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1985 Music presents the first edition of 'Fragment' their new various artist series. Featuring familiar faces from the imprint and special guests, this album combines the 1985 Music sound in all forms.

Featuring tracks from label head honcho Alix Perez with the strictly soulful 'Bloomsbury', while New Zealand producer/DJ Headland reworks 'Trust' the anthem from Eprom. Joining the fold GLM, Eijer and Satl make their debut on the imprint while regular artists Visages, Drone, Bredren and Ebb continue to deliver the goods.

Dom Maker and Kai Campos have always known how to masterfully synthesise their talents into one singular yet ever changing vision. Since beginning in 2009, their work has morphed from their distinctly British sound of dubstep and techno to the boundaryless and densely packed collaborations of Love What Survives. Five years after that scintillating record, the two take their talents as Mount Kimbie to new extremes by splitting them in half entirely.

Having walked separate paths musically and physically in the world over the years since Love What Survives, Dom and Kai took a literal approach to their latest record, separating it into two distinct, independently produced albums - but linked through shared senses of sonic haziness and melody. Die Cuts shows Dom Maker at a collaborative peak, interspersing vocal cuts, samples, and urban sounds in swiftly stitched vignettes with a slowed down, lo-fi flair. Meanwhile, the chugging beats of City Planning mimic train tracks, as Kai Campos’ album contains rhythmic paintings of urbanity with detailed sonic architecture. These two sides of Mount Kimbie are as different as day and night, yet they inform each other greatly, speaking a simultaneous message from separate locations.

The opening track ‘dvd’ on Die Cuts features a mystical siren song fading in, before slowthai and Danny Brown’s expressive vocals cut through on ‘in your eyes’, trading bittersweet and apoplectic verses. An eerie alarm echoes on ‘heat on, lips on', subsiding with punchy beat and skittering keys, and a scathing, mercurial spoken word spiralling to jazzy loops depicting intimate struggles. City Planning in similar fashion shifts from tense, burrowing bass rumbles to fluttering synth droplets forming rivers of sound. The molten underground beat of ‘Transit Map (Flattened)’ lurches and groans, with piano notes sprawling like the many-coloured intersecting lines of a subway map.

Even when split in two, Mount Kimbie provide yet another total upheaval of their sound, combining their individual strengths for a roaringly creative album on MK 3.5.

Dom Maker and Kai Campos have always known how to masterfully synthesise their talents into one singular yet ever changing vision. Since beginning in 2009, their work has morphed from their distinctly British sound of dubstep and techno to the boundaryless and densely packed collaborations of Love What Survives. Five years after that scintillating record, the two take their talents as Mount Kimbie to new extremes by splitting them in half entirely.

Having walked separate paths musically and physically in the world over the years since Love What Survives, Dom and Kai took a literal approach to their latest record, separating it into two distinct, independently produced albums - but linked through shared senses of sonic haziness and melody. Die Cuts shows Dom Maker at a collaborative peak, interspersing vocal cuts, samples, and urban sounds in swiftly stitched vignettes with a slowed down, lo-fi flair. Meanwhile, the chugging beats of City Planning mimic train tracks, as Kai Campos’ album contains rhythmic paintings of urbanity with detailed sonic architecture. These two sides of Mount Kimbie are as different as day and night, yet they inform each other greatly, speaking a simultaneous message from separate locations.

The opening track ‘dvd’ on Die Cuts features a mystical siren song fading in, before slowthai and Danny Brown’s expressive vocals cut through on ‘in your eyes’, trading bittersweet and apoplectic verses. An eerie alarm echoes on ‘heat on, lips on', subsiding with punchy beat and skittering keys, and a scathing, mercurial spoken word spiralling to jazzy loops depicting intimate struggles. City Planning in similar fashion shifts from tense, burrowing bass rumbles to fluttering synth droplets forming rivers of sound. The molten underground beat of ‘Transit Map (Flattened)’ lurches and groans, with piano notes sprawling like the many-coloured intersecting lines of a subway map.

Even when split in two, Mount Kimbie provide yet another total upheaval of their sound, combining their individual strengths for a roaringly creative album on MK 3.5.

Project: Mooncircle, as the name reveals, has been on a journey to the moon since day one, exploring the frontiers of music and art, always looking for new discoveries and giving a different perspective to look at the earth. In it’s 10 year history the label has published roughly 100 releases by equally as many artists from all corners of this globe and, therefore, the selection of sounds on this compilation represents the development of the label from the past, present and going into the future.

Some of the artists featured on this compilation have been a part of the label from its very beginning, like CYNE, Manuvers and Jahbitat, whose song will be the last one he produced and published under this moniker, while others, like Robot Koch, fLako and Long Arm, are outstanding examples of its growing popularity and success. Furthermore, the box also features an exceptional selection of close musical friends and inspirational artists like Jehst, Dday One, Kwala and Ichiro_, just to name a few.

The logo and artwork represent someone who was very close to the label, especially in the early years but unfortunately passed on and whom this box is dedicated to. Featured on the compilation are artists such as Mike Slott x Diane Badié, CYNE, Sweatson Klank aka Take, Jahbitat, Robot Koch, fLako, Jehst, Beat Butcha, Long Arm, Kelpe, Pavel Dovgal, Blossom, Daisuke Tanabe, Dday One, Inner Science, Substantial, Arts The Beatdoctor, Rain Dog, Kidkanevil + Microkorg by Dorian Concept, John Robinson, Sorrow, Rumpistol, The Red Baron, Christoph El’ Truento, 40 Winks, Sina., 1000Names, DZA, Ichiro_, EAN, Tom Dicicco, Headshotboyz, Graciela Maria, Gards From KC, Sekuoia of Kilimanjaro, Sense of The Q4, Sneaky, I.V.A., Empt, John LaMonica, Mike Gao, Bambooman, Manuvers, Krts, Kwala, Soosh, Memotone, Sun Glitters, Called Understandable Souls & Szenario.
The limited box includes 2 white & 2 black vinyl LP’s with 32 tracks, 13 additional digital bonus tracks, a T-shirt (only at HHV) and a poster (with digital download code) all in a specially designed box that features a special light-reflecting varnish, which makes this truly a collectors and music lovers item.

Berlin-based label Project: Mooncircle and it’s two sublabels Project Squared and Finest Ego is an official label from HHV. It was founded in 2002 and is specializing in the conjunction between electronic and organic music. The label, at first envisaged as a compilation project only, soon released the first instrumental and vocal solo releases by such artists as The Q4, CYNE, Mr Cooper, Robot Koch, fLako, 40 Winks, John Robinson & MF Doom, DZA, Krts, Sina., Graciela Maria, Manuvers, Lambent, Lewis Parker, Non of Shadowhuntaz, Strand, Ta-Ku, Mika Gao, Onra, Obba Supa, Asusu, Furesshu, AnD. Kowton or Glen Porter. The work of illustrators and graphic designers such as Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria, and The Binh create images that accompany the acoustic spaces.
Project: Mooncircle with its various producers & vocalist shall be an interesting experience for anyone looking for the extraordinary.

A&R: Laurent Fintoni, Jinna Morocha, Karolina Kaczor, Gordon Gieseking and Malte Tarnow. Mastering by Sven Friederichs. Artwork and original paintings by Gordon, LNY & Bioniq. Webdesign 2006 – 2012 by Thimo Hörster & Hendrik Stein. Animation trailer by Sebastian Muñoz.

Release date: March, 23rd.

10th Anniversary Showcase with Mike Slott, Robot Koch, fLako, Long Arm, Jehst, Arts The Beatdoctor, Sekuoia of Kilimanjaro, & Graciela Maria @ Club Gretchen in Berlin, Kreuzberg – March, 17th!

Dancing as an act of rebellion is the first Abraxas LP in collaboration with the Valencian label Soil Records. A compilation of the first project recordings released between 2020 and 2021 plus some new tracks and, in addition to this, a second vinyl by other darkwave electronic artists remixing the first one: Geistform, We Are Not Brothers, Ober Dada, Melting Dogmas, SMforma, Hbk1, José Rodríguez, SOJ and PanDemian. Abraxas is a halfway project between dark dance electronic music, philosophical reflection, socio-political activism and musical entrepreneurship. Its main goal is to shake bodies and minds by spreading messages of individual and social self-criticism from the point of view of duality, extremes and contradiction, inherent to the human being and capitalist society

Project: Mooncircle, as the name reveals, has been on a journey to the moon since day one, exploring the frontiers of music and art, always looking for new discoveries and giving a different perspective to look at the earth. In it’s 10 year history the label has published roughly 100 releases by equally as many artists from all corners of this globe and, therefore, the selection of sounds on this compilation represents the development of the label from the past, present and going into the future.

Some of the artists featured on this compilation have been a part of the label from its very beginning, like CYNE, Manuvers and Jahbitat, whose song will be the last one he produced and published under this moniker, while others, like Robot Koch, fLako and Long Arm, are outstanding examples of its growing popularity and success. Furthermore, the box also features an exceptional selection of close musical friends and inspirational artists like Jehst, Dday One, Kwala and Ichiro_, just to name a few.

The logo and artwork represent someone who was very close to the label, especially in the early years but unfortunately passed on and whom this box is dedicated to. Featured on the compilation are artists such as Mike Slott x Diane Badié, CYNE, Sweatson Klank aka Take, Jahbitat, Robot Koch, fLako, Jehst, Beat Butcha, Long Arm, Kelpe, Pavel Dovgal, Blossom, Daisuke Tanabe, Dday One, Inner Science, Substantial, Arts The Beatdoctor, Rain Dog, Kidkanevil + Microkorg by Dorian Concept, John Robinson, Sorrow, Rumpistol, The Red Baron, Christoph El’ Truento, 40 Winks, Sina., 1000Names, DZA, Ichiro_, EAN, Tom Dicicco, Headshotboyz, Graciela Maria, Gards From KC, Sekuoia of Kilimanjaro, Sense of The Q4, Sneaky, I.V.A., Empt, John LaMonica, Mike Gao, Bambooman, Manuvers, Krts, Kwala, Soosh, Memotone, Sun Glitters, Called Understandable Souls & Szenario.
The limited box includes 4 white vinyls LP’s with 32 tracks, 13 additional digital bonus tracks, and a poster (with digital download code) all in a specially designed box that features a special light-reflecting varnish, which makes this truly a collectors and music lovers item.

Berlin-based label Project: Mooncircle and it’s two sublabels Project Squared and Finest Ego is an official label from HHV. It was founded in 2002 and is specializing in the conjunction between electronic and organic music. The label, at first envisaged as a compilation project only, soon released the first instrumental and vocal solo releases by such artists as The Q4, CYNE, Mr Cooper, Robot Koch, fLako, 40 Winks, John Robinson & MF Doom, DZA, Krts, Sina., Graciela Maria, Manuvers, Lambent, Lewis Parker, Non of Shadowhuntaz, Strand, Ta-Ku, Mika Gao, Onra, Obba Supa, Asusu, Furesshu, AnD. Kowton or Glen Porter. The work of illustrators and graphic designers such as Bioniq, Dan May, Iain McArthur, Ima One, LNY, Gordon, 44 Flavours, La Mano Fria, and The Binh create images that accompany the acoustic spaces.
Project: Mooncircle with its various producers & vocalist shall be an interesting experience for anyone looking for the extraordinary.

A&R: Laurent Fintoni, Jinna Morocha, Karolina Kaczor, Gordon Gieseking and Malte Tarnow. Mastering by Sven Friederichs. Artwork and original paintings by Gordon, LNY & Bioniq. Webdesign 2006 – 2012 by Thimo Hörster & Hendrik Stein. Animation trailer by Sebastian Muñoz.

Release date: March, 23rd.

10th Anniversary Showcase with Mike Slott, Robot Koch, fLako, Long Arm, Jehst, Arts The Beatdoctor, Sekuoia of Kilimanjaro, & Graciela Maria @ Club Gretchen in Berlin, Kreuzberg – March, 17th!

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

After MSSV singles & remixes: This is the full length!

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.

"Since it's inception, the various artist compilation series Saturated! has proven to be the epitome of curation in this small niche scene called bass music or whatever. Each volume is carefully hand picked and is a picture in sound of the music at that point in time but overall has proven to be timeless. The arrangement works in such ways that each tune flows perfectly into the next one and actually (given that you have two vinyls like a real dj), you could mix seamlessly from the first through the last track.

Saturate Records has become a hotspot for those seeking fresh sounds from well known and emerging artists within the scene. Channeling the quintessential stylings of low-end driven beats from across the globe, they have been leading the way in all things bass heavy, broken-beat, experimental, glitch, hip-hop, psychedelic and trap for years now. Having featured releases from names like heRobust and G Jones early on in their careers, Saturate! continues to help push the new school, hip-hop influenced sound forward with their fingers firmly on the pulse of future freshness. A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene.

"saturated! The various artist series on vinyl has proven to be the epitome of curation in bass music since its inception. The whole package is curated such that each track perfectly flows into the next. Each volume is carefully hand-picked and serves as a snapshot of bass music at that moment, Saturate! has earned its spot as the first choice for those seeking fresh sounds from established and emerging artists. and has been leading the way in all thing's bass heavy, breakbeat, experimental, glitch, hip-hop, psychedelic and trap for years now. They have a track record of propelling artists to the next level. Their roster includes some of the scene's biggest names. These compilations present A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene. Get it now!"

Saturated! the various artist series on vinyl has proven to be the epitome of curation in bass music since its inception. The whole package is curated such that each track perfectly flows into the next. Each volume is carefully hand-picked and serves as a snapshot of bass music at that moment, Saturate! has earned its spot as the first choice for those seeking fresh sounds from established and emerging artists. and has been leading the way in all thing's bass heavy, breakbeat, experimental, glitch, hip-hop, psychedelic and trap for years now. They have a track record of propelling artists to the next level. Their roster includes some of the scenes biggest names. These compilations present A weird, wonky and wonderful journey through the raw attitude of the blistering beat driven electronic music scene. Get it now!

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 many years of artistic collaboration, the long-awaited album, KILLING TIME, bringing together London-based MC Killa P and Italian Bass music collective Numa Crew, has finally arrived.

Killa P, a name synonymous with potent lyricism and raw energy in the Grime scene, delivers a vocal masterclass throughout his debut long-player, soundtracked by the stellar production of the Numa Crew. Together they expertly navigate genres including dubstep, grime, dub, and jungle, while maintaining a distinct and cohesive musical identity.

Not simply a collection of individual tracks, Killing Time is a meticulously crafted journey through sound system music. There are no stylistic boundaries, as the long-player encompasses the entire musical spectrum that unites the Italian crew with the London-based MC, with Killa P free to showcase his evolution as an artist. Alongside them, the album also brings together a diverse cast of friends and collaborators, vocalists, and producers, each adding their own unique flavor.

From the pulsating dubstep-infused Boys in Blue, a searing commentary on social inequality, to the reggae-tinged steppa tune Love Inna We Heart featuring Charlie P and Long Range, a plea for unity and love, Killa P's lyrical dexterity shines.

Tracks such as Champion Sound, Badman City Pt.2 featuring the French Ragga legend Big Red, and No Laugh featuring Big Chain and Bristol’s Buggsy are a nod to Killa P's roots, beautifully showcasing his mastery of grime's signature sound, while the sped-up tempos of the Fleck collaboration Jungle Leng, and Can't Get Me Down featuring Ras Demo, inject a jolt of Junglist attitude. Different Life is a vibrant ‘carnival’ jam, that infuses grime and dancehall moods and sees the great Lady Lykez on the second verse.

The album wraps on a contemplative note with Dreaming, a collaboration with Abstract Sonance, and Heartless, featuring Killa’s son GK on production, revealing an introspective note that adds yet more depth to Killa P's artistry.

As the album’s second track, Family, proclaims: ‘man a deal with family, not friends’ - a fitting line to define the album as a whole… An ode to the unity and strength of family.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage. Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019). ‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’. ‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

SOON BACK IN STOCK WITH ADJUSTED PRICE LEVEL DUE TO VINYL MANUFACTURING REALITY! - 1973 master work and one of the defining statements of Dub-Reggae! - 17 North Parade proudly presents "Java Java Java Java", credited as one of the first three Dub album released in Jamaica. Dub would influence generations of re-mixers and producers of all kind of popular music. Here's the official re-issue - a must for all Dubheads outernational and a perfect example of music stripped to the bone. The Rough Guide To Reggae writes: " The original Errol Thompson-mixed "Java Java Java Java" is legendary, not only for being one of the frst dub albums ever released, but a one built around a version of Pablo's classic of the same title. Among the other rhythms given fairly basic but effectived dubwise treatments are the Heptones' second cut "Guiding Star", Junior Byles' "King Of Babylon", and the marvellous Randy's treatment of the Soul Vendors' "Swing Easy". The mixing might seem primitive by later standards, but, like all the best early dub sets, it brings out the essential strength of the rhythms employed" (with thanks to Steve Barrow & Peter Dalton).

"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.

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.

3WA joins the LDH family for the second instalment in the Ldhxl series. The long awaited collaboration with Breez, 'Acido Maligno', is accompanied by three solo tracks from 3WA.

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.

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.

This EP could arguably be the peak expression of Filippini's, (aka Enrico “Big City” Filippini) career in Italo-Disco. Without doubt a more polished pinnacle within the genre, elegantly and efficiently conceived, with less grammar mistakes than many of its contemporaries. Downtempo paced in the low 100's, Enrico takes his time with the nostalgic lyrics in confident efforts of mending some questionable past romantic affairs. A production with melancholic nuances that would very deservingly find its place in a mix by the late visionary DJ Zecky for example. The kind of track that could be played 3 times in a row before offending anyone, very digestible to the ear, a delightful pleasure for the less sober soul, to be served with cocktails and high SPF sunscreen, just cruising along.

The link up between Mantra and Vivek goes back to 2013 when Mantra used to frequent his System nights at The Dome. Both share similar values in grafting hard, focusing on the music and not getting distracted by the noise surrounding the culture. This EP has been in the making for over 2 years and we’re proud to finally be releasing Mantra’s debut SYSTEM EP.

4 cuts spanning different corners of electronic music - from broken beat, garage, and jungle, all with a heavy dub influence. Chopped up breaks, carefully programmed hits, dub baselines, heavenly pads - this release is raw, weighty & System to the core!

Cutting through the heat haze like a dehumidifier in a power surge, Trinity Carbon kick off a series of stealth 12" platters which plunge them deeper into their dank basement dubstep sound.

TC is an ongoing link-up by bass bin lifers Low End Activist and Appleblim, stripping their many different streams of sonic consciousness down to a raw essence of jagged, skeletal rhythms and prowling subs. It's a sound in thrall to first wave dubstep but not trapped by it, instead finding common ground with the buoyant bassweight minimalism which is defining some of the freshest developments in leftfield, defiantly bruk club music. Following a couple of EPs and an album on ESP Institute, this latest series of transmissions were sweated over via machine interaction in LEA's Berlin studio while they channelled dub techniques passed on by sage elders.

This third release from Rubi Records sees Ashley Tindall—aka Skeptical—stepping out of his usual drum and bass territory and slowing things down with three seriously deep dub-infused bass tracks in the 140-150bpm realm. While not the first time Skeptical has dipped his toes in such waters, these are easily among the finest, most musically mature examples to date. For those drum & bass fans out there unsure about Skeptical branching out into other genres, this EP shows that an open mind and listening without prejudice will reward your ears.


First up is the utterly dub-soaked 75/150bpm track 'Tell Me'. This solid stoner groove takes clear elements of Skeptical's more dub-orientated D&B and adds mesmeric pads and soulful vocal hooks, making it one of the deepest head-nodders in his overall catalogue. This is more a refined track for the 'listener' than for the dance floor, and while you can still easily throw some shapes to it, it's great to just immerse yourself in as a purely audio experience.

Next is the 140bpm 'Tapestry', which is somewhat the darker twin of 'Tell Me'. Again, we have a slow dub-infused head-nodder, but this time more menacing in tone thanks to the finely-judged use of some moody sound modules that Skeptical has tweaked and twisted in his inimitable fashion. This one's the audio equivalent of a restless mind in the depth of night.

The final offering is another 140bpm track – the unsettling beast 'Atomic v1'. It begins with a slow-burn build up of an off-kilter metronomic beat, subtly growling bass and haunting strings. This, in turn, gives way to a distorted rendering of Oppenheimer's famous use of 'Now I am become death, the destroyer of worlds' from the Bhagavad Gita, before becoming a sinister slow-motion dubstep rumbler. With its dragging beat and the purposefully off-point main sonic hook running over the top, this is a disorientating and unsettling weapon for the discerning DJ.

This EP continues the fresh direction of Rubi Records, showcasing exceptional, forward-thinking music without borders.

Support: Ben UFO, Joy Orbison, Gilles Pererson, dBridge, Break, DLR, Doc Scott, Mefjus, Kasra, Kings of the Rollers, Alix Perez, Jubei, Dub Phizix, Flight, Tasha, Loxy, Randall, Lens.
Radio Support: BBC Radio 6 Music, Rinse FM, Kool FM

A1 Foamplate - Multipass A2 Foamplate - Patter

B1 Foamplate - Overkiller B2 Foamplate - Rarefaction B3 Foamplate - Land

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.

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.

Danish electronic artist Rumpistol, aka Jens B. Christiansen, releases his fourth and most ambitious album yet – Floating – a collaboration with LA based vocalist Red Baron that further explores the post dub-step vocal territories opened up on last year’s Talk To You EP. With tighter song structures, intimate lyrics and the Baron’s ecstatic vocal projections, the two create a parallel world in which the domestic breakdowns of wintry Copenhagen are filtered through surreal sun-bleached Californian dreams, resulting in a robotic and hypnagogic hybrid of soul.
The sound, while still recognizably “Rumpistol” in its organically unstable clicks and gurgles, marks an evolution in Christiansen’s thinking, shedding light on the interior landscapes of existential crisis and bliss that he’s been essaying over the last ten years.

The introduction of Red Baron does a great deal to carry this forward. Many of the tracks were written in partnership with the elusive vocalist on an almost subconscious level, through a process where different phrases were recorded until the atmosphere was properly expressed. It’s through the Baron’s heavily processed voice, hovering between male and female timbres, that the ghost of American pop culture finds itself here too. In this way Grace Jones stands tall in a frozen stream on I’m Not Listening, Lionel Richie gets stuck in traffic on a bad trip in Colors Breaking while Kanye pushes his auto-tuned bicycle through the blizzard of Floating. But as the arctic arpeggiated synths let you know, the album is more about the future than any past, a future where Rumpistol and Red Baron dare to take current genres from the post dub-step and wonky scenes and defy them with the human voice for a dystopic soul music of their own.

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.

One of the hottest talents emerging from the New Zealand underground, Brassic, returns to DDD with a tour de force of a record, Into Chaos EP. Switching from the sublime to the ridiculous, while simultaneously traversing a mental cliff edge under the constant threat of experimental torture - this EP is a no hold bars attack on all your senses. Out on a limited edition six track vinyl and digital EP, come and get lost in the deep caves of Brassic’s warped and psychoactive mind. Ranging from the grunge-influenced broody opener, Antagonist, to the outright naughty system banger, Alienated, through to the string punctuated grime influences of title track Into Chaos and the epic EP closer I Am - this body of work is a true gaze into the mind of a truly visionary creative and at points the producer’s soul. Will you step Into Chaos?

Spooky has long been one of the hardest working soundmen in East London. At any given time you can see him streaming sets on Insta, blasting out tunes, and being the OG cat he always has been, with a reverence for the roots of Dub, from the Jamaican roots to US Garage and back to his backyard via his Grime/Dubstep/UKG cuts, which are always full of raw depth and swing.

This is why it was more a matter of what to fit on his first EP on LoDubs, given when the conversation was started about RAS Riddims a whole deluge of tracks came our way. Clarty Steppers is not only 6 of the best of those, but 2 bonus tracks in the accompanying DL, and the option to get those 2, and a extra VIP of one of those tunes which will only ever be available via the companion Poly Cut of this release.

Kero & Steph’s landmark collaboration Syndrome now sees a sumptuous release on vinyl and evocative music video, spinning data into densely layered visual treats. Steph’s coolly ethereal voice and poignant writing drift in harmonies atop the sliced-up, glitched, hard-hitting precision of Kero’s productions. The unforgettable directness of her compositional sense is here, as her long resume of scores and placements would suggest. It finds an urban-technological counterpart in Kero’s frenetic sounds. The DU label boss is in full force straight from the chilling post-pop of the opening titular cut. “Walk in the park” is a production masterwork, punchy organic percussion against grinding bass. “Who am I to complain” is at once arresting and vulnerable with vocals, but still packs an emotional gut-punch in the accompanying instrumental. “Count down from 7” is more stripped down and urgent, melodic hooks propelled by lo-fi rhythmic mechanism’s menace. For the remixes, Oberman Knocks unleashes utter digital destruction - computer memory banks dropped through a wormhole. That thoroughly deconstructs Mtch into composite textures -- and opens “Walk in the Park” to near-unrecognizable, yet somehow danceable mayhem. The new physical and motion elements find a visual language for these sonic strata of imagination and digital construction. From designer Christoph Grünberger, known for his tome The Age of Data: Embracing Algorithms in Art & Design, we get the packed outer sleeve and 2D design. These enshroud a calm-looking Steph in a Shibuya Crossing-style trip inside Defasten’s geometries, opposite a catalog of branching visualizations and glyphs. Defasten, known for his live AV work fusing virtual reality and performance, here explodes faceted 3D cubes, in the cover and further in the music video. These pulsing crystalline hyper-geometries delve into data as expressive medium, shifting and vibrating with the glowing tones and crisp percussive hits of Kero and Steph’s composition. It’s a rare music video that matches the music in intricacy and form - a world that can only exist in virtual space, but that feels as immersively dreamy as the sound score. “Sugar coated fabric … in braided covers” and “silver linings” were never so tempting.

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.

Livity Sound is proud to present a 12” of lean, refined club tracks from UK stalwart Beneath. The Mistry and No Symbols boss has spent the past 10 years exploring a sound which nods to the legacy of bleep techno, dubstep and UK funky while leaning forwards into its own distinctive space.

His stripped-back blend of crisp drums, sprightly hooks and sub bass are instantly identifiable, but across four new tracks Beneath displays the versatility within his reach. Stomping four to-the-floor rollers on the A side face-off with minimalist dub and weighty, synth-rich expressions on the flip that move beyond the demands of the dancefloor.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Introducing Pruvan to Tectonic and to the world, with this debut EP of soundsystem smashing beats! Think – expertly crafted productions that effortlessly bring together some of the best elements from techno, D&B and dubstep. The US-born, Czech-based producer has carved a fresh space, bringing next level sounds together with finely tuned production skills. Lead track Pozor sets the pace, just simple and effective, followed by a pick-up in tempo with Beastwoman; fiddly fun with Buckets and a vinyl exclusive tech-workout with All My Mites. The digital EP comes with 2 extra tracks, Raw Dawg & Yoji, providing bonus extra fire.

‘saturday Specials’ sees the legendary Bristol drum & bass don Clipz remixing Everything Is Recorded’s acclaimed second album ‘Friday Forever’ in its entirety. Released Digital on 29th January via XL Recordings, ‘saturday Specials’ is Clipz’s first album length project and is a drum & bass masterpiece, split across three 12” vinyl editions. The album features a host of the original album’s vocalists and collaborators (including Berwyn, Ghostface Killah, Aitch, Sampha, Flohio and A.K. Paul) weaving in and out of Clipz's trademark future-facing productions.

‘saturday Specials’ sees the legendary Bristol drum & bass don Clipz remixing Everything Is Recorded’s acclaimed second album ‘Friday Forever’ in its entirety. Released Digital on 29th January via XL Recordings, ‘saturday Specials’ is Clipz’s first album length project and is a drum & bass masterpiece, split across three 12” vinyl editions. The album features a host of the original album’s vocalists and collaborators (including Berwyn, Ghostface Killah, Aitch, Sampha, Flohio and A.K. Paul) weaving in and out of Clipz's trademark future-facing productions.

‘saturday Specials’ sees the legendary Bristol drum & bass don Clipz remixing Everything Is Recorded’s acclaimed second album ‘Friday Forever’ in its entirety. Released Digital on 29th January via XL Recordings, ‘saturday Specials’ is Clipz’s first album length project and is a drum & bass masterpiece, split across three 12” vinyl editions. The album features a host of the original album’s vocalists and collaborators (including Berwyn, Ghostface Killah, Aitch, Sampha, Flohio and A.K. Paul) weaving in and out of Clipz's trademark future-facing productions.

After the start of his Dubs Galore family with 3 massive releases from Hebbe (003), Khanum (004) and Muttley & Quasar (005), label boss Von D returns to his own imprint to introduce 2 very special remixes of 2 already mind-boggling originals.

Founded with the intent of bringing hidden sounds out of obscurity, Rarefied will project these sounds on to a platform to be experienced by the many denizens of sound system culture. While the music is made to enjoyed by all, it retains its identity as both an underground and unique form of artistic expression.

After a series of successful digital releases, Soukah bursts onto the vinyl scene, presenting a sound crafted over the course of almost a decade. His past works range from Industrial Noise to his own unique take on Dubstep. RARE1 showcases Soukah's versatile approach to production - His organic style, based on dark synthesis and unorthodox drum patterns, is a true representation of the Rarefied sound.

'JAK FOU' is the result of six months of studio time; the classical piano riff combined with haunting percussion results in an experience akin to ingesting 18 grams of psycobilin. On the flip side 'Loner' is a far darker, moodier affair. Written solely by candlelight, the production evokes the darkest elements of Soukah's soul. This track is best enjoyed alone, in the wilderness.

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.

The first Subaltern release of 2022 sees three outstanding producers coming together to deliver a bass-blessing for all connoisseurs of the finer frequencies.

A long time coming, we’re excited to welcome Portuguese beat-maker 3WA to the Subaltern family with a selection of some of his best work to date.

Sons of Simeon consist of 3 members Abba-Gana I, Balthazar Abba Gana and Herb Powers. Raised in London, The Solomon's and Kemet the sound is deeply embedded in Roots, Herbs & culture with a prime focus on providing King David music and contributing to the legacy of the elders
and the mysteries of Dub science. Goliath brothers is the debut release and first chapter by SOS featuring 3 cuts out of 36 versions made. Expect plenty more hard hitting dread releases in 2021 and beyond. The Sons give thanx to father, the mother of creation,
Simeonites & the Most High. Strictly Limited to 300 copies!

A slowed down tribute to the dichotomy of mellow/heavy in mid 90's Jungle/Drum n' Bass, "The Shining Wall" begins with eery pads and a forlorn siren call, gently driven along by a subtle amen groove. Midway through, things turn more aggressive with distorted break switchups and a smattering of mentasm for good measure, before coming full circle and leaving you with a warm but somewhat uncertain end. B - Sgt. Risk - Weaponized Soul The flip is a more ominous affair, inspired by the short transition period ca. '96, just before techstep became a defined term. "Weaponized Soul" sets the mood with foreboding pads, until it drops into a relentless barrage of industrial beats and a cavernous sub. In the midway breakdown everything drops away, clearing the stage for a monstrous, swarmlike synthriff. Both of these tracks where never meant to be "conceptual tributes", but just ended up that way. A is fairly new, while B is the umpteenth version of a ten year old tune. Big up the Dolphin Man for convincing us to put them out together.

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.

Dubstep veteran Sukh Knight kicks off his brand new Daku imprint in style with an EP featuring much sought after tracks by himself and a remix by Dubstep O.G Kromestar. All 3 tracks have gained much support over the past year by many dj's including Mala, Coki, N-Type, Hatcha, Kromestar, Chefal, Sleeper and many more.

Infernal Sounds dish out the 3rd and final instalment in their Ifsdigiv series, loading up 4 more of their digital tracks onto a jam-packed 12". Mungk & Ego Death kick off proceedings with the beautifully oriental and melodic 'Crestmoon', before Drumterror takes charge in magical fashion on 'Likeness', incorporating a weighty and spacious mainframe to wrap around the saxophone wizardry of Ed Hodge. The B side takes a slightly more subterranean vibe with 'Memento' by Metafloor, dropping in on a heavy and bass-loaded swinger, before Grawinkel rounds off the EP with militant and wonky 'The Future', a tune that'll be battering the speakers with mid-range punches and flurry of low-end jabs. It's a release that has everything you need - four very different selections but packing variety and substance.

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!’

We are super stoked to welcome back 3WA aka The Portuguese Serial Killer aka The Christiano Ronaldo of Dubstep for another fire release on Foundation Audio (this time around getting the vinyl treatment)! Pedro has got many tricks up his sleeves. Here are 4 of his finest. Make no mistake he will nutmeg you, dribble around you, Ronaldo chop past you and handball the finest goal without the ref seeing (and he’ll make it look easyyyy)… What’s more to say? The guys a wizard and makes some of the most interesting music in the Dubstep scene. Get to know if you don’t already.

Clearlight brings his wonderfully tripped out production wizardry to Foundation Audio for a 3 track journey into the void! Clearlight has always stood out from the crowd and pushed boundaries with his unique take on the genre. It sounds like dubstep swallowed a bottle of LSD… or smoked some DMT… There’s no point going into detailed track summary as it won’t do the music justice, - just sit back, spark one up and get sucked into another dimension.

Presenting Alix Perez’s largest solo project since his second album in 2013. “Without End” is an 8 track journey through his exploration of soulful drum and bass - a sound Alix is renowned for. The EP includes collaborations with Liam Bailey, Workforce & Halogenix.

The penultimate release in the Eight Trigram series. This edition coming from Brazilian producer Spiritual Rockers, and played up until now as an exclusive and much sought-after dubplate. Super limited edition press housed in the reverse-board Trigram house bag. Raw, unadulterated tribal bass music with a deep roots foundation. This is the sound of Trigram.

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.

Finely crafted contemporary electronic music. Another liminal and far-sighted project bridging electronic music, bass and sound-system culture. Destructured rhythm, low frequencies and abstract sounds. A curious juncture of rhythm studies and probing electronics.

Steppas Records presents ‘Osaka Steppas’ Vol. 3, the third in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Hiroshi and Roots Masashi in collaboration with Spanish producer Ojah and well-respected UK singer Rudey Lee. The Osaka Steppas’ raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

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.

Alter Echo & E3 return for their third chapter on ZamZam with a dark, low-slung steppers featuring the one Rider Shafique of Bristol’s esoteric Young Echo crew. AEE3’s first collaboration with a vocalist, “Heights” provides a rockstone riddim for Rider to step forward with a powerful lyric, a declaration of principles and intention to trod outta Babylon, tearing off mental chains along the way with total focus on the destiny of liberation for those with the will to persevere. Rider’s presence transforms every track he graces into pure message music, as heard in recent months on collaborations with Gorgon Sound, Ishan Sound, Gantz and more.

"Heights" rocks with swirling atmospheres and pointillist detail, powerfully psychedelic dubbing at once organic and metallic, always with fundamental dub principles anchoring and propelling forward, ever forward. The version “The Sound Tonight” strips the vocal out completely, using that space to push the kick, bass and ricocheting snares further forward with extra dub flourishes, mirages, and sample grinding.

Available digitally and on limited chrome cassettes (with digital download code), we are releasing a series of albums and EP’s from talented and promising artists. Expect all facets of instrumental hip-hop, future beats and electronic beat music….

Good Paul has been searching for that right sound ever since his career started. Never confining to only one genre or branch of music, he has been looking in various genres, but especially in the gray area between hip-hop and house, drum and bass and dub-step, always being attracted by soulful emotion with bass and broken beats. In these last 14 years he was unable to find that one special sound. This EP, however, is his solution for this neverending search.

In his own words:
“To live well we need to learn and know about a lot of different things. Draw your plans in an attempt to consciously create the future. It turns out that often the decisive moments in our life are found. I have never sought music by artists or genres, but instead, I am just trying to find music that gets to me in terms of emotion.
I hope there will be people who find the music from this EP, because that music found me.”
The artwork was created by Mateusz Kolek, who is known for his playful, psychedelic and dreamlike illustrations, heavily influenced by Soviet science fiction flicks and Japanese anime’s.

Bio:
Good Paul from Krakow, Poland, has spent already 14 years behind the decks and is well known for his musical selection and technical skill. Being a Red Bull Music Academy alumni (Toronto, 2007) and lecturer (Warsaw, 2012), he self-released a free EP entitled „One More Time“ and has been remixing various projects in the advanced futuristic music scene in Poland, in particular for U Know Me Records from Warsaw.

Last year, Brooklyn’s Krts released Remixes for Beards and Flannels, a mix-tape of top shelf classics from hip-hop’s ‘80s and ‘90s heyday. This September, he’ll follow this with his newest and first-ever proper EP release, Hold On, on the Berlin label Project Mooncircle.

With sounds ranging from the eclectic side of Hip-Hop, Broken Beat, Downtempo, soulful Dubstep, Indie Rock, and Fusion Jazz, Krts crafts a soundtrack to an ever-changing NYC landscape, fraught with struggles and flashbacks of what-was, all while letting go of ideals in favor of a new, raw, and heartfelt future. The album’s title track, "Hold On”, concerns the battle of a fleeting love – electronic and psychedelic sounds lead to a heavy, mid-range looped chorus and a deep, rumbling dubstep-style bassline. A taste of struggle is represented in “Whatever”, with it’s 808 kicks, layered snare, eerie and rattling samples, sweeping syths, and improvised piano… all as an ode to the cluttered market of Brooklyn’s indie art scene.

23 minutes in 5 tracks, with a bonus remix of “Hold On” by Afro-House/2-Step artist Glenn Astro. Beat culture thumbed and molded into one emotive EP.

After last year's release “Death Star Droid” Berlin stromtrooper Robot Koch kept himself busy. He finished off the new Jahcoozi album “Barefoot Wanderer” which is coming out on BPitch this spring. Coinciding with the release of his “Death Star Droid Remix EP” (incl fresh mixes by Loops Haunt, Blue Daisy etc). Robot Koch was on tour in the USA and Mexico, stopping by in LA for a stunning gig at Low End Theory and finally settled down for 2 months in Mexcio City, where he found time to work on new material with his girlfriend and singer Grace . Visiting some ancient Maya and Atztec sites and Pyramids sure added to the spaced out magic of the new EP. The new material is dark, percussive and surreal. Like an audible painting my leonora carrington. Its dubby but not dubstep, rather next step maybe. The songs are heavy and dripping with analog and organic sounds…. Lo Fi field recording mashed up with heavy bass and unquantized grooves. Live sounds like guitars work like samples. Vocal talent Grace, that was already featured on the Death Star Droid album and the last EP brings in a dark and yet soulful gospel vibe over Koch’s twisted beat concoctions. This EP is only a taster of the new album that should be ready to drop in october on Project: Mooncircle. In the meantime Koch will keep himself busy with playing shows (with Dorian Concept, Stagga, Darkstar, Boxcutter) and festivals including a live show appearance at this year's Sonar Festival.

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