Garage | 2Step | UK Funky | Bassline Vinyl 235 Items

Collective of producers sharing their passion for the break.

Warning: Hazardously sour bangers! Mani Festo joins the SweetBox ranks with two acid hardcore jungle tekno A-bombs: ‘Toxic Waste’ and ‘Warehouse 2.0’. A true man of the moment, Mani’s finely tuned productions are in high demand right now. His catalogue boasts releases for the likes of Rupture, Hooversound, Wncl, E-Beamz and the Club Glow imprint he co-runs with Denham Audio, Borai and LMajor. His SweetBox debut starts deceptively slow, building up a head of steam via an incessant pulse and faint industrial chug. Once ‘Toxic Waste’ lets loose its slamming four-to-the-floor kick, however, it’s on a one-way train to total mayhem. Blistering breaks burst through the gloom as the track hurtles onwards like an unstoppable juggernaut, finally taking control in the form of clattering percussive carnage. Flipside ‘Warehouse 2.0’ sees a similar pairing of jackhammer kicks and a chunky breakbeat, this time sliced through by a ravenous acid line that rises and rises, until it threatens to swallow the track whole. Paired with gargantuan, psychedelic arpeggios, as the title suggests, this one’s foaming at the mouth for a warehouse to pack to the rafters. Another two unstoppable weapons for both the Mani Festo and SweetBox arsenals, ‘Toxic Waste’ / ‘Warehouse 2.0’ will be available on digital and limited edition 10” vinyl (SweetBox’s first 300 pressing) with hand-numbered, screen-printed sleeves.

‘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.

For decades there have been rumours of arterial secret tunnels running beneath our cities. No-one knows why or how long they have been there but maps and reports have appeared over the years thanks to a handful of wide-eyed whistleblowers. Often hiding in plain sight behind faceless logos and Haga fencing, these tunnels are said to contain the government’s dark explorations, store unspoken cargo and even house extraterrestrial experiments. Subterra Highway is the debut EP from D3u5e & GAV. A tribute to conspiracy theories, obsession and corporate illusion. An important moment for both artists and Programm's first release after our sampler last June. Each track of the EP takes you down a different path. Jittering in and out of the darkness with both artist's trademark off kilter drums and engulfing basslines. They draw on influences from breaks, grime, and UK techno to travel down each rabbit hole. The cover is designed by Alfie Allen and we have worked with directors Constantine Spence on a music video for Free Mars. Mastered by Foundry Audio.

Following EPs unearthed from by Dukwa and Marco Bailey & Redhead, Tdsr land back in their native Scotland with the debut release from young Edinburgh producer LWS. One half of the party duo Agora, he has been quietly honing his production skills wherever he can, seemingly even during university lectures. This is most evident in the title track ‘Metrixulus’, made entirely from a ten-minute iPhone recording from one of his economics lecture, flipping it fully on its head. Distorted synth howls are layered atop tight, clinical ercussion shaking in unison with a broken melody. The overall effect reveals a method to the madness though, nodding to deeper dancefloor moments through the emotive synth work, yet also showing a keen ear for the blistering digital drums of UK Funky and post-dubstep offshoots. The four tracks here show a young producer with a distinct sound, yet each remain markedly different to another. ‘Buy These’ on the A2 changes up the pace with a sharp, bouncy rhythm workout bringing in toms reminiscent of old Dance Mania jams, alongside some quality ambient pads. Side B delivers a driving EBM style lead blended with elements of dub techno, cavernous reverb filling the stereo field (C-Gard). Big extended breakdown in the midsection too! Arguably the most full-on cut is left till last, utilising the same knack for tight drums to underpin a truly wonky electro melody with what sounds like a detuned panpipe scale amongst various other FX.

Leeds based Torom brings some immaculate fourth world chugging beats - a tight concoction of the primitive and the futuristic - tied together for both the dance-floor and at home listening. A real journey into sound and a must have for any avid DJ or listener.

Brain Dance is the debut EP from Sydney artist and Velodrome’s resident dancefloor darling, Posture. Following on from his single ‘Zoom Dates’ released on Velodrome Recordings in 2020, this EP affirms Posture’s ability in creating heavy-hitting techno with heart. A bold and refined body of work, Brain Dance is a masterclass in brooding high-energy dance music. Blending sombre tonal palettes with intricate driving percussion, Posture has crafted a suite of 4 peak-set techno cuts that retain a delicate, fluid energy throughout. Written in isolation, Brain Dance is pensive in its mood while remaining wholly inspired by dance floor energies from past and future - a record that invites introspection in the peak of dance floor hypnosis. This record also comes packaged with a limited edition 250gsm A4 print designed by Bradley Pinkerton.

James Bangura debuts on Mister Saturday Night Records with a six track ep of diverse sounds and emotions. From the far off sounds of drum 'n' bass absorbed through headphones in Alabama and onto his first experiences of parties during the blog house Ed Banger era whilst living in California, all the while hearing the sound of New York house sound at home, this is the sound of an artist taking it all in.

Today Rozzma announces the ‘Khatar Sayeb’ EP, the artist’s first release for XL Recordings. He kicks off the EP release with ‘Hout’, a track that displays Rozzma’s knack for combining tribal sounds and contemporary urban/street music with a sharp, idiosyncratic flair. Rozzma is an Egyptian sound artist inspired by the era where sound preceded music – he finds inspiration in the similarities between the wilderness of prehistoric times and modern-day chaos. Having already performed his particular strain of music across the world and at festivals like Sonar and Unsound, Rozzma releases ‘Hout’ into the digital world with an animated video created by the artist’s close friend Mahmoud Shiha. “Hout is a celebration of beating the odds,” says Rozzma. “It’s about a specific state of mind where one finds comfort in the most extreme and unfortunate circumstances to beat the odds that one could instead fear.” The EP’s title ‘Khatar Sayeb’ means 'loose danger’. “The release challenges the idea that danger and fear are uncontrollable circumstances,” explains Rozzma. “We cannot fully diminish fear or danger. We can only condition ourselves to believe that safety exists during the absence of fear. It is however more dangerous to deny the uncertainty of danger itself. Danger is a very broad state with infinite circumstances. But it is also infinitely uncertain and mainly linked to luck. We do not control our luck; good or bad. And it is solely luck that dictates danger and safety. It is for that reason that one’s best chances may be to condition themselves to find comfort in danger. Loose danger to be specific.” Rozzma’s world is one of status quos being challenged, whether that be the real world, the historical world or specifically in the world of music. Rozzma won’t let you settle with what you believe. Everything deserves to be challenged.

Cross-platform entertainer and all round good guy Romeo Taylor, is a cherished personality on the DIY Glasgow music scene, as well as a hilarious presence on the Twitch, YouTube & Twitter-sphere and his Limmy-approved cult rave bop The Kingdom of Scotland (described by Eclair Fifi as 'our new national anthem') finally lands on vinyl, courtesy of Newcastle's Acid Waxa Recs, with bold as brass artwork from Henri Claudel (aka Lewis Cook from Free Love + Fuun Haus et al) + a blistering remix from Roy of The Ravers, to boot!

We welcome the very talented Dutch producer Daniele Temperilli to the Rhythm Vibe label who's previously releases on great labels such as "Slap Funk" & "Dungeon Meat".

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

Inspired by a long lost tale from dark and cold northern lands, written many ages ago, ‘Neida‘ is the story of a young boy who one day noticed an eerie call, so peculiar and odd that he could not resist but to follow it. While it resonated through remnants of ancient settlings, the boy had to overcome many obstacles and solve numerous quests, journey through mystical forests, foggy mountains and ghostly villages, battle the forces of nature and lose himself in this adventure. Finally reaching the ocean after an exhausting voyage, a mysterious invisible force drew him closer and closer to it, suddenly entranced in a state between consciousness, floating underwater, lured by the siren of the sea.

Keefy G has been lighting up the dancefloors of his native West Yorkshire and beyond for some time now. His sets are as slick as his hair and here he branches out with some fresh slabs of wax on the mighty Dungeon Meat's new Slabs label. It's a hook-up that makes sense given that he grew up listening to sets by label founders Tristan and Brawther and his own take on their template is compelling indeed. 'Like Dis' is rock solid deep house with crisp drums and slamming bass. 'Wildstyle' lays down another heavy house groove with glitchy perc and well-treated vocals that add plenty of sleaze.

The 3rd instalment in Headset’s VA series, showcasing unsung Scottish artists making alternative club music in any tempo. 50 copies only

4 tough sound-system club cuts inside. FFO breaks, uk techno, bmore, jungle & 140.

Dubstep's origins lie in dark 2-step mutations that evolved on dancefloors and in studios in the early 2000s. That same fusion of swing and space and subs can be found by the bucketload throughout the new EP by one of DNO’s staples, Kercha.
Skippy speed garage hats and slippery globules of bass animate the otherwise sparse production on the opening track ‘Feature’, while the wild beat on ‘Absurd’ could catch out any DJs not giving it their full attention. Wrapped in Kercha’s signature sonic debris, it delivers three and a half minutes of rattling, clicking, squelching wizardry.

The B-side gives us ‘Stimulate’, a collaboration with new-gen rising star Hypho. Indebted to trap, it’s full of militant 808 hi-hat rolls and the kind of firing synth tones that spell doom in a sci-fi movie (and tear up festival stages).

Finally, ‘Saturday’ is classic Kercha: sub-bass from the Seventh Circle, and so many suspicious chirps, whistles and hoots that it could soundtrack a nighttime stroll through the woods just as easily as skanking in a smoked-out sweatbox. The track is peppered with voice notes from a friend — snatches of funny, halfcut chatter, as random in content as Kercha's non-vocal sampladelia. The final snippet, which translates to “Saturday dictates its rules”, gives the track its name. A statement that can be read in all sorts of ways, it could even confer a motto for this whole collection, reflecting Kercha’s trademark originality.

The ‘Absurd’ EP is one of Kercha’s most dancefloor-directed releases to date, and whether conjuring the ghosts of club nights past or envisioning the raves of the future, it’ll be dominating sound systems for a long time to come.

Rhythms of postmodern realism at the very bottom of the DNO.

Brace yourselves for the Rise Of The Raptor! An eruption of rave latino and thunderous grooves with four timeless originals and a future sonic remix by cult dance mastermind Amor Satyr.

This action-packed collection includes, for the very first time on vinyl, DJ Babatr's legendary breakout club anthem "To-K." Additionally, he is unveiling three never-before-released Raptor classics from his vault: "Soundmind," "butta (Piano Mix)," and "dance THE SQUAST." These tracks are fully loaded with all the signature trimmings and hallmarks we've come to love from the Venezuelan rave king.

Sicily-based, electro-contemporary, Monica Venturella steps up for Sex Tapes From Mars’ seventh outing, serving four acid-bleeding, delirious cuts.

Mom's Spaghetti Returns for the 5th installment and it's the biggest record so far! Club ready edits and remixes of Soul2Soul, Doja Cat, Prince and MF Doom!!!

Berlin’s EZ Jam returns to Hot Haus Recs with a spooked out tripping techno infused house EP - dancefloor focused psychedelic jams!"

3 perennial tracks from the Headset golden age, unearthed from the vaults for an official release. Summer sounds in the realm of UK Techno, Garage & Jungle.

Washington, DC mainstay Samantha Park issues her debut release on Real Feel. The 12” ventures into breaky territories, with the A-side providing ethereal sounds on the title track, and percussive dancefloor action via “Dance for Me.” The B-side sees Baltimore house legend Karizma taking the reigns on the remix, leveraging chopped samples to freak a more orthodox house cut.

Buckley - not be confused with the UK house veteran of the same name - is a new young producer from Leeds who brings his brand of UK garage to the increasingly vital Well Street label. Opener 'Sniper's Glint' is a naughty low-end wobbler with prickly percussion. '1003' is just as filthy thanks to the low-end oscillations and glistening, knife-like hi-hats. On the flip, 'Gloam' keeps things heavy and bass-driven with kinetic 2-step percussion and 'Snowdrift' shuts down with a fourth and final heads-down back-room garage burner that makes you want to move.

London residing, yet remaining very much Dublin's son Glimmerman returns for his third outing on First Second Label with Temple Sublet. Four across the board soundscapes into bass, 2-step and wub heavy anthems tipped off with a haunting verse from London based poet and lyricist Older Brother.

Slabs, if you didn't know yet, is the new label from Dungeon Meat duo Brawther and Tristan da Cunha that wants only to serve up music to make you sweat. This is another red-hot one that comes from Horsemen and has already been slammed down to great reactions at places like Bret in Amsterdam. 'Work It Out' is a stripped-down but chunky and rugged house monster, and 'The Strip Down' is a more lively and elastic cut with rubbery kicks, jumbled hits and irresistibly kinetic rhythms. Hugely effective yet hugely characterful, this is another doozy from Slabs.

Londoner Jeigo has always had a knack for intricate and melancholic production. His emotive sounds span breaks, garage and dub and gave rise to a superb album Cerulean back in 2022. This new outing on Air Miles is another sophisticated one that shows some different sides. 'Fig' is a dusty and lo-fi mix of knocking, woody broken beat patterns and pitched-up vocal snippets that bring a sense of pain. 'Act Like You're Strong' is heads down, lip-curling UKG with shuffling and weighty drums and naughty bass. '3-5 Working Days' is somewhere in between - both club-ready but also with post-Burial vocals that tug at the heartstrings. There is a blissed-out feel to the optimistic melodic bubbles and angelic vocals of 'Found Me' that means the EP closes in lush fashion.

Snoozin’ B awake from hibernation. Alec Falconer & Harry Wills team up for their second release with beats to moo-ve you.

Some swingin’, some thumpin’, all groovin’… still snoozin’.

Portuguese renegades Diogo and DJ Doggo bring us sexy broken beats, in-your-face samples and sumptuous bass on this new EP from Welt Discos. First, Diogo caresses us with the soulful shuffle of ‘I Need U’ and his moody remix of ‘Aileron Pt. 2’ by jazz-funk band Yakuza. On the flip, DJ Doggo hits us with swung party grooves on the garagey ‘In My House There Will Always Be House’ and the body rockin’ ‘Let Me See You Dance’.

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.

Bax is back. First released in 2011, Mosca’s UKG homage, ‘Bax’, did big things when it landed. Almost 10 years on, it’s time for a repress.

Though Mosca missed the golden era of garage in the nineties, he caught on to darkside pioneers such as Horsepower Productions, Benny Ill and El-B later on. A blend of homegrown British styles lies at the core of his electronic music influences, early dubstep, jungle, minimal grime and bassline, which he’d experienced first-hand at Sheffield’s legendary Niche club. (Little known fact: The name Bax is a partial nod to Steve Baxendale, the man behind Niche).

All these elements coalesced in the studio and the two-tracker materialised in a couple of days. Both sides of the record do their thing on the floor; ‘Bax’ with its now infamous ‘My DJ is live in the place’ sample, that earworm melody and a ruffneck b-line.

On the flip ‘Done Me Wrong’ sees Mosca incorporate several key garage tropes; the bassline swinging alongside soulful vocals (which get sliced and diced), not forgetting that cheeky rewind.

My DJ is back in the place...

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.

Four more slices of UKG from one of the most exciting producers around.

Deep within the freeway buzz of dystopian Los Angeles, there exists an unstoppable sonic gathering of minds, who call themselves “Fast At Work” and abide by a belief in the deeper potential of higher tempos. However, lately, there has been some debate about the true existence of the Fast At Work mantra. Just as the debate was reaching its climax, seemingly out of nowhere, a helicopter emerged containing a musical capsule from the future (or possibly aliens). The group accepted this music as scripture, and coined it “Soft Fascination,” – naming group member Carré as their chosen matriarch. Through the title hymn “Soft Fascination,” Carré preached a proto vision of a classic dubstep bassline and tender pads. With “Cute Mad,” Carré magically induced a sense of positivity and bubbly bass. And with the third offering, “Glowing,” she pushed her audience closer to understanding simplicity and space. Finally, in an effort to expand their gospel to the furthest realms of their musical world, she recruited Priori and James Bangura to create their own missions, rooted in the original offerings of the alien helicopter’s capsule disc. While Priori expertly rearranged “Soft Fascination” into a shiny mind-melter, James Bangura expanded on the lightness of “Glowing,” creating his own lucid dreamscape of deep melancholia.