclusives, working through an array of styles and influences that span from 90’s rave, grime, techno, drum n bass and odd ambient rarities. J-Shadow’s tracks have been played by relevant radio hosts such as Tom Ravenscroft, Sherelle and Anz.

A second instalment of the best-selling UKG compilation of all time, returns with a stunning stack of high value collectible classics on DJ friendly vinyl.

Pure Garage Collectible Classics Volume 2 is jam packed full of funky UKG flavas from legends of the scene including Zed Bias, Anthill Mob & Scott Garcia remastered and cut to two slices of heavyweight black vinyl.

The platinum selling compilation brand needs no introduction and these first ever exclusive boutique vinyl releases are truly something very special.

Kicking off this compilation is a collaboration between Zed Bias & KC, the Let Me Know (Zed Bias Remix) is a pumping UKG stomper featuring a catch vocal hook & succulently squelchy analogue bassline. Taken All My Time by Industry Standard features the soulful vocals of Abi, this is the DJ Deller Mix, copies of which have been selling for three figure sums on the resellers market!

The flip side opens with another high value sought after track, Strictly Dubs with Realise. Followed by a tune that received an extremely limited release back in the UK Garage heyday of 1997. I Need You Baby by Underground Solutions is selling on reseller sites for as much as £70!

Anthill Mob come with the goods on side C with Blinded, a must for any UKG DJ set, backed up with Special Request from DJ Double G.

We keep up the pressure on side D with Groove Committee’s track Heat + Soul, a prime example of UK Garage with pumpin' vocal snippets and funky sampled loops. Finally, this release closes with a Waiting by Scott Garcia which previously got a very limited vinyl release back in 1997.