"Drifter Dub & Perception draw from a deep inner feeling that connects the four elements - earth / water / air / fire. Everything is connected and surrounded by these four elements in varying ratios and levels of interaction. With these tracks, I wanted to elicit a mood that gives the feeling of being in nature with all these elements, dancing around a fire in the forest, getting lost in the kind of hypnotic rhythm and percussion that can put you in an ecstatic higher frequency state. The Forest Drive West remix of "Perception" captures that all and completes the release perfectly." - Es.tereo
A1 Es.tereo - Drifter Dub
B1 Es.tereo - Perception
B2 Es.tereo - Perception (Forest Drive West remix)
For us, VISION has always been about pushing the envelope, both musically and artistically. On the "Chronos" EP, we wanted to write something with this ethos, whilst exploring themes of modern sci-fi and time travel, which is reflected in the track titles. VISION has been massively influential on us since its inception, so it's been an honour to work with them on this release. - KOAN Sound
We Welcome smooth criminals ADMNTi and T. Jacques back to the Dansu Discs family with their split ‘Platform Alteration’ EP.
Both sides providing heavy basslines with added groove. If you’re not already ready to return to the dance-floor, then this one will give you that much needed assist.
Deep Heads are extremely proud to present the highly anticipated vinyl edition of Deep Heads Dubstep Vol.3!
The series has featured some of the best free-thinking Dubstep producers to emerge and contribute to the scene in the past decade, as well as showcasing a lot of music released through the Deep Heads imprint over the label's history.
The tracks selected for this incredible Vinyl edition are some simply made for wax. All mastered by Beau at Ten Eight Seven, the frequencies delivered are weighty, precise, and smooth on the ear. Put the needle to the grooves and hear this masterpiece come to life.
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)
Acid Skanking Volume 3 brings us back to the acid basslines. No More Hustle is a crossculture acid riddim kicking idm breakbeats and juke into dub basslines on 160 bpm. Flipside the the dub version on 80 bpm deep into echo chamber science.
Blurring the lines between UK techno, bass and breakbeat, Out of Sorts present their first release, The Crescent VA. Despite being newcomers on the scene, the Bristol-based label pulls in five artists who are by no means newcomers themselves. With respective releases spanning across the likes of Scuffed, Gestalt, Homage and SPE:C, the artists on board create a release brimming with inventive, low-end dancefloor pressure.
THIS SIDE Setting the pace from the off, Will Hofbauer's sub-fuelled opener combines shadowy vocals with a rumbling low-end. Tucked away in his arsenal since 2018, JBU ‘18 is an example of Will’s impressive versatility. Farr's Bassline Interferometry further flattens the gas pedal with intricate percussion orbiting around a chest-rattling bass to form a delectable peak time groove. With a strong release on Vienna Underground Traxx and more in store for this year, Farr is definitely one to keep an eye on.
THAT SIDE Dyslecta announces himself here with Engram. A bouncy, rhythmic affair with rich sub-bass and FX-fuelled vocals that wouldn't go amiss in the heights of the rave era. An Avrin has put his unique style to use on labels like SPE:C and Scuffed Recordings. That same quirky style is showcased with Smug. Fizzing with inventive energy and clever sound design, the track is guaranteed to leave an impression on listeners. To see out the EP Bobo steps up with Sin, a spaced-out number that dips its toes into jungle territory. The closing cut is ethereal and in parts melancholic, without sacrificing its dancefloor DNA.
With early support from DJs including Chris Farrell (Idle Hands), Danielle (NTS), Emerald (Rinse) and Tom Ravenscroft (BBC Radio 6 Music), and worldwide distribution by Lobster Distribution, Out of Sorts' first venture firmly sets the tone for future endeavours.
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.
The story behind EM13 is one that sees Equiknoxx crew (Gavsborg + Time Cow) in a quite a sought-after Air bnb in Kingston. Invited to this cozy spot by RTKal (Birmingham based MC + Frequent Equiknoxx Collaborator), saw us trying different methods to cancel out the sounds of the Hope Zoo + Kingston traffic as we nested in the second floor of this Hope Pasture dwelling.
We originally went there as our studio was under renovation and we decided we wanted to lay some bars down with RTKal. The night took an interesting turn when we began to commend people that have made big strides in dancehall culture, with Elephant Man’s name reeling high in the discussion. Elephant Man is quite a character which we believe deserves a very focused applause for bringing a refreshing ‘burlesque’ flair to the Kingston scene in the early 2000’s. When we think of Elephant Man we think of an outlandish 120bpm ‘Jiggy Mixture’ of Grace Jones & Lee Scratch Perry meets Busta Rhymes.
After long nostalgic discussions, Time Cow & RTKal both begin to vocal the ghostly synth + drum repetition concocted by a volca beats trial run by Gavsborg.
The third of Breaka’s self-releases sees collaborations between himself, known-associate Frazer Ray, and brother Bakey.
"Fun with a capital F is the theme of this EP. I selected these four with that in mind, each one also bringing a different flavour of the UK sound. ‘The Loudest Woiioii Ever’ and ‘Phone’s Ringin’ are the product of a few sessions that me and Frazer managed to squeeze in last year. We were hugely inspired by early dubstep, instrumental grime, and of course UK Funky.
For the flip, I thought it was high time to release some of me and my brother’s productions for the world to hear. ‘Club Dynamics’ takes things right up to 150bpm, and draws on Jungle and Juke influences. We round off the release with ‘Pro Perc', a UKG groover to vibe out to, named after the now closed drum shop on Kentish Town Road we’d visit as kids."
a1. Breaka & Frazer Ray - The Loudest Woiioii Ever
"Music to a point is directly associative and always carries stereotypic and archaic values. In opposition to real life physical sounds electronically created sounds and music throw you back to the beginning of sound - the sine wave. To go from there is a welcome challenge and a lot of fun which both expresses well in the album." - Current Value
a1. Current Value - Recovery File
a2. Current Value - AI
a3. Current Value - Bitter Sweet
b1. Current Value - Blessing
b2. Amon Tobin & Current Value - The All Attracting
We’ve had a quieter start to 2021 than previous years, but that doesn’t mean we’ve not been busy. In fact, our next physical release marks the first in a run of 9 or more we’ve got booked and ready for the rest of the year... To kick off the first FKOFv release of 2021, we welcome an artist back to the roster we first worked with as FKOF Records in 2013. It’s been great watching Subreachers develop his sound and material over the last ~10yrs, and it’s wicked to have him on a record – with some incredible tunes as well! FKOFv005 also welcomes Congi to the label for the first time, with a sumptuous remix that we know you’ll love as much as we do...
Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.
For those who have been paying close attention, this project will come as a welcome return to the vulnerability and playfulness of early Om Unit records such as his sub-radar single from 2010 ‘Lightgrids/Lavender’ (All City Records) or the unearthed chugging ambience of ‘Friend of Day’ (Idle Hands) and indeed in some sense draws from similar wellsprings as moments on 2013’s Bass classic ‘Threads’.
Whilst sbeing perhaps an ‘interim project’ this is still a vital and important expression of exploration and playfulness. A study in the true sense and borne out of a subtle but pervasive frustration with the rigidity found in musical words he has up to now been cohabiting, Acid Dub Studies comes from the pressing need to break with perceived expectation and to explore an honest and natural space away from the genre labels and tags that had been often lazily applied to his sizeable catalogue of music.
With no desire to reinvent the wheel, rather to paint pictures in an honest framework, the LP was crafted using a medley of classic analogue mixing techniques inspired as much by the adventurous dubbing of Adrian Sherwood as by the inward- delving haze of Scott Monteith’s Deadbeat project. Created during a period of lonely introspective walks through his home town of Bristol, the cover art is a photograph of some of the iron kerbstones that are found almost exclusively in the characterful and hardy city which were installed in the late 1800’s to protect pavements from cart wheels. Something about the permanence of those iron slabs and cobblestones inspired a sense of comfort and determination.
Acid Dub Studies is due for release as yet another self-released label-free project leading on from recent EP titles ‘Violet’ and ‘Submerged’ both of which hinted at some of the shapes found in this full length album.
Once again Jim has shown a rare convincing adaptability that few electronic artists can embody. Another step on the journey of personal and creative curiosity that fans are sure to appreciate.
‘Chemz’ is hooky, rushy and loved-up - both an unhinged premonition of unleashed post-pandemic joy, and a demonic flashback to past ecstasies in a hardcore style perfected in the UK. ‘Chemz’ is a 12 minute rave monster that has ingested several tracks and incorporated them into its distended body. At the other end of the Burial bi-polar spectrum, ‘Dolphinz’ is a desolate oceanic love letter to our underwater friends.
"For us, the Start Taking Note is a marvelous Frankenstein of sonic fragments. Foley, samples, ethnic instruments and late night synth jam sessions put together over solid UK Grime Influenced beats, bring together a sound of multiple generations of music and musicians together, to create this unique adrenaline shot.
We always strived to distinguish ourselves from the generic sound of the club scene, and we consider EP to be the foundation of our audio/visual identity.
Belgrade's urban underground music scene and the urban graffiti art is something that brought us all together, and will always stay a purest form of inspiration.
We also very grateful for Killa P's guest appearance on the EP title track. His career, tunes and artist he worked with amongst the core influences of our sound."
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