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South West England is a fertile ground when it comes to producing seafarers and dub makers. Bishop completes a hat-trick of releases from the region, with a brace of tunes that bring the unrelenting pressure of the deep to the ears of surface dwellers.

Dub De Société brings dubstep’s reggae origins to the forefront; an atmospheric production underpinned with a hulking baseline. Flutes of Bhutan goes deeper. Bishop combines a flute sample from the summit of the world with relentless kicks from its base. The result is a sound that is both alien and unnerving, yet incites an intense fervour in those that hear it.

After a 2 year hiatus, Madam X's Kaizen imprint comes back full force, with an upgraded aesthetic and brand new wave of leftfield, off-kilter club music. Kzn009 sees one of Manchester's most exciting up & coming producers, Cartridge, mark his debut with a fierce 2 tracker, loaded with soundsystem pressure and gully 130 artillery in the Banada EP. Melodic Grime, moody Dubstep, and sub-heavy textures sprinkle this wobby release, designed for dark rooms, splintered basements and heavy soundsystems. With an impressive back catalogue on Deep Dark & Dangerous, Albion Collective & one half of Regents alongside Manchester kingpin Strategy (Broke'n'£nglish), Cartridge is no stranger to the UK's burgeoning bass music scene.

On the A side, we have Banada, a melodic eastern-flavoured instrumental, with elements of Grime and Dubstep carrying the tune to its arpeggiated crescendo.

A singing voice and raspy melody build the tension before a heavily distorted switch up catches you off guard, leading you further down a Dubstep rabbit hole, and into a world of shady and sinister drops, sitting perfectly alongside the label's strictly hoods-up, heads-down tip.

Teaming up with Kaizen heavyweight and local scene hero Biome on the B-Side, Ricky Rosé has proved a firm favourite for those peak-time, no-holds-barred, bass-in-your-face, power hour moments. Relentless in its metallic bassline and thumping 808 drums, this explosive club tool comes with a solid side-serving of gunfingers and screwfaces.

Infernal Sounds bring their digital series to life with this spicy VA compilation, snipping four of the standout tracks from their first four EP's. The VA presents tracks from all over the world, spanning from Japan to the US, back home to Bristol and bouncing to Barcelona. Karnage, 'Spirit Bomb' kicks things off by slicing and dicing you with mid-range blades and tearing you apart with the heavy trap-style low-end ruckus. Switching things up completely on the A2 is Kodama with the wonderful 'Clear Your Head', entangling you in the beautiful melodies and uplifting mainframe, before Chief Kaya spins you all the way back to '06 on 'Ma'at'. The track brings about an essence of the old-school and a premium beat that you need to feel on a soundsystem. Finally, Khanum drops you in with and takes you under with 'Bun Politician', a strong message for the times, and a forceful track at that.

The tracks on this EP have had heavy support from the likes of Truth, N-type, BunZer0, Sicaria Sound, Deep Tempo, Hamdi and many more.

`Antidawn' reduces Burial's music to just the vapours. The record explores an interzone between dislocated, patchwork songwriting and eerie, open-world game-space ambience. In the resulting no man's land, lyrics take precedence over song, lonely phrases colour the haze, a stark and fragmented structure makes time slow down. `Antidawn' seems to tell a story of a wintertime city, and something beckoning you to follow it into the night. The result is both comforting and disturbing, producing a quiet and uncanny glow against the cold. Sometimes, as it enters 'a bad place', it takes your breath away. And time just stops.

The record "Ghosts & Galaxies" tells the tale of Two Rangers and their epic adventures in the Next Level system. Listen close and you'll hear them travel through harsh landscapes while battling foes from this world and the next. Some legends say they were treasure hunters others say they were intergalactic outlaws. The only thing we know is that these guys are tough as nails and never look away in the face of danger.

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

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

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.

Kode9's most ambitious work yet as a multi-disciplinary artist, `Escapology' is the soundtrack album to the sonic fiction `Astro-Darien', itself soon to be released on Hyperdub sub-label Flatlines. Already available as a special edition CD and digital album, we now offer a 1000 piece limited pressing on lucent orange vinyl, in spot-gloss sleeve with additional artwork by Optigram. `Escapology' reconfigures `Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics. "A record brimming with ideas and novel sounds, departing from genre exercises to offer something genuinely different." - Album of the Month -DJ Mag "[Kode9's] most dextrous and intuitive club music yet, full of mind-bending rhythmic nuggets. He's still the brilliant master behind the scenes, quietly one-upping everyone else." - Resident Advisor "The 15 tracks become proper dancefloor scorchers _ `Escapology' builds a futuristic jumble of aesthetics and sound design." - The Wire

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.

Established in 2020 by Duploc & 140 Plates owner Pieter Grauwels and producer Hebbe, Basskruit is a label set up with the sole focus of shining a light on Belgian & Dutch produced, explosive Dubstep & 140 music.

With previous incredible releases coming from the likes of 11th Hour, BunZer0 and Hebbe himself, the imprint is now set for their eagerly anticipated 17th outing.

It comes from Netherlands-based Crowley & Schim, two producers expertly carving their reputation into the underground ‘140’ scene with their stunning, bass-driven productions which have been released on labels such as Duploc, Fkof & Concrete Law.

Meticulously crafted and exploding with bassweight, Bsskrt017 is a four-track EP which boldly traverses the sonic plains of ‘140’, showcasing the variety in both artist’s sound, whether it be the stripped back & swinging Moraal, the reverberating & dubbed-out Skitta or the dark & breaks-laced Wervel, which provides inspiration for a deep & hypnotic remix from Belgian artist Zygos.

Release artwork provided by Joshua Hughes-Games.

Wonky noir specialist, Kercha, is back with five spun-out cuts, merging dubstep, jazz, garage, techno and a whole lot of weird. ‘Disarray’ is as discombobulating as its title suggests, a slinky beat hidden among umpteen odds and ends from Kercha’s cabinet of curiosities. A subby wiggle here, a far-off siren there, the warm tinkling of a Fender Rhodes, and was that someone falling down the stairs? Our only constant allies are a vaguely disturbing vocal and a bass clarinet that’s definitely up to no good. ‘Witness’ employs a similar palette but switches tactics, stripping back to the basics as faint whispers and the ever-growing presence of a whirring alarm suggest something dangerous might be lurking around the corner. ‘Conjugate’ is more direct, the percussion elevated from its usual backseat as thudding kicks and taught snares make their presence felt among the digi-dub wobbles — a theme repeated on digital bonus track ‘New World’, though there, jagged mid-bass lines provide an extra dollop of screwface-inciting muck. And bringing this leg of DNO’s journey to a close is ‘Long Way’, which rumbles along like a lonely night train, its chugging bassline matched with eerie engine whistles, the rhythmic clink of a cowbell and, somewhere deep in the mix, the familiar clickety-clack of tracks. Weaving together disparate worlds like some interdimensional architect, Kercha simultaneously places us among the inebriated haze and freewheeling expression of a basement jazz club, and the 10-tonne rhythms that have fuelled DNO’s parent party The Mine for the past decade, and will continue to do so into the future. Rhythms of postmodern realism at the very bottom of the DNO.

The master of all things creepy, Widow slithers back with his sophomore DDD release. 'Spooky Stories' will take you down the dark rabbit hole into a world of scares, spirits and suspense.

Widow's sound is characterised by a brilliant use of negative space, it's often what's not there as much as what is. Haunting atmospherics, deep bass, minimal drums and cheeky samples complete the picture.

Any fan of Deep, Dark & Dangerous will know many of these tracks from livestreams and shows. We see you hiding under the bed covers.

"Samples, movies and beats. That's the essence of Dead End's brand new LP titled Kino Vol.1. The Portuguese producer takes the chair and delivers a masterful performance that combines music and cinema. Kino Vol.1 is a multidisciplinary album built around samples picked from some of his most loved blockbusters and inspired by iconic movie clips. For the occasion, Saturate's Instagram profile has turned into a video gallery, featuring footage from cult movies and series such as The Office, Sicario, A Fistful Of Dollars, perfectly synched with Dead End's productions. The album experience itself resembles that of a mini-series like Netflix's Love Death Robot or Oat Studios, where every episode is a story on its own, written and shot in a different way. The fourteen tracks, or episodes as I like to call them, range from heavy club to hip hop and halftime. Some are more colorful and atmospheric like the ending tripled composed by 'Cocoon,' 'Voyage' (feat Dj Ride) and 'Flowers Bloom'. These cuts seem to come off reflective and introspective movies. Others are way heavier, as they were made straight for fighting and chase scenes. In this group, you can count 'Melee Attack,' 'Though Break,' 'Stealth', 'Thin Ice'. My favorite instead are those which set up an ambiguous and sinister mood. 'Bullit Drift,' 'The Fog,' 'Shindeiru,' 'The Road,' all these episodes could fit very well in both mental thrillers (a la Nolan) and unconventional psycho/horror movies. They build a palpable tension that successfully keeps me on my toes as I expect a jump scare or a sudden plot twist to come in at every second given. In conclusion, Dead Ends' Kino Vol.1 has the virtue of creating a listening experience that, thanks to its references to the world of cinema, becomes interactive and involves the listener in first person. It's impossible not to try to figure out from which films the samples are taken or to try to imagine which scene would be perfect for a specific track."

What So Not announces his sophomore album, Anomaly, off the back of being inspired by traveling the world and exploring sounds globally just prior to the Covid-19 pandemic. Anomaly is set to be a cohesive journey of far-off adventures, self-discovery and scintillating electronic wizardry.

"Saturate Records, a bass music label based in Hamburg, Germany that started in 2010, has come together with Stylust's (formerly Stylust Beats) Sleeveless Records to bring the world Saturated Warriors, a sweltering new compilation album featuring heavy-hitters from all around. Both labels pride themselves on only putting out the freshest music, always catering to the counterculture crowds and only accelerating with the times. Over the years, Saturate and Sleeveless have had releases from some of the current biggest names in the bass-music scene, including Herobust, G Jones, Zeke Beats, Conrank, Shlump, and more. Finding their niche in giving young talent a platform, these labels have become a home for young producers that aren't afraid to experiment. Now Presenting Saturated Warriors!"

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.

Leeds based UKG Peaky Beats follows up a killer release on Breaks N Pieces and self-released collaborative EP with Highrise with four cuts of ragga-tipped Dub that show a different sonic side to the typically lairy producer. It also comes complete with a remix from aya, the artist behind one of last year's most impressive tapes - I’m Hole.

LOTR-inspired ‘Helms Deep’ is a melodic battlecry; what would have been played when the Rohan army defeated Sauron’s forces had 140bpm dubstep existed within Tolkien’s fantasy world - haunting, meditative and deadly. ‘Shire Steppin’ makes clever use of stripped-back production with oddball samples and reggae-inspo that inspires mental images of hobbits smoking around a fire. What was in Gandalf’s pipe anyway?

‘Turn Up’ maintains the cemented minimal aesthetic, this time with a more tribal approach than ragga; swirling atmospherics soar overhead before screw-face dubs and heavy bass-weight invites the contemplative darkness across the threshold. Heady electronic and tribal traditions continue on ‘Greywind’ with more ragga-tipped goodness best played at 4am through the early morning haze.

Aya’s remix is typically brilliant - remaining at 140bpm, a standout producer of 2021 delivers a devastating, roughly chopped cut of malfunctioning dubstep - a percussive and experimental masterclass through light and dark.

2022 may bring much much uncertainty to the world but one thing we know for a fact is that we are introducing our most innovative and intriguing new act in years – the French duo Archil & Leon with their five track debut (appropriately called) “Blooming”.

Having both released in the past independently, Archil & Leon were originally brought together thanks to their teenage band His Majesty and from there, their passion to create music together never has faltered. Leon is a veteran session and live drummer who also produces music for his own dance project Ongaeshi and the dance collective moovance. Archil is an accomplished solo electronic musician and the force behind Archil Lab handmade musical devices. Using elements like springs (Springophone) and wheels (Roulettophone), his instruments are lovingly manufactured in wood and somehow carry the characteristics of modular gear but in the most unconventional way possible.

At a first listen, Archil & Leon’s music comes off as a well oiled live jam but as you dig deeper, it’s clear these tracks have a precision and style that separates them into a category of their own. Their EP “Blooming” is the result of two full years of being locked in their studio, writing and experimenting together. Indeed, an underlying flow of 70’s funk permeates throughout their music, however pigeonholing them into such a stereotype would be a travesty as they have impeccable song writing skills and their self made instruments conjure an experimentalism which is through and through rooted in electronic music. We can only hope that fans of now-classic Jamie Lidell / Super_Collider will appreciate where they are coming from, and you agree their “sound” is brilliantly individual. After all, they created their tracks literally from the ground up.

Watch more about Archil & Leon and their wonderfully outlandish instruments.

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.

Crossover balearic/leftfield house cuts from newly minted Australia based Within Reason Records.

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.

Fkofv004 is the third physical release from Fkof Records in 2020, following WZ’s Fkofv003 in January and the 2x 12” Fkof10 album celebrating 10 Years of FatKidOnFire earlier this summer. We open with the heavyweight Chad Dubz and Biome collab – ‘455’ – that’s been inspiring gunfingers and screwfaces around the world since being teased online a few months ago. It’s everything you’d hope the combination of two of 140bpm’s finest talents would create: incredible synths, crushing percussive power and atmospherics for days. Pure weight.

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.

Project: Mooncircle & Finest Ego have teamed up to establish a fresh new 12” producer series, entitled “Faces”. On every edition, you will find two different producers. Respectively, each producer will have their own record-side and unique cover artwork by the aspring LNY, known for his surrealistic portraits, blending humans and animals.

Going to be released upcoming February, the second edition of our “Faces“ series will exhibit works by the two extraordinary producers Daisuke Tanabe and Mike Gao. Again, coming from very distinct biographical backgrounds – despite their obvious Asian descent – the two are connected through their artistic excellence and uncompromising musical creations and visions. In symbiosis with these nocturnal flying mammals they use their ultra-precise sonic waves to navigate imperturbably through dark nights, leaving their prey with no chance of escape.

Limited 12” vinyl for serious collectors, DJ’s and record addicts only!

Mike Gao is a music technology researcher, holds a Masters degree in Music Technology at Stanford and is pursuing his PhD in Electrical Engineering at UCSD. After a career as underground Hip Hop and Scratch DJ in Chicago (working with such names as Qwel, Mestizo and Luckyiam) he began partaking and winning in numerous beat battles, Low End Theory being the most prominent one, which makes him one of the best kept secrets in the Los Angeles beat scene. He released music on labels such as All City with Tokimonsta, Galapagos4, Project: Mooncircle and many more…

Tokyo resident Daisuke Tanabe, a former art student who also lived in London for a while, developed from his techno/breakbeat background into a very unique sound between Hip Hop, Electronica, Folk and Jazz. He released music on labels such as Ninja Tune, BBE, Project: Mooncircle and Brownswood Recordings, performed with Zero DB and remixed artists like Elan Mehler and Aaron Jerome.

LNY is an artist living and working between New Jersey and New York. He makes art that is drawing based, social and open to the public in general; hence his drawings can be found pasted on buildings all over the world as well as in galleries and on 16-year-old kids’ tumblrs all over the internet. He is one half of Doodledrag, a New Jersey based doodling collective and always welcomes collaboration.

Limited edition of 300!

“From Love To Dust“ is a two side EP of Barry Gordon, Ireland / UK based producer. He grew up listening to classic rock like Led Zeppelin & Rolling Stones and played in several bands. Barry fell in love with hip-hop after hearing Wu – Tang Clan for the first time, and started making music as Sina. in 2009. He owns and plays many different music instruments and has got a wide range of music influences, anything from blues and folk, to ambient and hip – hop.
The 6 track EP, set to drop in November, bleeds creativity, with influences from all aspects of music being incorporated in the works of Sina. He lets you submerge, full body, into impeccably produced, brittle clean sound with amazing groove control, touching and emotional. Thus, From Love To Dust never bores and features remixes of Switzerland rising star producer Gards From KC, UK beat smith Kelpe, and UK-based producer Soosh, who has had a collab with Gards From KC for Project: Mooncircle earlier this year.
Sina.:
“I suppose the tune “From Love To Dust” (a play on the funeral phrase “From Dust To Dust”) is about the idea of human love as eternal, or at least as continuing to have a life when we are gone- through family, friends, art & music. “Remembrance” is a wistful song about the rare personal moments when we realise the beauty of the world and our life in it, and of the importance of remembering those moments when things seem darkest.“

Special uv varnish artwork print. Limited edition: 300 copies.

HHV exclusive for the "Berlin Record Store Day 2011"" November, 5th at our SelectedStore!

From a laments perspective you can call this Jahcoozi’s Robot Koch meets Scienz of Life’s John Robinson. However we here at Project: Mooncircle like to see this as two dynamic forces of nature coming together in parallel universes, delivering cosmic opted sonics with science-fiction narrative conventions in a metaphysical tone. Robot Robinson is the FUTURE from Earth to Mars to Venus to Jupiter and Beyond, this project spells out the attempts to bring a different pitch of vocals to the world of Electronic Music. Robinson being no stranger to the scientifical lyrical approach along with Robot’s evolutionary voyage prone soundscapes this one is a sure shot! The Future of Music is in Good Hands.
All tracks produced by Robot Koch. All lyrics by John Robinson.
Artwork and original paintings by Ima One (Japan). Design by Gordon Gieseking.

From a laments perspective you can call this Jahcoozi’s Robot Koch meets Scienz of Life’s John Robinson. However we here at Project: Mooncircle like to see this as two dynamic forces of nature coming together in parallel universes, delivering cosmic opted sonics with science-fiction narrative conventions in a metaphysical tone. Robot Robinson is the FUTURE from Earth to Mars to Venus to Jupiter and Beyond, this project spells out the attempts to bring a different pitch of vocals to the world of Electronic Music. Robinson being no stranger to the scientifical lyrical approach along with Robot’s evolutionary voyage prone soundscapes this one is a sure shot! The Future of Music is in Good Hands.
All tracks produced by Robot Koch. All lyrics by John Robinson.
Artwork and original paintings by Ima One (Japan). Design by Gordon Gieseking.

Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

Mexican Singer/Songwriter Graciela Maria has been singing since she was a little kid. Having livied in Mexico City for many years, she was part of the mexican electronic music scene and made music with local producers signal deluxe.

In 2009 she met berlin based producer Robot Koch in New York at his show at Coco66 in Brooklyn.
They started making music together and Grace was featured on Robot's album “Death Star Droid” as well as on the Ep “Listen To Them Fade”. 2009 marked the beginning of a journey both musically and geographically for Graciela, as she moved from Mexico City to Berlin and started playing shows wolrdwide with Robot Koch.
They played everywhere from the Sonar Festival in Barcelona to some obscure art festivals in Bulgaria and Tunesia.

With Many Places, Graciela Maria's stunning debut album, she steps into the light as more than just a featured vocalist on Koch's electronica and dubstep driven compositions: Her own music breathes the vibe of classic singer/songwriters like Tim Buckley and Elliot Smith, with the music and the production being even more organic and live sounding than on the previous Koch tracks. The songwriting took place all over the world, as Graciela traveled and lived in many places recently, accompanied by her little notebook and her digital camera, which she uses to record song ideas on all the time. The topics she deals with are both surreal and personal and leave it up to the listener to be interpretated.

Producer Robot Koch teamed up with friend and fellow musician Sneaky (Fingathing / Ninja Tune) to create this organic and retro futuristic sounding album, that incorporates Double Bass, Live Drums, Cello and other String instruments and well as a subtle touch of cutting edge electronic production which Robot Koch is know for. The track "Many Places" features a string arrangement by Fiora Cutler.

Graciela Maria is an artist to watch out for in the future as she proves to create timeless pieces of music that are appealing to Indie/pop listeners and lover's of electronic music alike.

Death Star Droid is technically Robot Koch’s debut LP, but all that this means is that the record drops with his name on it alone – the man is no rookie! Having released numerous records with his projects JAHCOOZI and THE TAPE VS RQM, as well as having made beats and remixes for for many artists internationally, Robot established himself as a household name in the world of Bass, Glitch and Lazerbeams. Lately his tunes became staple drops in the playlists of Bass Luminaries such as Starkey, Gas Lamp Killer, Hudson Mohawke, Mary Anne Hobbs and Rustie.
Death Star Droid is a Dubstep and Wonky Hip Hop infused affair, but the introduction of live acoustic instruments and heartfelt melodies is what sets it apart from the rest in the loosely defined genre.
It’s a sincere musical statement made in the tradition of his mixtapes. Expect to be surprised – this is music made for true music lovers.

Artwork by 44 Flavours

Death Star Droid is technically Robot Koch’s debut LP, but all that this means is that the record drops with his name on it alone – the man is no rookie! Having released numerous records with his projects JAHCOOZI and THE TAPE VS RQM, as well as having made beats and remixes for for many artists internationally, Robot established himself as a household name in the world of Bass, Glitch and Lazerbeams. Lately his tunes became staple drops in the playlists of Bass Luminaries such as Starkey, Gas Lamp Killer, Hudson Mohawke, Mary Anne Hobbs and Rustie.
Death Star Droid is a Dubstep and Wonky Hip Hop infused affair, but the introduction of live acoustic instruments and heartfelt melodies is what sets it apart from the rest in the loosely defined genre.
It’s a sincere musical statement made in the tradition of his mixtapes. Expect to be surprised – this is music made for true music lovers.

Artwork by 44 Flavours

Death Star Droid is technically Robot Koch’s debut LP, but all that this means is that the record drops with his name on it alone – the man is no rookie! Having released numerous records with his projects JAHCOOZI and THE TAPE VS RQM, as well as having made beats and remixes for for many artists internationally, Robot established himself as a household name in the world of Bass, Glitch and Lazerbeams. Lately his tunes became staple drops in the playlists of Bass Luminaries such as Starkey, Gas Lamp Killer, Hudson Mohawke, Mary Anne Hobbs and Rustie.
Death Star Droid is a Dubstep and Wonky Hip Hop infused affair, but the introduction of live acoustic instruments and heartfelt melodies is what sets it apart from the rest in the loosely defined genre.
It’s a sincere musical statement made in the tradition of his mixtapes. Expect to be surprised – this is music made for true music lovers.

Artwork by 44 Flavours

Death Star Droid is technically Robot Koch’s debut LP, but all that this means is that the record drops with his name on it alone – the man is no rookie! Having released numerous records with his projects JAHCOOZI and THE TAPE VS RQM, as well as having made beats and remixes for for many artists internationally, Robot established himself as a household name in the world of Bass, Glitch and Lazerbeams. Lately his tunes became staple drops in the playlists of Bass Luminaries such as Starkey, Gas Lamp Killer, Hudson Mohawke, Mary Anne Hobbs and Rustie.
Death Star Droid is a Dubstep and Wonky Hip Hop infused affair, but the introduction of live acoustic instruments and heartfelt melodies is what sets it apart from the rest in the loosely defined genre.
It’s a sincere musical statement made in the tradition of his mixtapes. Expect to be surprised – this is music made for true music lovers.

Artwork by 44 Flavours