April sees Bristol bass don Facta drop his first release on Bloc with a storming double A-side, backed up with a remix from PAN and Berceuse Heroique affiliate Beneath.
Facta is one of the most exciting artists to come out of Bristol in the past few years, with a string of high impact releases on seminal UK imprints Idle Hands, Tempa, Wisdom Teeth and Soundman Chronicles. And this latest 12 is no different.
The EP kicks off with Alsatian, a deep technical bass workout that merges the UK template of airtight drum programming and the deepest of deep sub bass with a bump and roll that feels like classic electro… Watch out for the second drop, the subs are absolutely lethal.
Beneath closes the A-side with a stripped back take on Alsatian that reduces the original down to its bare essentials of shimmering drums and rumbling sub bass. A seriously deep remix that is strictly for the bass heads.
On the flip, Scotch Mist is cut from the same cloth as Alsatian, with expertly deployed junglist drum edits and some tasteful sample choices elevating the track into something really special. This has been on dubplate for nearly two years and we’re really proud to finally be putting it out.
Rua Sound is proud to present the Echosystem EP from Lynch Kingsley
The Italian producer continues to carve out a space that is entirely his own. Over four tracks, Lynch lays out an array of rhythms and styles that don't square well with gentrification. In proper Rua style, there's plenty in there for the dnb, jungle, dub and footwork heads to get on with.
Kirkham's newest album comes in the form of a project under a new identity; Mikarma.
The album is a cathartic project for the accomplished electronic musician. A catharsis of emotion coupled with a restriction in studio equipment that leads to new creative means and avenues. Speaking on the reasons of the self-imposed minimal studio set up he states "Sometimes when you have too much equipment wired up it can be overwhelming and you end up just playing around for the most part."
It become apparent that there was a need for the producer to get the best out of his parameters, a process he was already familiar with "When we started back in the 90's we had a minimal setup... and because of that you would get the most you could out of each bit of kit."
Kirkham goes on to elaborate on the cathartic nature of the album "Breaking up in a relationship with the woman you love is a really draining emotional experience, I'm a person who finds it hard to outwardly express my emotions, I hold it in which is pretty unhealthy but i think writing music releases some of the pressure built up. The sad thing is my best work is normally when I'm at my lowest."
Kirkham's newest album comes in the form of a project under a new identity; Mikarma.
The album is a cathartic project for the accomplished electronic musician. A catharsis of emotion coupled with a restriction in studio equipment that leads to new creative means and avenues. Speaking on the reasons of the self-imposed minimal studio set up he states "Sometimes when you have too much equipment wired up it can be overwhelming and you end up just playing around for the most part."
It become apparent that there was a need for the producer to get the best out of his parameters, a process he was already familiar with "When we started back in the 90's we had a minimal setup... and because of that you would get the most you could out of each bit of kit."
Kirkham goes on to elaborate on the cathartic nature of the album "Breaking up in a relationship with the woman you love is a really draining emotional experience, I'm a person who finds it hard to outwardly express my emotions, I hold it in which is pretty unhealthy but i think writing music releases some of the pressure built up. The sad thing is my best work is normally when I'm at my lowest."
To close out the last of The Space Between Remix Series,we turn over four more prime cuts to some of the freshest producers in the scene. First up, we take one of the most memorable jams from the album, dubwise roller “Backfoot Dub”featuring long time BoS family member the Emcee Child.We turn remix duties over to one of the masters of jungle riddims the mighty Bladerunner.Wasting no time at all, the tune drops into thick amen beats before introducing the ska-tinged horns of the original. From there we go straight into a monster Reese bassline that’s setting floors alight.
Up next, Jaybee & Dave Owentake the delicate “Cartier”and turn it into a rugged liquid roller. Soulful vocals play against the cut up guitar hook of the original as it slinks and slides its way over a tech-fueled bassline.
For our third remix track, we go into the moody “Don’t Hold Back”. For this cut, one of the most promising producers in the North American scene, Flacotakes things deep with a complex blend of pads over crisp claps and rolling beats. One for the sunrise vibes, he keeps the lush vocals of Dylan Germickstrong throughout the track.
To close out the EP, we turn our heads to Bristol as The Insiderstake the tune “Control”into darker territory. Crisp hats ride along the intro as the track builds before dropping into an old school rugged bassline stepper reminiscent of the jungle roots of their hometown.
Boracay Drift is taken from the self-titled LP released by Pinch & Shackleton, this release comes with a Morphosis remix on the flip. Originally released in 2011 via Honest Jon's Records. Limited restock.
a. Boracay Drift b. Boracay Drift (Morphosis Remix)
New York’s DJ Torture drops a lo-fi acid work out on OS XXX fresh from his limited cassette drop on SWAMP TAPES.. wunderkind Bakground holds it down on the flip with 2 lo fi jungle jams.
Shamrock grew up in the township called ‘Kwathema’, In the east of Johannesburg. He has being crazy for music since he was a young child, and at primary school he sang as the soloist in the choir.
Everyone now knows that South Africa is the house music capitol of the world! Most young upcoming producers look up the American and European producers, But Shamrock’s sound is standing out from the rest, as he’s been digging into his African roots to come up with his own style of music, working with mainly South African musicians, only using the computer to record the audio.
On this album he’s also featured international musicians Han Litz,Flutist from the Netherlands, Asali, vocalist from Kenya, Andy Compton, from the UK, and Jimmy Gabriel on Sax from Nigeria.
His first releases came out on a South African label in 2014.
He’s well known in South Africa for his live guitar shows, normally jamming with DJ’s. This is how he first met Andy Compton, and secured the Peng connection.
Shamrock was a main writing contributor for the fantastic ’Sowetan Onesteps’ project, and after that success he knew the home for his album would be on Peng, which offers his sound to a worldwide audience
So here it is! Enjoy the African rhythms and sun drenched music!.
Written & Recorded in Studio 7.5, Johannesburg, South Africa
martianMan returns with 4 jungle influenced tracks.
A1 “You And Me” is sci-fi influenced drum funk tune. At the beginning only beauty passes through, revealing a place you desire to be. A relaxing environment to come home from work to. Then, an abandoned warehouse in an city like in Blade Runner pumps out a rave. A jungle rave in deep space. Get ready. It’s just You And Me.
A2 “Like A Rebel” has Elvin Jones talking about his drumming. To get you started, jazz piano softly brings you into a smoke filled drum funk jazz club in space. An underlying sense of weightlessness has you catatonic in as the Funky Mule break sets it off and you’re once again nodding your head to the groove. Nice pad breakdown before the outro.
B1 “You Are Here” employs a sturdy intro with a “There are forces in this world” vocal that has you on edge. After the intro settles, before the Amen science drops, you are in a smoke filled, computer generated room waiting for your train to arrive to take you to the party. This is a journey tune so enjoy it!
B2 “Get Dropped” used Black Pearls “Cold Sweat” break. The DJ friendly intro gets you started. A little knowledge about big record labels makes you think some. Then comes the signature martianMan smokey space vibes before the drop. Tune rolls nicely but wait for the rave stabs and niceness pads during the last stretch.
The hardest working reggae band in southern England, Dubheart is on a mission to spread messages of peace, love, unity and resistance through a heady stew of contemporary roots reggae, delivered on live instruments with a hefty dose of dub in the mix. Cool Under Pressure, their latest offering, is the band’s most compelling set to date, a ‘showcase’-style album where every vocal track is followed by its dub counterpart, and the vital contribution of the Brassica Horns—from rising London ska band Chainska Brassica—is another intriguing element that makes this album tougher than the rest.
Drawing on the foundations laid by Jamaican stalwarts such as Burning Spear, Dennis Brown and Culture, dub pioneers like Scientist and Jah Shaka, plus newer vanguards such as Tarrus Riley, Grounation and Conscious Sounds, Dubheart has crafted a distinctly appealing style that is very much their own, based on the organic presentation of their musical vision. Indeed, this fully self-contained five-piece is firmly engrained in the neo-roots movement of the present, with a sound that faces ever forwards.
The south coast-based band was first formed back in 1999, and slowly built a following through their intense live performances, which always harnessed a live dub element. Their first EP, “The Solid Foundation Rhythm,” issued on their own Karnatone label in 2011 and featuring dub mixes by Russ D of the Disciples, became a regular part of Jah Shaka’s live playlists. It was followed by the 7” 45, “We Chant,” featuring the band’s charismatic Bristol-based lead singer, Tenja (who originally hails from France), the track becoming an underground anthem in Japan (via Rob Smith, aka RSD). Dubheart’s first album, Mental Slavery, was released in 2013, a momentous year that also saw the band win the European Reggae Contest staged by Rototom Sunsplash, leading to a European tour with festival appearances at Summerjam (Germany), Reggae Sun Ska (France), Overjam (Slovenia), Sudoweste (Portugal), United Islands (Czech Republic) and the Sardinia Reggae Festival, as well as Rototom in Spain. Then, in 2015, Karnatone issued the dub companion to Mental Slavery, mixed down in a heavy dubwise fashion by drummer Gavin Sant, otherwise known as Fullness; the band was then invited to participate in the BBC television show, The UK’s Best Part-Time Band, leading to their EP of cover tunes, 2016’s “Full Time Pressure,” again with dub versions from Fullness. Part of the band’s appeal lies in its tightness as a recording and performing unit; when you see them live, you understand that this band of brothers is on a higher mission, united in their wish to use music as a means of upliftment. And that sentiment is entirely evident on Cool Under Pressure. The melodic bass grooves of Mark Shepherd act as the perfect buffer to the furious rolls and expressive drum patterns of Fullness; David ‘Daddy U’ Mountjoy adds scintillating melodies on keyboards, including some delightful Wurlitzer lines, and Richard Ramsey’s guitar licks tend towards the understated, aside from the occasional solo pyrotechnics, as heard here on “Rocky Road.” And on songs like “Can’t Wait,” “Watcha Gonna Do” and the title track, the Brassica Horns add further melodic depth through fanfares of treble brass texture. With the rhythms laid entirely through live recording sessions cut at Fullness’ home studio in Bournemouth (with horn and Wurlitzer overdubs done elsewhere), Cool Under Pressure reveals Dubheart as a band on the rise, heading for unstoppable heights.
The dub deconstructions on the disc allow the listener to hear the exceptional quality of their playing, emphasizing each member’s individual talent, while the lyrics tackle subjects we can all relate to, with “Watcha Gonna Do” addressing social inequalities, “Can’t Wait” alluding to the refugee crisis, “Rocky Road” imploring everyone to hold strong in trying times, and “Rise Up” calling for direct action against the unjust system that rules our lands. Overall, the outstanding title track “Cool Under Pressure” really sums up the band’s ethos: the system may burden us with the stresses of censure and control, but our obligation is to stay true to ourselves and resist. And the music can help us to achieve this.
