After 2 Vinyl Only releases, 786 Recordings presents a new Series called 786X. The first EP of the new installment comes from the label owners DPRTNDRP, also known as D-Operation Drop, delivering the heavy-weight once again.
A three tracks EP, available both Vinyl and Digital format, containing 3 of the most awaited tracks produced by the Italian Collective.
Unshaken is an intoxicated sound system destroyer, with its multiple kick sessions matched perfectly with the mental bass movement, creates earthquakes every time this heater have been tested out.
The Disturbed creepy voices of the second track called Relief, working with the complex drum elements, bringing imagination to another level, rocking the listener up and down with his melted sub-line
Closing the EP with Parsley Tea, another anthem which finally see the lights, with shredded wild percussions and dirty wobble textures.
Bash (AKA Julio Bashmore) graces Trules fifth release and the first in a series of ten inch singles with Jubilee, a sub heavy, minimal, UK garage dub that manages to marry the sparser techno vibes of his Conch releases with the subtle anthemic quality of his other alias. A real dance floor sneak bomb.
Al Wootton provides a two-stepping dub remix on the B-side, chopping the drums and echoing everything out to infinity.
A meditation on the current political climate in the United States, “Raise” sits somewhere between 90s techno, NY house, and the hybridized warehouse bangers of the future. Urgent vocals call out to “raise your voice and speak” while hard-hitting drums, booming bass, and an elastic acid line coincide to illustrate the paramount importance of addressing societal complexities and working to enact tangible change. Plus it bangs.
“Anxiety” takes on an ever- present aspect of modern life. With distressed-yet-proud vocals, crunchy drums, icy synth stabs, and swinging hats, this track fuses Chicago and NY house influences into a claustrophobic yet contagious anthem. Simply put, “Anxiety” captures a paradoxical feeling that is all too familiar in 2019.
In March 2018 Blackwood Soundsystem hosted a dubplate session with King Alpha and Fikir Amlak in Lahr (Germany). Fikir Amlak voiced a dubplate called “Ancient Man” for Tree Of Life Soundsystem on the “Harder Than The Rest Dub”, a heavyweight version of Culture’s “Holy Mount Zion” from 1978.
This dubplate marks the birth of the “Tree Of Life Sessions”. The raw dubplate material was sent to T-Jah to get the final mix. He was inspired by the lyrics and the art of singing so that besides mixing fyah hot dubplates he produced an own version of “Ancient Man”, which is featured here with two additional dubs.
The song’s trademark sounds are the playful erhu theme, a bansuri flute and a kalimba that create the unique atmosphere of the tune.
Later Fikir Amlak also rerecorded his tune “Ekos”, another King Alpha production, for Tree Of Life Soundsystem. This time Clive Chin’s & Errol Thompson’s “Extraordinary Version”, based on “Ordinary Man” by Lloyd Parks, builds the foundation for the dubplate. Again T-Jah cut an own version inspired by the original clavinet melody from 1972. T-Jah invited some guest musicians to spice up the tune. The guitars were played by the Dub Shepherds. Hazel Dub added sweet melodica vibes to the dubby second mix. Plug Dub Soundsystem’s own Señor C recorded a mystical flute that echoes throughout the final version of the record.
140’s freshest innovator, Cartridge, sizzles three cutting-edge styles into one eclectic record. Thuggish flutes, electro-magnetic basslines and heavenly chimes ring throughout Albion Collective’s 11th release.
Holding its own on the A-side, ‘Cashmere’ snaps your fingers with nimble, eski flute-work and fuse-lit 808’s. The extra-terrestrial ‘Antimatter’ shudders earth’s tectonic plates, carving deep, spacious basslines into the B-side. Rounding off, the smile-driven melodies of ‘Sacred Scrollz’ lift your spirits above airtight percussion and foot-shuffling trap grooves.
Sifting the rhythm of the soul through his signature, crystal-clear sound, Cartridge elevates 140 in his Albion Collective debut.
Arguably the Netherlands’ most prominent grime artist, JLSXND7RS’ name is synonymous with some of the most iconic productions around, with a vast back catalogue including collaborations with Wiley, Footsie, Rocks FOE and Discarda. For the debut vinyl release on his fledgling label, Dark Knight, he’s brought out a long-awaited fan favourite alongside two gargantuan reimaginations.
From its brassy opening notes, “ Marching” is instantly recognisable – a minimal, yet menacing instrumental which has enjoyed countless plays from esteemed DJs including Slimzee and Sir Spyro since it first surfaced on the airwaves in 2016. It also comes with Mala’s seal of approval; the Digital Mystikz legend has cut the track to dubplate for use in his sets.
On side B1, dubstep royalty Caspa pares back the original to its base elements, instead introducing gritty basslines, mesmerising percussion and a grimy harmony to bridge the gap between the two genres.
The release concludes with a remix from Brighton innovator and Sector 7 signee J ook, which Outlook festival-goers will recognise. His melodic interpretation of the song includes swelling reversed synths, shuffling drums and cinematic breakdowns.
Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.
Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.
London’s Will Hofbauer has been steadily making a name for himself in the UK capital over the past few years via his own Third Place Records and Co-Select, an event series he runs alongside his collective with a focus on gender equality in DJ Culture, curating back to back sets with a balanced representation. Here we see Will mark a new milestone in his career with his production debut via New York’s HOMAGE Records, while hotly tipped producer and DJ Desert Sound Colony steps in on remix duties, known for his material on labels such as Scissor & Thread, Me Me Me, Futureboogie and of course his own Holding Hands.
The original mix of ‘Caned’ leads the release, laid out over six minutes with crunchy off- kilter drums, gritty disorted bass tones and wandering arpeggios all dynamically unfolding and evolving throughout. The Desert Sound Colony Remix follows next (seeing early support in from Bradley Zero, Gilles Peterson and Tristan Da Cunha), the fellow London-based artist stamps his own mark on things with a UKG tinged vibe via heavily swung drums, heady synth flutters and a menacing bass line all weaved together amongst the shuffled groove.
‘Whiplash’ follows next, fusing choppy amen breaks and bumpy broken drums alongside bubbling synths and an infectious vocal hook before ‘Rocks Off’ rounds out the release, this time round embracing a raw 4/4 approach rhythmically while a stab- led bass line, vacillating resonant synths and airy string sequences further fuel the murky, hypnotic groove.
a1. Will Hofbauer - Caned
a2. Will Hofbauer - Caned (Desert Sound Colony Remix)
Clearlight brings his wonderfully tripped out production wizardry to Foundation Audio for a 3 track journey into the void!
Clearlight has always stood out from the crowd and pushed boundaries with his unique take on the genre. It sounds like dubstep swallowed a bottle of LSD… or smoked some DMT… There’s no point going into detailed track summary as it won’t do the music justice, - just sit back, spark one up and get sucked into another dimension.
WRXX5 So release number five for Warehouse Rave falls to Skin Teeth and his brand of Heavy Jungle influenced Breakbeat. Nostalgic and forward looking at the same time this E.P. wears it's love for all things early ninety's firmly on it's sleeve!
The Rollers Opening proceedings we have The Rollers. A combination of classic Jungle breakbeats, eerie and melancholic Pads and a brutal bassline that acts as a mission statement for the rest of the E.P. Titled after the the iconic Sanctuary's second warehouse, The Rollers does it's best to encapsulate that feeling of raving in 1993.
Unity Following on from The Rollers we have Unity. Influenced by such legendary producers as Nookie, Dj Crystal and Skanna, Unity utilises 808 stabs, emotive Pads and the now famous Reese bass to recreate a moment in time when the rave landscape was changing. Couple these elements with an anthemic vocal and you get a tune strictly for the 4am crew.
Silhouette Huge Drums and a booming wall of Sub bass typify this Dark slice of underground rave music. Raw adrenalin fueled Hardcore Jungalism is the order of the day here. Add to into this heady mix a classic vocal and you have a track reminiscent of some of DJ SS's Formation output from back in the day.
Heaven On Earth Referencing the Weekend World Rave of the same name, Heaven On Earth cuts straight to the chase. vocal snippets and a heavily edited Think Break are underpinned by Booming sub bass, culminating in a 130bpm slice of Junglism that wouldn't of been out of place on the dancefloor in 1995.
After a busy year putting on the hypest club nites and radio shows all across town, the Munich based club label Ruffhouse joins forces with the dynamic duo of Schlachthofbronx and their Rave & Romance imprint to bring you a long awaited 10“ record by Tymotica - a founding Member of Ruffhouse who now resides in Berlin.
The A-Side is home to “Galaxies Of Dust”, a 2-Step influenced club belter paired with the coldest basslines, synths and glitches you could imagine. The track is driven by a brooding bassline that feels too much like Jungle to not mention it (even though it's clocking in much slower) before diving deep into twisted submarine breaks, always staying true to the boundary- crossing Ruffhouse club music aesthetics.
On the flip side you can find a low-end heavy take on the original by Munich veterans Schlachthofbronx who adopt the tune into their hi-fueled bass universe and add layers of vocal chops and general carnival rave vibes. Originally released as a stricly limited CD-exclusive on the Rufftrax compilation this spring, the Schlachthofbronx remix quickly developed a life of its own and became one of the most sought after tracks of their international live sets - with the few circulating promos ending up getting cut on acetate by their vinyl-affine DJ-friends.
So better don't miss out on the opportunity to get your hands on these outstanding tracks on this proper run of nicely cut 10” vinyl that is RAR007/RUFFHOUSE002, made in collaboration from the two Munich based club music power houses Ruffhouse & Schlachthofbronx.
a1. Tymotica - Galaxies of Dust
b1. Tymotica - Galaxies of Dust (Schlachthofbronx Remix)
Zeb Samuels & Deep Heads are proud to present his debut studio album 'Hope & Light'.
The London born and based producer and multi-instrumentalist Zeb Samuels is delighted to present his first studio album 'Hope & Light', featuring exclusive collaborations with some of the standout artists and musicians he has worked with over the last decade.
The culmination of Zeb's professional experience and creative exploration as a composer, producer, sound engineer and performer, Hope & Light is an intense and insightful journey into the mind of an inspired multi-instrumentalist and musical fanatic.
Produced and creatively directed by the artist, Hope & Light is richly inspired by his past collaborations and wide-ranging influences. Featuring Zeb on keys and synths, and layered with his characteristic vocals, the album possesses an energy, maturity, warmth and texture that neatly encapsulates his ability as songwriter and album maker.
Hope & Light features appearances and input from an array of musical talents, including Synkro (R&S Records), Escapism Refuge, Om unit (Metalheadz, Cosmic Bridge & Planet Mu), Ash Walker, pianist and composer Joe Armon Jones (Ezra Collective), drummer Mck Nasty (Kamaal Williams & Black Focus), and prestigious jazz trumpeter Byron Wallen.
Like Zeb and his many of his collaborators, Hope & Light defies categorisation, touching on multiple genres: jazz, ambient and bass among the strongest elements. Though Zeb himself would probably describe his music jazz, alluding to his love of improvisation and the freedom of movement within each composition.
Zeb's music has already been supported on BBC Radio 6 Music, Clash Magazine, Magnetic Magazine, XLR8R, Kid Fonque's 5FM, by Belgium Tastemaker Lefto, Soulection Radio's Joe Kay and as a producer, he has worked with some of the most prestigious names in the music industry. As a label manager, he has released works from Ash Walker, Synkro, Djrum, Escapism Refuge, Lewis B, DFRNT, Congi, Geode, Versa & Rowl and Vivek.
The latest transmission from Sneaker Social Club welcomes Low End Activist into the fold for a record that draws heavily on soundsystem culture and in particular its social function in the Afro-Caribbean communities it stemmed from.
The source material for this record of fractured bass pressure is a VHS recording of Muzikon Sound System, captured in 1988 on the Blackbird Leys estate in Oxford, UK. The vibe pours out of the scenes captured – it was a famously hot summer, and Earthy Irie’s crew set their rig up at the Blackbird Leys summer fair, gifting the community with a wall of sound blasting out ruff n’ tuff 80s dancehall while the local deejays toasted over the top. Elsewhere Street Level would have had their system set up playing UK Soul, Hip-Hop, Proto Rave and Acid House, while further down the field (known locally as ‘the wreck’) the annual five-a-side football tournament took place.
The fair was a symbol of the unity of the estate – a multi-ethnic working class community bound together both by the looming presence of the car factory (where a massive portion of the residents worked) but also the long simmering social divide in Oxford. Since the founding of Oxford University, the country’s elite have needed people to do their dirty work, predictably exploiting and marginalising them in the process. As the city and its colleges expanded, so these communities were ushered out of town. The tensions between the classes reached a flash point repeatedly throughout the centuries, and it was no different during the 1991 riots on
the Blackbird Leys estate. As with similar riots elsewhere in Britain – Brixton, St Pauls, Toxteth, and elsewhere – heavy handed, not to mention misguided, police tactics loom large in the story, where the elite and the authorities fail to understand the community, how and why it functions the way it does.
Drawing on this snapshot of Oxford life, far from the international facade of the city’s privilege and power, with a deep-rooted, personal perspective, Low End Activist channels the raw energy and expression of Muzikon’s sound and frames it in the dread bass pressure that such soundsystems directly led to. It’s not dark music, but rather an intense one, defiant and proud like the Blackbird Leys community and so many of the social situations that gave rise to rave culture in the late 80s and early 90s.
The people from the estate would take their skill, knowledge and access to ‘the factory’ and use it to joyride high-end sports cars – a celebration of personal liberty in the face of social barriers enforced by the very people who would buy such things. Now Low End Activist applies his own craft to an amazing artefact from decades past, not so much joyriding with it as respectfully doffing his cap to the community in a show of solidarity, letting the jubilant sound play out once more
Breaka presents ‘Breaka 001’, the first release on his own self-titled label.
“This record is a special project for me. Releasing myself has allowed me to collect four tracks reflecting different sides of my musical world. ‘Breaka 001’ opens with ‘Icy Grills’, a classic Breaka style track based on Breaks, 808s and euphoric melodies. ‘Stretch 130’ is a portal into the world of Stretchy Dance Supply, a workout-based club night I co-created. It’s one to limber up and get down to. The B-side starts with ‘Apricot Cocktails’, a track inspired by the classic Broken Beat sound. I made the instrumental in 2018, but the track got a new lease of life when paired with vocals written and performed by soul diva Lydia Kotsirea. The EP comes to a close with another collaboration, this time working with producer and session guitarist Bradley Hutchings (Guava). I often open my sets with this one. I think you’re going to love it.”
The fourth instalment of Dub-Stuy’s riddim series takes a slight detour from its modern dancehall focus with a darker, hip hop influenced riddim featuring contributions from an international cast of vocalists affiliated with the label.
Santa Muerte Riddim puts forward a new sound for the series with a fresh beat courtesy of Brooklyn producer Jonah Freed. The slower 80bpm riddim combines a hypnotizing string melody, eerie sweeps and punching boom bap kicks bringing to mind the heydays of 90’s NYC reggae hip-hop or classic Bristol fusion styles (think the Wild Bunch, Portishead or, more recently, the Young Echo crew). In fact the riddim has a direct tie to Bristol. After Freed first made it, while studying in Chicago when he was just 18, he sent it to Bristol MC Rider Shafique and the two eventually connected for a show in town where Young Echo member Kahn wheeled up the song. After that it was clear this was a riddim that needed to be put out into the world.
Taking turns on the vocal tracks are three artists with a wide stylistic range. Bristol’s Rider Shafique kicks things off with striking confidence, his laid-back flow flexing between boasts and elevated reflections to make ‘Santa Muerte’ a new outernational standard. Next up is veteran NYC artist Jahdan Blakkamoore who showcases his versatility and delivers an uplifting call to leave violence behind on ‘Liberation Over Liberace’. Pupajim from Stand High Patrol takes on the last version with “Open Mindedness”, an unexpected rendition of the riddim laced with a layer of Rhodes harmonies. With his unmistakable vocal style, the french MC urges the music industry to break down musical barriers and embrace the diversity of styles and sounds.
To echo Pupajim’s lyrics, the Santa Muerte Riddim is a testament to the rich history of fusion and eclecticism in sound system culture.
WRXX4 is Y U QT’s first release on Warehouse Rave. Leicester based Garage new boys making some Melodic upbeat Bangers.Track 1 Can’t Hold it in is a Melodic Journey of Baselines/Strings/Vocals and skippy drums that compliment and set the tone for the EP. I Wanna Know is an upbeat Garage/House Club Track. Much like I wanna know we have Deeper Love a Housey/Garage Club tool With some Big basses and Nice Breakdowns. Fort Wibbler is a 4x4 Heater with a Dub Break down Champions taking the EP a little Darker. Slew Dem is a 2 step Bass Driven track ending the EP off in a moody but still upbeat style of Y U QT.
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