The long awaited next piece of the TNT Roots, raw unpolished, extra valuable, long-sought-after diamond is here, via our friends at Bokeh HQ!!!!
You already know that we’re big fans of this legendary underground dubplate-slinger from day one – and how much we appreciate this vinyl outings from this mythical producer, on one of our dearest friends labels.
Miles at Bokeh Versions once said that he ‘likes our reviews the best’. Well, he shouldn’t be writing such spot-on words himself then, because, unfortunately the best thing we can do (rather than just re-shape his words) is to copy & paste the official Bokeh-blurb here, for all the info and heartfelt sentimental value you need, in order to understand what this all means to us:
“TNT has never released a record before (aside from the 12″ we did last year), so this is a huge fucking honour to be trusted with this material. TNT Roots has continued a solo career since Earthquake quietly folded in 2002, trading short-run CDr’s on Ebay and the Blood & Fire forum. His music still survives on not-for-sale dubplates – pushed exclusively by legendary 90s sounds like Aba Shanti.
The result is the Raw Dub Creator LP – a survey of his 2006 – 2018 CDr selected by Bokeh.
These are driving, dark, militant sounds for these times made in seeming isolation in Northampton (TNT never plays live, doesn’t want Bandcamp, just wants to sell his CDs quietly over email). TNT Roots’ contribution to dub is seismic, almost dinosauric, but through some glitch in universe fabric, ‘Mighty In Battle’ [Bokeh 2018] was his first official vinyl release. As half of Earthquake – he’s responsible for the darkest, forward, most slept-on future of dub to grace us. This unique and heavy vision has reset the whole game with long unavailable LPs like Revelation in Dub and Dub Harder Than Steel make obvious an understated lineage flowing from 90s steppas down to jungle, grime, hardcore, darkcore, doomcore, it’s kinda pointless to list them. It’s dub. TNT and Earthquake’s rightful place alongside those mystic giants, Iration Steppas, is more than assured by those that know.
Everything we worked for on Bokeh…..feels like it leads here x”
Drone can do no wrong .....Hot off his debut with 1985 Drone returns with up and coming Dnb star Hyroglifics. When the clubs open you'll be sure to hear FADED !!!! Straight soundsystem pressure
Spear is classic Drone. Moody and rolling. Straight eyes down business!
The latest drop from Low End Activist finds him teaming up with East London’s Razor for a blistering, mutant grime throwdown. Razor has been coming up for some time now, and the clue is in his name. Staggering, swaggering, diamond-sharp lines bending and flexing over LEA’s 10-tonne beat. Stepping on from past work with the likes of Filthy Gears and Trooh Hippi, this is as clear a statement of Razor’s skills as you need to hear. His versatility reaches beyond purist grime to become something more malleable – the perfect fit for the grey area of bassbin pressure LEA occupies.
On the B side, the first remix comes from John T. Gast, who dubs ‘Get Dark’ out in superlative fashion. The downcast lead lick interplays with a warm, rounded sub and Razor pings through the echo chamber for a dreamy flip of the original. Oxford-rooted producer Silas brings something more slippery to his version, teasing a weightless lead-in which drops anchor in devastating fashion around a bass that curves time and space. Low End Activism continues to yield rule breaking sonic matter ruder than the rest.
a1. Low End Activist ft Razor - Get Dark
a2. Low End Activist - Get Dark (Instrumental)
b1. Low End Activist - Get Dark (John T. Gast Cowbell Mix)
Presenting the Dark Guru EP from Toulouse’s favourite quartet - Visages. This is their 2nd EP on the label to date. Their deep melodic and dark sound has helped them to truly make their mark on the genre. Also unrestrained by tempo or genre, Visages are prone to writing at various bpm’s, as is evident in the dubstep (title) track Dark Guru. Visages have a special talent in creating music that is perfect for dancefloors, and for listening at home. No stone is left unturned in their compositions, and their style is truly unique. The Dark Guru EP is out on 30th April on vinyl and digital.
With nearly 30 vinyl releases rapidly fired out over the past 5 years, alongside a host of digital downloads, mixes and more, it’s safe to say that Infernal Sounds have truly and firmly left their stamp on the UK’s ever-evolving dubstep scene. It seems only fitting now that, half a decade into their journey, they’re pleased to announce their first long-play release, in the form of the Crimson LP.
Featuring a hand-picked selection of no less than 15 artists from around the globe, rather making up a ‘who’s who’ of trendsetters within the 140 bass music scene, the album comes presented across three 12” vinyl plates, transitioning its way from the deepest low-end through to the grittiest sounds this side of the Northern Hemisphere - all of this presented with stunningly-designed sleeve and label artwork by long-time label affiliate Emily Dayson.
‘Crimson’ opens with a deep, and long-awaited cut, from rising star Fiend, moving into a lurching bassline-driven selection from label stalwart Bukkha. Flip the first plate over, and you’ll be pleased to find an endearingly squelchy number from California’s Subtle Mind, closely followed by a gritty, stripped-back track from German wizard Causa. Moving onto the second vinyl, and proceedings continue with the sounds of recent label signing Nova, sharply cut into a relentless speaker workout from infamous US trio Ternion Sound. Turn to the D-side, and we’re presented with a long-sought after “lost dub” from dubstep legend Dark Tantrums, a staple in many mixes from the past few years, topped off with a wildly-oscillating production from the elusive Oxóssi.
Rounding things off with the final of the three vinyl, Japan’s Dayzero and Karnage deliver an exercise in subwoofer manipulation, before new signing Drumterror teams up with label stronghold Darkimh, effortlessly blending guitars into a distorted maze of frequencies. Having recently made waves with their old-school, yet contemporary, brand of dubstep, Fearless Dread join the label with an echo-scattered cut before rounding things out with a selection from Artikal boss J:Kenzo and increasingly regular collaborator Sabab, offering a masterclass in sound design and bringing the ‘Crimson’ LP to a flawless close.
The Ossario EP presents four serpentine and labyrinthine techno tracks produced between 2019-20 by Andrea Bonalumi, also known as Big Hands. The title is an homage to San Bernardino alle Ossa in Bonalumi’s hometown of Milan, and personifies the ethereal and opaque atmosphere of his ouevre.
Stylistically ‘Girde Maye/Astere’ embodies the interrelation between his Milanese roots and adopted home of London. Recorded one summer evening in Bow, it includes an original vocal by a Turkish immigrant, spoken in Italian - a paean to an unrealised, borderless world. This is followed by the pendulous, mutating bell tones of ’Modulo’, a fragmented and abstract epic of sublime beauty that defies easy categorisation.
On ‘Oscillation’ the producer explores polyrhythms, which also functions as a tool for DJs to transition between tempos. The undulating groove of ’Cariatide’ rounds out the EP, a statement from a talented producer who deftly crafts a soundworld which is at once contemporary and historical.
Presenting his first new music since 2018's 'Cloudy' on A14, we welcome Beneath to the roster with this expansive and unnerving new double EP 'On Tilt'.
His most substantial release to date, the six tracks build on his signature style of sound system workout imbued with the resonance of UK Funky, Hardcore and DMZ Dubstep. 'On Tilt' refers to a situation in poker where the player lets their luck dictate decision making, resulting in irrational strategies based purely on emotion. The panic can be felt throughout the EP with the towering 'Dark Waters' being a standout. On closer listen, dense layers of detail lurk beneath the surface making for an intense and thrilling trip.
Hypercolour backroom boy, Ste Roberts, surfaces to the top for a long-awaited new release on the label, serving up a trio of wonky and twisted grooves on ‘The Crescent’ EP.
Firmly establishing his STE label project over the last few years, as well as notable releases on Infiltrate, Kneaded Pains and Catch Recordings, Roberts unleashes gnarly modular riffs and deft melodies over a swinging, minimal beat on ‘The Crescent’, teased out over its nine-minute duration.
‘Victor’s Mezcal’ similarly is built upon an infectious and nuanced groove that breaks midway for a mind melting breakdown, and the electro charged beats and hoover sirens of ‘The Hiding Spot’ concludes this tripped out and left of centre house release in fine fettle.
As life and the world as we once knew it enters a new wave, Phuture Shock Musik continues apace with their first solo release of the year entitled ‘Dub Rockas’ EP, by none other than deep house maestro, Trinidadian Deep.
Widely known for his deeply spiritual and afro-leaning sound, the Brooklyn, NYC-based producer and DJ has remained a dominant force within the deep house sphere for over twenty years, and during this time has released work on a string of reputable labels, including Neroli, Deepblak, Shelter and Ron Trent’s Future Vision imprint, to name but a few.
Now surfacing on Bristol’s Phuture Shock for his latest 12”, Trini combines signature themes of Yoruba mythology, soundsystem culture and his native Caribbean roots, with hints of dub, soca and afro styles across three spellbinding house jams that form the ‘Dub Rockas’ EP. As you can expect from Trinidadian Deep, this is the highest order in hypnotic, tribal rhythms and lush, ocean-deep sonics that will touch the innermost depths of your mind, body and soul.
The A-side opens up with the mystical aura of ‘Dub Rockas’; a deep, percussion-laden roller, centred around a sturdy b-line made to rock up the dance, and as the title suggests is peppered with dub flourishes via heady dub chords, wailing dub sirens and soundclash vocal samples; whilst glistening organ solos of a tropical vibe slither gracefully between cantering soca-style beats that drives the riddim along to militant effect. Named after a low-key backstreet in North West London, ‘Euston Street’ follows next in a similar soundbwoy fashion as the A1 though with a brighter tone, where dense layers of afro percussion and jostling, semi-bruk rhythms prance in unity with a melange of Caribbean-flavoured woodwind licks, atmospheric pads and dubbed out synths; altogether topped off by a nimble display of gospel-tinged organ work that sears thru the track like wildfire.
Eight slices of balls-to-the-walls Baltimore Breaks receiving their first vinyl re-issue.
A1: Kotton The Cutie - I Just Wanna A2: Mz Thang - Bang That Pussy A3: Mz Thang - Shake Ya Dick A4: Ms Mocha - Not The Boss B1: Mz Thang - Clit Control B2: Menage A Trois - Funky 69 B3: Kotton The Cutie - Baby Fathers B4: Lady Shaunda - Stuck
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