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"I started working on the album around two years ago without knowing I was making an album. I prefer it that way. I don't like putting the pressure of making an album on my shoulders before I start making music. When the idea of the album was born, I approached it like a label would; listening to the music I've been making recently, seeing what makes sense together. That ended up being natural for me, capturing a snapshot in time of my musical journey."
Silkie 2021

Silkie 'Panorama LP'
12" Vinyl & Digital
29.01.21
(MEDiLP016)

Universal Vibrations is my most personal project to date. I came back from a month long trip to Brazil feeling very inspired during the start of lockdown and decided to experiment with some slower BPMs for the first time after producing dubstep for the last 15 years. This album is the result.

One tune came flying out after the other during a crazily productive 2 month period. I was so happy with the beats I thought I'd get some of my favourite MCs on board so spent the next 8 months organizing and mixing down the vocal features.

It all happened very naturally and very quickly, it was just waiting to pop out! To say I'm proud of this album is an understatement. 2 years in the making, I can't wait for you all to hear it!

Love Chad <3

It was a busy 2019 for Asian Dub Foundation with the long-awaited reissue of their Mercury Prize-nominated 1998 classic Rafi’s Revenge. The reissue garnered ecstatic reviews, all of which agreed that the sound and the message that ADF threw down in 1998 is as relevant now as it was then-perhaps even more so. So it’s timely that in 2020 the band are set to release their 9th album “Access Denied” which finds them as uncompromising as ever. The album showcases ADF in full spectrum mode from the tough Jungle Punk sound of “Stealing The Future” and “Mind-lock” through to the orchestral meditation of “Realignment” and the reggae lament of the title track. With guestspots from Greta Thunberg, incendiary Palestinian shamstep warriors 47 Soul, Chilean revolt’s rap main figure Ana Tijoux and radical UK comedian Stewart Lee, Asian Dub Foundation continue their sonic opposition to the powers that be and “Access Denied” kicks harder and higher than ever.

After more than two decades flexing his muscles on the local underground scene and gaining a legendary cult status on his Tenerife home turf, the island’s most famous postman, as he’s affectionately known by his consorts, Tomás de la Rosa aka Postman breaks radio silence to bulldoze his way through the canyons surrounding his hometown of Santa Cruz into an unknown and unsuspecting world. We present thus, Postman’s first ever album of original bangers, micro chopped two steppers and rage induced breakbeat anthems.

Constructed over the course of global confinement, Seeds of Light marks a return to creative activity from the man who regularly delivers your post (its not just a random artist name). Postman aka Tomás de la Rosa has taken his time, compiling sketches and unfinished songs, rummaging through the deep ends of his hardrive, stitching early production sketches with recent compositions, revising, reediting and rebuilding with a more mature and concise attitude, eventually completing, almost unintentionally, the perfect self referential retrospective album. Far from being just a compilation album, Tomás managed to create an explosive document, suspended in time, in which styles are intertwined regardless of fashions and fads – letting go of the ‘modern’ or ‘up to date’ burden - so common these days in electronic music.

It is not an easy album, like many of his previous work it demands extra attention to experience the full crystallization of his complex sound structures. We find ourselves in front of a truly surgically precise work of art whose result comes as a waterproof war machine, refined and incisive, resonating deep with soul and groove.

Postman develops his sound palette throughout the album from very basic sound snippets into a concrete dance world of synthetic sounds eventually creating a parallel reality where J. Dilla could be living in Chemnitz instead of Detroit and releasing records for a label called Raster-Throw. Glitch sampladelics!

Incursions into Grime are also abundant with nods to the ineffable East Man, reunions with his beloved Funkstörung or many other stimulating revisions of lifelong genres and breaks populate this multidimensional sound space, see soul, dancehall, breakbeat, two step and the UK hardcore continuum.

Special mention to the magnificent fluid artwork by the very talented Catalan visual artist Alba de Corral. A still photo from one of her kinetic AI systems programmed directly in code, which matches perfectly the essence of Postman's brutalist alien sound.

Berlin producer Robot Koch is back for his third full length release, “The Other Side”.

Although Robot Koch has an international reputation as being “One of Europe's finest producers of the beat generation“ (Low End Theory), he is much more than just a beatmaker… “(Post)-dubstep infused Electronic Hip Hop“ is far too constrained a label to understand what this producer is all about. Instead of following the sound of his previous albums “Death Star Droid” (“Essential listening” – Bobby Friction BBC) and “Songs For Trees and Cyborgs“ (“Music for a modern age that has rarely sounded so good” – Boomkat), Koch takes the genre defying ingredients from these previous records to another level. There still are some of those “Galactic ten ton beats and space age melodies“ (Dazed and Confused) that made the previous albums staple drops in the playlists of Mary Anne Hobbs, Starkey, Daedelus and Gaslamp Killer to name a few, but there is a new dimension to Koch's production and songwriting that didn’t show on his previous records.

The cinematic vibe of tracks like “Nitesky”, the quirky and moody feel of “Bugs” and the electricity of “Tapedeck” show how Koch more than ever manages to create intimate and timeless pieces of music that are soulful, deep, mysterious and that will appeal to fans of cutting edge Electronica and modern pop music alike. This is the most personal record of Robot Koch to date. Instead of going for big name features Koch teamed up with lesser know artists like Kansas based vocal talent John LaMonica, long time friend and theatre composer Nielson and mexican singer/songwriter Graciela Maria to find the right voices for his compositions. John LaMonica infuses his whimsical and heartfelt melodies that breathe an air of darkness and nostalgia with Koch's fresh and forward thinking instrumentals to create something that fans of Radiohead, The XX and Jamie Lidell should not sleep on.

After the release of the John Robinson collaboration album (“Robot Robinson” – Project Mooncircle) earlier this year, it seems surprising how extensive Robert’s output is, but don’t be mistaken, this album is a longer term project than just releasing the songs Koch made in the last year. Some of the songs found on “The Other Side” were made seven years ago.

Somah returns for his second MEDi EP.

From the depths of Subchaser, to the heights of Venus, Truth's 'Temple of Eyes' EP explores another chapter of otherworldly sound.

As the first label to ever release Truth, it's always nice to unite for another record: 14 years, eight releases, let's go.

"Top drawer business from Mr McCann, bringing a profound understanding of what high-pressure dub-rooted music should be about, both banging and deep depending on which side you pick :)" This quote taken from the original release in 2012 feels as relevant today as it did then! Proving to be a timeless classic, Dread still gets the pull-up in the dance!

Love Love host a collaborative release by two of the freshest contemporary Avon producers, Best Pest and Kursa. Kursa (also one half of S.Murk) has built a notable following in the UK as well as in the USA, playing out often at big stateside events with his own style of tight, maximalist bass music - think Tipper, Eprom, Noisia etc… Ben Pest is no stranger to Love Love with 2 previous solo releases under his belt, best known for his crunchy techno & electro and ripping hardware live-sets. Here they come together for a 5 track genre-hopping EP, each flexing their respective production sensibilities, splicing elements of dubstep, grime, hardcore & garage together, along with a healthy dose of multi-dimensional sound design, to make some of the noisiest modern dance music going.

Early support from: Clouds, Giant Swan, Rob Hall, A Made Up Sound, Om Unit, Nikki Nair, Luke Sanger, Deft, Warlock, Second Storey...

"I'm super proud to be sharing my new EP 'Altitude' with you all via Deep MEDi.Each track has its own personality and purpose within my DJ sets; pace, weight, even a breather and peak set business with 'Dem God'!I really feel like they're my favourite 4 releases so far!Such a special personal moment to be able to showcase my different styles of production for a label like Deep MEDi. Hope you enjoy my label debut!" (Cartridge 2024)

"The 'Blouse N Skirt' EP was made in a month long period and is my most cohesive EP to date. It features my signature wubs with a few deeper cuts. Blouse & Skirt has been mashing up the dances for a hot minute and I'm stoked to finally make it available to the masses on the fabulous Deep MEDi"

"M4 is a tune that I wrote back in 2017 when I was living in Bristol. At the time I was really into writing melodic pieces and messing around with as many synths as possible. I decided to add some heavy bass to this one cinematic organ progression and laid down some basic drums over the top and called it a day really. I think I sent it out to a couple people (one being Mala) and forgot about it.

Another few years went by and the tune has changed a bit to stay in line with my current production style arriving at the version that's set to be released. Abacus was just an all out bass experiment that I never thought would see the light of day and Dusty really shows off the more melodic style of my productions. After hearing these tunes played on big systems for so long I'm really happy that everyone can now finally get their hands on a copy."

Alxzndr 2022

Bukez Finezt is back on MEDi! A1 Ski Mask Activities B1 Treat Me Like Royalty B2 Foreign Signal 10.05.24 12" Vinyl & Digital MEDi126 Mastered: Transition Mastering Artwork: M7 Grafiks

Following an acclaimed EP from Brussels duo The Untouchables, DNO Records stays in Belgium for the next instalment of its global bass odyssey, but offers up a wholly different kind of trip originating from Charleroi.Leading the way are Clearlight & Owl. The pair typically operate together as Glÿph — producing glitchy, modern techstep — but the use of their independent aliases is an early indicator to expect the minimalist experimentalism found in their solo work.

For the first time after its original release in 2007, MEDi003 is back in stock!

"I was kinda not into the tune, but Mala was like 'nah - I love it' and he pushed for it and, yeah, ultimately got it on Deep MEDi. And if he hadn't done that I probably wouldn't brought it out, it probaly would've just ended up on a hard drive somewhere, not doing a thing."

Loefah on Disco Rekah A Loefah - Disco Rekah B Coki - All of a Sudden

Hajj's Dawn label returns with a limited CD drop from Modern Collaspe Recommended if you're into Youth & Bfdm.

Berlin producer Robot Koch is back for his third full length release, “The Other Side”.

Although Robot Koch has an international reputation as being “One of Europe's finest producers of the beat generation“ (Low End Theory), he is much more than just a beatmaker… “(Post)-dubstep infused Electronic Hip Hop“ is far too constrained a label to understand what this producer is all about. Instead of following the sound of his previous albums “Death Star Droid” (“Essential listening” – Bobby Friction BBC) and “Songs For Trees and Cyborgs“ (“Music for a modern age that has rarely sounded so good” – Boomkat), Koch takes the genre defying ingredients from these previous records to another level. There still are some of those “Galactic ten ton beats and space age melodies“ (Dazed and Confused) that made the previous albums staple drops in the playlists of Mary Anne Hobbs, Starkey, Daedelus and Gaslamp Killer to name a few, but there is a new dimension to Koch's production and songwriting that didn’t show on his previous records.

The cinematic vibe of tracks like “Nitesky”, the quirky and moody feel of “Bugs” and the electricity of “Tapedeck” show how Koch more than ever manages to create intimate and timeless pieces of music that are soulful, deep, mysterious and that will appeal to fans of cutting edge Electronica and modern pop music alike. This is the most personal record of Robot Koch to date. Instead of going for big name features Koch teamed up with lesser know artists like Kansas based vocal talent John LaMonica, long time friend and theatre composer Nielson and mexican singer/songwriter Graciela Maria to find the right voices for his compositions. John LaMonica infuses his whimsical and heartfelt melodies that breathe an air of darkness and nostalgia with Koch's fresh and forward thinking instrumentals to create something that fans of Radiohead, The XX and Jamie Lidell should not sleep on.

After the release of the John Robinson collaboration album (“Robot Robinson” – Project Mooncircle) earlier this year, it seems surprising how extensive Robert’s output is, but don’t be mistaken, this album is a longer term project than just releasing the songs Koch made in the last year. Some of the songs found on “The Other Side” were made seven years ago.

Reggae dub vibes in dubstep culture shall not be forgotten! (Youngsta & Mucky Update Quote)

Cover with slight wear and a bent corner!

Subaltern Records’ 13th vinyl offering is a kaleidoscopic blend of multiple artists and styles -
many of whom are making their debut on the imprint. These four glorious soundsystem
tunes are sure to be on heavy DJ rotation over the summer before general release in
September.
Alter:
Opening the record is Japanese producer Helktram, who makes his debut on Subaltern with
a relentless hypnotic roller. Distorted drums, tense strings and percussive interludes
permeate this banger, which has proven to mash up the dance every time.
Fibers:
Being the only resident Subaltern artist on the release, D-Operation Drop are proving why
they have returned to Subaltern yet again with this trippy masterpiece. Expect crisp beats
and a distinctively modern dubwise vibe.
Bomb:
Delivering a mighty stomper is German producer ILL_K, who makes his first appearance on
the imprint. „Bomb“ is probably the most accurate track title that this unique banger could
have gotten.
Landfall:
The only collaborative track of the EP, „Landfall“ concludes the record in style - dark and
eerie atmospheres mark the signature sound of German producer Shu and Belgian producer
Zygos.

Cassiopeia is a constellation in the northern sky. It was one of the 48 constellations listed by the 2nd century Greek astronomer Ptolemy and it remains one of the 88 modern constellations today. In the sky Cassiopeia sits with Andromeda on the South side. In Greek mythology it was considered to represent the vain queen Cassiopeia, who boasted about her unrivalled beauty.
This album is a mix between different sides of the concept of “Cassiopeia”. It’s about life, the universe, humans and the future. Cassiopeia includes musical approaches comparable to Prefuse 73, Robot Koch and Kryptic Minds. The record is predominantly Hip Hop, but features tracks with other artists that are not strictly part of this genre such as BekBekson, Verhovski and Fancy Mike. Pavel’s music is a trip into a fable and his medium is the music of different genres: Hip Hop, Dubstep, Glitch, Wonky and Downbeat, used to form pictures. His work is free spirited and there are hints of feelings, allusions, enigma and mystery. We won’t get into the inner workings of his music, how it finds its way into the hearts and souls of the audience, the important thing is that it serves its purpose. Tracks such as “LA” or “Andromeda” are very personal statements from Pavel, “Quant Magic” is composed using Overtone, Didgeridoo, Boomerang, Yedaki and other Australian instruments. “Sacred Chants Of Shiva” seizes the listener with a sensation of restlessness.
Pavel Dovgal’s “Cassiopeia”, the incision between intergalactic music and the human soul. The same formula that has been present for over a thousand years.

Cassiopeia is a constellation in the northern sky. It was one of the 48 constellations listed by the 2nd century Greek astronomer Ptolemy and it remains one of the 88 modern constellations today. In the sky Cassiopeia sits with Andromeda on the South side. In Greek mythology it was considered to represent the vain queen Cassiopeia, who boasted about her unrivalled beauty.
This album is a mix between different sides of the concept of “Cassiopeia”. It’s about life, the universe, humans and the future. Cassiopeia includes musical approaches comparable to Prefuse 73, Robot Koch and Kryptic Minds. The record is predominantly Hip Hop, but features tracks with other artists that are not strictly part of this genre such as BekBekson, Verhovski and Fancy Mike. Pavel’s music is a trip into a fable and his medium is the music of different genres: Hip Hop, Dubstep, Glitch, Wonky and Downbeat, used to form pictures. His work is free spirited and there are hints of feelings, allusions, enigma and mystery. We won’t get into the inner workings of his music, how it finds its way into the hearts and souls of the audience, the important thing is that it serves its purpose. Tracks such as “LA” or “Andromeda” are very personal statements from Pavel, “Quant Magic” is composed using Overtone, Didgeridoo, Boomerang, Yedaki and other Australian instruments. “Sacred Chants Of Shiva” seizes the listener with a sensation of restlessness.
Pavel Dovgal’s “Cassiopeia”, the incision between intergalactic music and the human soul. The same formula that has been present for over a thousand years.

Celebrating dubwise origins, Mole Audio delivers two fresh remixes of their very first release: Andy Martin ft. Gavsborg’s Plato & Caves.

Gavsborg is a towering figure in Jamaica’s dancehall scene. So when Andy found an acapella, he set to work on a renegade edit. Subsequently approved and embraced by Gavborg himself, Andy’s interpretation provided the launch point for Mole Audio – and is re-envisioned twice more here.

Paired with the original A-side, the first B-side remix comes courtesy of Dub War’s legendary Bill Fuller. A progenitor of London bass music, Bill’s records as Dubwar are prized among collectors. Pairing hypnotic beats with spacious textures, an insistent analog bass line weaves its way through an infectiously dystopian atmosphere.

Taking a minimalistic house-driven approach, Andy’s all-new Mad Magnetism Version brings Gavsborg’s original vocal to a prime time environment. Sizzling high hats and diving bass drops combine to keep the dancefloor in motion before insistent dub chords further elevate the urgent atmosphere.

Combined with the original and Nit Yardman’s remix, the resulting package once again showcases Mole Audio’s unique approach to modern dub aesthetics.

Numa Recordings is back again with a heavyweight release for all the grime heads out there: Badman Ting is a proper roadman anthem featuring Killa P, Irah, Long Range (aka Killa’s Army) and XL Mad (member of Numa Crew). The original version sees the four MCs riding a heavy drill riddim with an unparalleled mix of dancehall and grime vocal styles. The riddim, produced by XL Mad himself, is minimal and impactful, combining spooky melodies with distorted 808 bass. All these elements make the whole thing.. a ‘Badman Ting!’

The combination of exotic instruments, deep off-beat rumblings and Rider Shafique vocals, deliver an almost hypnotic journey through Gantz's mind.

Berlin producer Robot Koch is back for his third full length release, “The Other Side”.

Although Robot Koch has an international reputation as being “One of Europe's finest producers of the beat generation“ (Low End Theory), he is much more than just a beatmaker… “(Post)-dubstep infused Electronic Hip Hop“ is far too constrained a label to understand what this producer is all about. Instead of following the sound of his previous albums “Death Star Droid” (“Essential listening” – Bobby Friction BBC) and “Songs For Trees and Cyborgs“ (“Music for a modern age that has rarely sounded so good” – Boomkat), Koch takes the genre defying ingredients from these previous records to another level. There still are some of those “Galactic ten ton beats and space age melodies“ (Dazed and Confused) that made the previous albums staple drops in the playlists of Mary Anne Hobbs, Starkey, Daedelus and Gaslamp Killer to name a few, but there is a new dimension to Koch's production and songwriting that didn’t show on his previous records.

The cinematic vibe of tracks like “Nitesky”, the quirky and moody feel of “Bugs” and the electricity of “Tapedeck” show how Koch more than ever manages to create intimate and timeless pieces of music that are soulful, deep, mysterious and that will appeal to fans of cutting edge Electronica and modern pop music alike. This is the most personal record of Robot Koch to date. Instead of going for big name features Koch teamed up with lesser know artists like Kansas based vocal talent John LaMonica, long time friend and theatre composer Nielson and mexican singer/songwriter Graciela Maria to find the right voices for his compositions. John LaMonica infuses his whimsical and heartfelt melodies that breathe an air of darkness and nostalgia with Koch's fresh and forward thinking instrumentals to create something that fans of Radiohead, The XX and Jamie Lidell should not sleep on.

After the release of the John Robinson collaboration album (“Robot Robinson” – Project Mooncircle) earlier this year, it seems surprising how extensive Robert’s output is, but don’t be mistaken, this album is a longer term project than just releasing the songs Koch made in the last year. Some of the songs found on “The Other Side” were made seven years ago.

Berlin producer Robot Koch is back for his third full length release, “The Other Side”.

Although Robot Koch has an international reputation as being “One of Europe's finest producers of the beat generation“ (Low End Theory), he is much more than just a beatmaker… “(Post)-dubstep infused Electronic Hip Hop“ is far too constrained a label to understand what this producer is all about. Instead of following the sound of his previous albums “Death Star Droid” (“Essential listening” – Bobby Friction BBC) and “Songs For Trees and Cyborgs“ (“Music for a modern age that has rarely sounded so good” – Boomkat), Koch takes the genre defying ingredients from these previous records to another level. There still are some of those “Galactic ten ton beats and space age melodies“ (Dazed and Confused) that made the previous albums staple drops in the playlists of Mary Anne Hobbs, Starkey, Daedelus and Gaslamp Killer to name a few, but there is a new dimension to Koch's production and songwriting that didn’t show on his previous records.

The cinematic vibe of tracks like “Nitesky”, the quirky and moody feel of “Bugs” and the electricity of “Tapedeck” show how Koch more than ever manages to create intimate and timeless pieces of music that are soulful, deep, mysterious and that will appeal to fans of cutting edge Electronica and modern pop music alike. This is the most personal record of Robot Koch to date. Instead of going for big name features Koch teamed up with lesser know artists like Kansas based vocal talent John LaMonica, long time friend and theatre composer Nielson and mexican singer/songwriter Graciela Maria to find the right voices for his compositions. John LaMonica infuses his whimsical and heartfelt melodies that breathe an air of darkness and nostalgia with Koch's fresh and forward thinking instrumentals to create something that fans of Radiohead, The XX and Jamie Lidell should not sleep on.

After the release of the John Robinson collaboration album (“Robot Robinson” – Project Mooncircle) earlier this year, it seems surprising how extensive Robert’s output is, but don’t be mistaken, this album is a longer term project than just releasing the songs Koch made in the last year. Some of the songs found on “The Other Side” were made seven years ago.