Search "twit+one" 173 Items

No one can doubt that Lightnin' Hopkins is the king of Texas country blues. P-vine is reissuing on LP for the first time in 35 years the classic album, which was originally released on Crown in 1961 and is a compilation of Modern/Kent recordings from 1950-51, one of the pinnacles of the Lonesome & Dirty Blues world. With its deep, withering vocals, which sometimes sounded even terrific, and a guitar that moved nimbly and uninhibitedly, this is one of Lightnin's top-class recordings in his storytelling style. No one can escape the devilish charm of these dense blues.

Edition Hawara’s fifth release is a raw funk gem by a little-known Austrian pop band called Magic Sound. Edition Hawara’s second 7“release features one of the more obscure Austrian bands from the 1980s. Little is known about Magic Sound. The cover suggests that their label wanted them to be Austria’s Village People, though their sound is much rawer and funkier. One thing we know for sure is that the group included Andy Töfferl, who was also a member of the famous Austrian pop ensemble EAV (Erste Allgemeine Verunsicherung). And we know that they went to the studio to record a whole album after touring Sweden in 1980. Only these two songs survived, and they are worth listening to over and over again. Enjoy in fancy dress, or dressed down. With or without a moustache.

Vinyl is Close to VG+.

Vinyl is Close to VG+.

Label cover.

single sided white label promo in stickered sleeve

stickered cover and label stickers. promo white label copy

promo copy

DJ Rashad / Djunya / DJ Spinn / DJ Earl / Quarta 330 / Champion/ Ikonika etc.

The second of the Decadub vinyl-only releases dedicates three of its four sides to a volley of woozy and twisted footwork from most of the key members of Chicago's Teklife crew. Side One starts with DJ Rashad and Gant Man's squiggly 303 banger 'Acid Life' and moves onto Taso & Djunya's Darwinian banger 'Only The Strong Will Survive'. Side Two descends into DJ Spinn's bombastic 'All My Teklife' and then Earl, Rashad & Taye's 'Bombaklot' which takes Hyperdub full circle with a yardcore bomb like a 2014 upgrade of the label's early days. Side Three leads with DJ Earl's immaculate diva vocal cut-up of 'I'm Gonna Get You', then moves on into DJ Taye's fizzling R&B jam 'Get Em Up’ and the stone cold, warped humour of 'Icemaster' by Heavee. On the fourth and final side, Tokyo-based ally Quarta330 returns to craft ‘Hanabi’, an epic, uptempo synthesiser jam. Young gun Champion follows with ‘Power Cut’, its minimal, energetic and militant kicks and bass molded with cowbell and lots of tight edits, before dropping some neat keys and a warping bassline two thirds in. Ikonika finishes things off with the solemn march of 'Tug Zone', opening slow but building in flickering high hats and gaseous cymbals into a track which could have emanated from Battlestar Galactica.

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

One-off collaboration with Off-White c/o Virgil Abloh.

incl. MJ Cole Remix

3 of Shadow Child’s “Connected” collaboration album tracks get a makeover from Rimbaudian, MJ Cole and Bodhi.
Rising talent Rimbaudian reworks the only solo track from the project, “Steak Fingers”, and takes the original bumping stripped back groove on a more melodic journey with its stunning arpeggios and new string parts. The backbone of the original remains but be prepared to take a trip to a new stratosphere, with his stripped version which is included too.
Bodhi step up next to remix “Gacid”, twisting and turning the original acid patterns and grooves to make a special rework that gives a nod to early Detroit with new drum programming and pads. The Welsh duo bring the heat.
MJ Cole delivers what must be one of his finest remixes. “Um” the collaboration with Bodhi, already offers a trip that flirts with Jungle, lo-fi and the hypnotic but MJ Cole brings his signature vibe to the table with new keys, groove and provides something that feels as if it belongs in the realms of his seminal hit “Sincere”.

Reissue of in demand classic.Dubtraxx was new on the scene back in 2019 when they dropped this EP which has since become something of a mini-classic. It came on their own label Rhythm N Vibe and now this is seriously heavyweight gear gets reissued. 'Soundbwoy Request' is especially dangerous, working plenty of dub, reggae and jungle motifs into a rugged garage structure and sounding utterly ruff in the process. 'Towards '99' is no slouch either, albeit on a slightly housier tip than the raucous A-side. The "2000 Tribute Mix" of 'Next Millenium' meanwhile sneaks out a few of the eerie tones you'd expect to hear around the time that dubstep first started to emerge.

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.

Two are surely better than one. Following Lory D and Fadi Mohem, Toronto based producer Graham Bertie aka Nautiluss also steps up for his second outing on Seilscheibenpfeiler, marking the label’s 10th overall release. Once more, Nautiluss is transforming playful and rhythmically intriguing bass music into prime dancefloor cuts, encompassing a rich array of sounds and moods ranging from upfront rave action to delicate deepness.
„Guccifer“ kicks things off with a dark, shuffling beat, creating a subtle hardcore/jungle vibe with atmospheric overtones. „Snakes And Ledgers“ is a percussion-heavy tune led by a fat and thumping bassline and completed with muffled chants by Toronto rapper Matthew Progress. Next up is „WiFi Oasis“, again fronted by a memorably melodic and reverberating bassline while the track explores airy and enigmatic IDM territory. „Moment Of Clarity“ rounds off the EP with ethereal synth pads and big breaky beats, providing an ideal closing track for every extended club night.

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.
The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.
Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.
Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

Cover is close to NM.

Time Is Now returns with four future UKG anthems from rising producer Main Phase, this one is for the ravers.

CoOp Presents an all-new double-album compilation entitled 'Plug One'. It features a plethora of global talent from in & around the world of bruk and beyond - some already well-established in the field, some very much on the come-up and some brand new artists - this compilation is an acknowledgment of a continually evolving sound from the label formed by IG Culture & Alex Phountzi a few years ago. 'Plug One' affirms this electric movement, with a deeply fluid current running throughout, with tracks ranging from the cosmic psych jazz of Lcsm, to the classic UKG tweaks of Groove Chronicles, to the thought-provoking vibes of Reginald Omas Mamaode IV, to a veritable who's who of 2020 bruk talent including Xtra Brux, Sivey, Evm128, Cengiz, Wonky Logic & many more. From its beginnings as a classic club night and label in the early 2000's, CoOp always carried an undefinable and potent creative energy. A sense of freedom and uninhibited exploration was positioned at the core of CoOp's sprawling community and consciousness, communicated via movement and sound. From this seed and throughout the years that followed, this same energy permeated the worldwide underground music ecosystem. As CoOp's legacy continued to influence new generations of music makers far and wide. The syncopated rhythms, soulful keys and infectious grooves synonymous with the broken beat sound, now known simply as Bruk, became entwined with new concepts and progressions, leading to new movements carrying on the essence of the bruk energy. IG Culture and Alex Phountzi took the helm of their CoOp Presents label in 2018, with the vision of championing these new waves of emerging artists, continuing the all-important exchange of energy at the heart of the original CoOp movement, but also giving room for the music to be pushed into new and uncharted territories. With burgeoning producers from around the globe being drawn to the explorative and expressive nature of the project, an incubator was created, providing a space and platform for these ideals to take on new shapes and sounds. Just as every generation must rewrite its own history books, CoOp Presents was born from a combination of influences, ideas and personalities, and in turn is now encouraging the next generation to do some re-writing of its own. 'Plug One' will be released on vinyl & digital on CoOp Presents in November 2020.

Montreal duo Biochip return to Central Processing Unit with their new LP Crux Alley. The pair of Melissa Speirs and Julian Kochanowski turned plenty of heads when they first rocked up on the Sheffield label back in 2019 with debut drop Synthase. Synthase found Biochip twisting up Braindance, IDM and electro to their own ends, and Crux Alley is an album which hits similar sonic sweet-spots.
It's clear from the off that Biochip have brought their A-game here. Opener 'Mind Bubbles' has no time for pleasantries, dropping the listener straight into a nocturnal IDM-electro groove where bass dances nervily around shadowy synth pads. 'Mind Bubbles' is followed-up 'Polymorphic State', a tune whose laser-gun synth-bass plumbs even more energy into the pair's Rephlex-indebted sound. It's a hugely arresting way to begin an album, and the bold sonics here align Crux Alley with recent CPU releases like Bit Folder's Silicon Frontier and Annie Hall's Fum.
Other tracks on Crux Alley ease up on the frenzied feel of those opening numbers. Take 'Orbital Rendezvous', a cut which is still full of zippy melodies and keening keyboards but whose contemplative strut recalls the legendary electronic music duo referenced in the track's title. There's also a distinct cyberpunk flavour to this track, and this is brought out further on the vivid 'Dopamine City' and 'Tower 13' - it is at these points where Biochip most resemble the work of fellow CPU act B12.
Biochip record their music straight from the mixing desk, an approach that gives their tracks a spontaneous energy and one which sometimes leads Speirs and Kochanowski into novel sonic terrain. Crux Alley's 'Antagonist Part 6', for instance, is a spiritual successor to Synthase's 'Acid Billy' in how the overload of electronics almost pushes it into industrial-techno territory. Furthermore, while most of the LP draws on the Detroit electro continuum of Drexciya, DJ Stingray et al, 'Neutral Current' obliquely recalls the jazz-tinged house of Theo Parrish - although the wobbling synth chords and reverb-laced drums make 'Neutral Current' sound more like an extra-terrestrial reimagining of the Motor City legend's music.
Biochip continue to mark themselves out as one of contemporary electro's most exciting new acts with the Crux Alley LP.
Riyl: Cygnus, B12, Annie Hall, Orbital, Silicon Scally

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

Full printed sleeve with illustration artwork. Limited run of 100 vinyl copies only. Having collaborated with Umwelt on the earlier Mothership compilation (an allied Midnight Shift x Voitax production), the German producer is now handed the reins for full creative curation over the course of six tracks with features from close pals Ngly and Cressida. Awash with a palate of dark and broken sounds yet with touches of warmth and humor, 'Soothing Songs For A Cultured Affair', burrows deep into the mind of the Voitax label boss. Lending from a rich musical upbringing, we witness the evolution of breakbeat and electro as seen through the eyes and ears of a producer at one with his machines.

Released in 2016 on double splatter color vinyl (one is yellow and the other is light blue), this 15-song album is full of dubstep, EDM, & larger than life electronic beats. Includes "paracosm" with THE Glitch MOB. Stock due in 1-2 weeks.

Gang of Ducks welcomes back Haf Haf, whose Notch ep, released in 2014, helped define the early sound of the label. Pattern of chaos is a journey through 8 heterogeneous tracks, where Haf Haf's unique timbre is the narrative voice.The pleasure of the exploration, finding out new places beyond what we're used to, is the main concept of the record.All the tracks sit on a blurred line. On one hand you feel the echoes of different genres, extracts of voices, samples, that you may be familiar with.On the other hand these tracks take a final shape you're not used to, making each one of them hard to label. Every track feels like observing a planet through a window, which filters the landscape while at the same time reflecting the image to the observer.Pattern of Chaos is a really singular record, which moves energies in a new way."

"With this release, I set out with a particular sound in mind - one through which I could amalgamate my inspirations from over the years to create something fresh and outline a unique approach. With these tracks, I wanted to walk the line of having something energetic enough to tease my UK Underground & Dance Music influences, and yet experimental enough to present the listener with a deeper landscape to explore through the FM sound design." Aagentah

The Limited Series continues with the 9th release on the sub label. Bpls009 presents a 5 track compilation of stripped back and scantily clad drum tracks. 2020 hasn't been the year for clubs so here's something low key. The opening track "Pitch Control" comes from Guava. A subtle composition of percussive tools and well crafted sub bass, further exploring his sound from previous appearances on Holding Hands and Control Freak. Luxe fka DJ Luz, the Manchester based producer and B.L.O.O.M affiliate provides her debut track "Falcon's Rise", a nostalgic remedy with a euphoric vox and scattered jungle drums. Part two opens up to French producer Pipholp, his second appearance on the label, adding another broken beat, IDM inspired jazzy house entry with "Angers". A sense of patience between moods leaving you in limbo. Monotronique also joins with "Beat Himself" on the B2, a no nonsense bass heavy DJ tool for that specific peak occasion. More danger after his debut appearance on the Black Label Series (bpbl03) last year. In a total mood change, the release comes to a meditative close with "Wide Awake" from Padre Oe. A collaboration between Pete Lazonby, an artist with a long history most known for his chart heading solo production "Sacred Cycles" on Brainiak Records in the 90's, and Otto Fischer, a Nigerian free-improvising singer, lyricist and guitarist best known for his guitar work with the Alexander Hawkins Ensemble. The track also features Henry Lowther on trumpet, widely recognized as one the UK's best, and the strongest contributor to Talk Talk's Spirit of Eden with dozens of top of the pops appearances with a spanning list of important and renowned bands appearing at Ronnie Scott's to Woodstock. The mood is Blue. One Love. BP x

The first Azu Tiwaline's album, after been acclaimed by DJs like Lena Willikens, upsammy, Shanti Celeste and a bunch of electronic medias (Bandcamp, RA, Crack), is now remixed by a Lyon-Bristol-Berlin trifecta of similarly minded rhythmic innovators - twisting and warping her work into new shapes, featuring Don't DJ, Laksa & Flore reinterpretations. Nothing happens overnight. Behind every emergence, there’s years of work, thought and preparation - both intentional and unconscious - that’s gone unseen. So the past year might have been a ‘breakout’ year for Azu Tiwaline, but it was really built over two decades of experimentation, soul-searching - both creative and personal - and exploration. “A new name for a new spirit” as she likes to say, but with an unmistakable identity rooted in her history and ancestry. On her debut album as Azu Tiwaline, Draw Me A Silence, a record released in two parts with her family at I.O.T. , she fused together two halves of her own heritage, inspired by a new home in the desert. Personal history collided with family heritage: half step rhythms from a career in bass music met the warm winds and wide open silence of El Djerid in Tunisia. When music is sincere and honest, it tends to reverberate more widely, and deeply. The tracks written for the Magnetic Service EP were sent to one label and one label only, Livity Sound, who picked it up instantly. Something about the spacious, yet dense sonics - crafted with the help of percussionist Cinna Peyghamy - resonated with listeners starved of both the community of the dancefloor and the space of the outside world. The EP became one of the Bristol label’s most heralded releases of 2020, featuring in end of year coverage from Bandcamp to Resident Advisor. Beneath the calm of her productions, a restless spirit inhabits Azu, born out of months and years spent on the road. In 2020, it was her music that took her places. She put together a series of podcast mixes that echoed the percussive, rhythmic curves of her own productions, for Boiler Room, Dekmantel and Crack Mag. She distilled Fazer Drums’ percussive experiments into dubby downtempo with a remix, and contributed her most rooted track yet - Violet Curves with Cinna Peyghamy - to On the Corner’s Door to The Cosmos compilation. This will be followed by the Extended version of the album with a gorgeous ambient bonus track “Eyes of the Wind”, accompanied by a video clip directed by Azu Tiwaline, shot in her desert lands. This track will be appearing in a digital reupload reunifying Draw Me A Silence Part.I and II. As a sort of final chapter of this debut album. As for the rest? We’ll see what 2021 has to offer for both the world and Azu Tiwaline. In the meantime, take inspiration from her music: keep the tempo steady, let some light in, and listen for the silence.

Serious sound system pressure on this one! Select tracks from Natalie Slade's debut album 'Control' have been completely reimagined and transformed into Jungle, Footwork, Garage, Broken Beat and Hip Hop by some of the most exciting talent around, including Tek-Life affiliate DJ Taye, Azymuth producer Daniel Maunick, Garage young blood Holloway and Chicago's DJ Hank amongst others.

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

Rising star Kilder releases his 10-track debut EP ‘Don’t Hide’, taking listeners on a whirlwind ride through club music as heard through Kilder’s ears: emotive house, hard-edged bass and divine indie-disco bring the energy, while more cerebral ambient tracks wind things down. Although it’s largely club music, there’s a pop sensibility at play throughout, with punchy song structures and a keen ear for melody that poke at the pop zeitgeist. Guests on the EP range from established names like underground legend Trim and Japanese soulstress Friday Night Plans to art-school-upcomers Jasper Lotti, Lyzza, k_anti and Lyam. As a debut body of work, it’s a product of self-discovery and a bold first statement that speaks of big things to come. Kilder has released half the record as warmup singles, starting with the title track ‘Don’t Hide’ back in July which reverberated in underground circles and saw him featured by Dazed, Dummy, The Line Of Best Fit and The Independent in addition to heavy tastemaker playlist support across all DSPs. Since then, the producer has racked up over 2 million streams, received plaudits from Jack Saunders’ Future Artists show on BBC Radio 1 and was dubbed “one to watch” by Notion magazine. At just 20 years old, the Amsterdam based producer is an essential new addition to your record box and a thrilling new talent for 2021.

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

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

Shall Not Fade's Time Is Now series continues to showcase the cutting edge of breaks and bass oriented club music. This time they introduce Groovy D; this new solo project of one third of Sheffield-based trio Denham Audio curates a totally fresh take on garage which is soulful, unique and genre-defying.

Afterworld Groove EP features female vocalists and a collaboration with Time Is Now regular Interplanetary Criminal; vocal heavy tracks are a highlight of the record, taking the garage sound away from the confines of the club. "Outta Control" is one of these tracks; Emma Cannon's vocals walk the edge between soulful and mournful, contrasting the wild breakbeats and deep, dirty bass. The title track uses housey intoned keys; this is daytime garage, made for summer parties. Taking influence from his Sheffield home, "Keep Movin' On" has a classic bassline sound palette, cheeky stabbing synths and hyperactive breaks.

"Project Zeus" opens the B-side: stutters of snare and punching bass are broken through with a classic, uncontrollable bassline; the tongue-in-cheek sample that forms the drop will undoubtedly bring a smile to British fans. More minimalist B2 "Timeless" is a chorus of bubbling ear candy until the rolling sub bass looms into a deep, headsy climax. Manchester's Interplanetary Criminal joins to close the EP; with vocals from Anna Straker, "Higher" takes a genre-spanning approach in hazey garage percs and soaring pads. The tempo is down, and misty, romantic sax forms the backbone.

Following the release of Limewax's Untitled and Speed Dealer Moms' Sdm-la8-441-114-211, Trickfinger and Aura T-09's Evar Records imprint is keeping its foot on the gas, officially introducing the arrival of its sub-label, Rave4evar. Embracing more of an outlaw mindset, Rave4evar was created as a place for rebellion to collide with rave, offering refuge for off-the-cuff releases, special projects and occasional one-off collaborations.

Ushering in the sub-label's inaugural release, Rave4evar is proud to present Chicago-based DJ, producer and new media artist S4m23's debut EP, Angelface. The five-track project, set to arrive on July 2nd via a limited edition cassette and digital download, combines haunting vocals with pounding kicks and rave synths to create a moving take on hardcore. Written and recorded during a weeklong session in April 2020, the creation of Angelface took place during a period of processing grave personal loss juxtaposed with the collective state of chaos, grief and fear brought on by the covid-19 pandemic.

Within that specific period of time, S4m23 channeled intense emotion to reflect how cathartic it can be to honor the connections we build with one another despite how frenetic and heart-wrenching the circumstances of a particular moment or experience can be. Pouring an immense spectrum of emotions into Angelface, these productions eschew simple repetition to create unexpectedly complex rhythms and textures that evoke the sounds of British club music and '90s rave, while simultaneously creating something entirely new.

Shall Not Fade champions its hometown of Bristol for this next release on the Time Is Now White Label series; Daffy has built a name for himself on the local scene putting out forward-thinking garage on labels to watch like Dim Sum Records and Equal People. This will be his first full vinyl EP and it's not one to miss.

Run Around EP builds up the tension throughout; starting off with "Put Your Feet Up", a ghostly atmospheric piece with a sparse beat, sprinkling of ear candy and crescendo of headsy melodies. The title track oozes a growling bassline beneath staccato vocal snatches - it's a deconstructed style of garage that maintains tension while adding a dreamlike quality. More tension encompasses "Nerves" alongside teases of low end wobbles and harsh breaks that coalesce into a punishing jungle track.

"Lost Again" brings in the B-side with this same energy, an explosion of rolling breaks forming the backbone of this rouch and ready Metalheadz style crowd pleaser, calling out to the rave. "Mishap" serves up ragga vocals, impenetrable sub bass and pouncing two-step ripe for a reload, all rounded off with "Wasp's Nest" - a raucous, no holds barred climax to the EP.

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.

Lotus Wash drops his debut album on LBD Sounds, bringing a whole load of fresh material which came out from his experience as a session musician, and performing his experimental live sets around the Czech Republic. He connects the dots between classically trained musician and modular synth-head, working in Prague's DIY shop and creative community Noise Kitchen. The album spans across 6 original tracks of pure analogue bliss and live ideas, alongside three remixes from his closest allies, local producers Oliver Torr, Vision of 1994, and Hrtl.

The Field Theory was created during a period of deep fascination with quantum physics, with the tracks being conceptually and aesthetically inspired by some of its phenomena. Acoustically, it's mostly a slow and dark affair, with Lotus Wash only letting the light in very briefly when the sun is young (Magnetic Moment), keeping the shutter firmly closed for the rest of the record. His music does not rely on banging beats to drive it, instead letting intense grooves do the job from deep underground, just like on earth-shattering album opener Vacuum Fluctuation. He masters his craft of building atmosphere, a skill learnt during multiple collaborations with various Czech theatres. Of course, he lets the steam out occasionally, and always with devastating effect (Higgs Field, Casimir Force), but mostly choses to keep it capped, humming and hissing. When the sky clears, he opts for a minimalistic and hypnotic approach, only to disturb this peace with a killer bassline in one of the album's highlights – Spooky Action in A Distance – later re-imagined and re-electrified by Oliver Torr. Standard Model is anything but your standard techno, while Hrtl's remix of Magic Moment flirts with techno too, but on a dubbier and brighter side. Bringing the album to a close is Vision of 1994's downtempo take on the same track, finally letting you breathe out.

DJ Pantha joins the Time Is Now family serving up a weighty cut of bassline driven goodness. Born and raised in Dudley DJ Pantha's career began in 2007 and this saw the start of hits such as 'Bully boys', 'They can't do it' and the most successful to date 'Candy Shop'. DJ Pantha is one of the pioneers of Bassline and has spent the past 14 years mastering his craft, now finding himself with his own unique sound. Pantha links up with Bristol based label Time Is Now for his first vinyl release.

Bradley Zero’s Rhythm Section International imprint curate the second instalment of Shouts, a 21 track compilation with a diverse selection of artists whose music spans spoken word, DIY funk, house, techno, trap, indie, RnB and the many sub genres in between. Shouts 2021 highlights the dynamic journey and sound of the Rhythm Section International imprint, this time focusing on a global selection of completely new artists. An opportunity to shout about the next generation of musical talent from across the UK, Ireland, US, Middle East, Australia, Switzerland, and the Netherlands. “Shouts 2021 celebrates the future sounds of Rhythm Section International and explores our intention to diversify what the label is moving forward. The direction and scope of the label has definitely widened. You reach a turning point when you want to explore other sounds that you’re interested in and the beauty of being an independent label has allowed us to do that. The Shouts series gives us an opportunity to release so many genres that we enjoy in one hit, and that has fed into our overall growth.” - Bradley Zero Shouts 2021 boasts an incredible selection of a once in a generation type of burgeoning talent. Kareem Ali, praised by the likes of Pitchfork and Resident Advisor for his cosmic house sounds, most notably the Quantum Blackness LP. Crack Magazine cover star - neo-classical artist Cktrl who made a huge impact with his beautiful track ‘Robyn’ earlier this year. Glor1a and the Yokai the Deity remix for Shouts 2021 is rooted in FDM, a dance movement in NYC started from Jamaican culture. James Massiah whose stunning spoken word opens the compilation. Sami who also co-creates NPR’s Code Switch podcast. As well as Klein Zage, Adam Pits, Pookie, and too many more to mention.