Custom packaging includes 12” smiley face picture disc, plastic LP jacket, custom printed obi-insert and free digital download card. The Sad Clown Bad Dub series is back, except this time happy? Originally released as a limited promo CD only, Atmosphere’s The Fun EP (Happy Clown Bad Dub 8) is re-packaged and reformatted on vinyl for the first time ever in this 12” smiley face picture disc. Featuring 8 tracks from Slug and Ant, including bonus track “Pretty Broad” as well as alternate versions of "Say Hey There" and "Panic Attack" off of the critically acclaimed 2005 release You Can’t Imagine How Much Fun We’re Having. Packaging includes plastic LP jacket, custom obi-insert, and a free digital download card. Quantities are limited, and this will not be available again!
A surprise for some, but also a perfect fit, Chicago Footwork don DJ Rashad releases his Hyperdub debut after long period of admiration and support from Hyperdub artists, in DJ sets and on the Hyperdub radio show on Rinse FM. These four tracks show DJ Rashad at his unpredictable best. The EP opens with the sorrowful R&B vocal cut up of 'Rollin'. It's half time drums and layered, pitch shifted vocals give way to double time 808 kicks and hi hat rushes, building up to tense arpeggiated tones. 'Let It Go' does something else entirely different; with a nod to past UK Jungle and hardcore but gradually mutating into footwork's present, it opens with a perfect recall of early jungle's mix of 160 amen breaks, euphoric diva wails and surging, ravey strings before the drums pull away, leaving a carpet of bass tones and firing 808's, the euphoria of the track kept moving over hectic drums and a frantic piano melody. 'Drums Please' featuring DJ Manny, adds a tough rush of rolling, martial snares to the morse code of clattering toms, sweet Detroit techno chords, and a siren-like tune that breaks out into the upper register, somewhere between melody and noise. 'Broken Hearted' is more familiar territory for Rashad, this time featuring long time partner DJ Spinn. Vocal lines and synths layered and chopped to gorgeous effect with half words left echoing and punctuating the stop start rhythm of the track. The launch party for the Rollin EP is on 8th March in Fabric Room One. DJ Rashad plays alongside Kode9, Ikonika, Scratcha DVA, Cooly G, Terror Danjah and Walton on the night.
Four track ‘double B-side’ EP, featuring two tracks from BEAK> and two from their ‘alter-ego’ <KAEB, who differ in the aspect that have toured Europe & America several times including performances at Primavera, Glastonbury and numerous ATP festivals. They also recently completed a score for the upcoming Tom Geens psychological drama ‘Couple In A Hole’. The movie and score will be released later in 2015.
Jamie Teasdale, best known as Kuedo, makes a timely return with the scifi designed ‘Assertion of a Surrounding Presence’ his first solo release proper since 2012, and the 2nd issue on his fledgling Knives label after J.G. Biberkopf’s ‘Ecologies’. His celebrated production style remains anterior to modern dance music and electronica, largely by virtue of unbending futurist focus and careful attention to detail. Here flanked by collaborations with erstwhile Vex’d partner, Roly Porter, plus Berlin’s Phoebe Kiddo a.k.a. Mind:Body:Fitness, and Canada’s Egyptrixx, the next chapter in Kuedo’s odyssey expands his scifi dimensions with ever sharper contouring gradients, and hyperreal spatialisation structured around recalibrated footwork, drill and techno engines. Scaling from the vertigo-inducing opener to a finale of panicked gamelan drama, ‘Assertion of a Surrounding Presence’ renders Kuedo’s most affective, elaborate reflection of a nowness, divining a metaphysical, cybernetic zeitgeist in the vaulted reverb structures of his Ghost In The Shell nod, ‘Eyeless Angel Intervention’, or the trance fluid T2000 techstep momentum of ‘Boundary Regulation’, whilst pursuing more tangled emotions and ethereal sensations in the recursive, hyaline gamelan cadence of ‘Border State Collapse’ and ‘Event Tracking Across Populated Terrain’.
Thundercat returns with his first solo material in two years with the mini-album “The Beyond / Where the Giants Roam”. Fans won’t have to wait long for Stephen Bruner—the virtuosic bassist and singer-songwriter behind the Thundercat handle—to unleash the 6-track set. The album sees him returning to the Brainfeeder fold after having already made outstanding contributions to two of the best reviewed albums of 2015 to-date: Kendrick Lamar’s To Pimp a Butterfly and Kamasi Washington’s The Epic. Where the Giants Roam takes listeners on six spiraling excursions to the outer limits of jazz-funk. The follow-up to his sonically adventurous and widely praised second album Apocalypse sees Thundercat team back up with longtime sparring partner Flying Lotus, who co-produced three of the albums tracks. The legendary Herbie Hancock also pops up on keyboards on “Lone Wolf & Cub,” and there are contributions from fellow Brainfeeder family members Kamasi Washington, Miguel Atwood-Ferguson and Mono/Poly on sax, strings and production respectively.
Surprise release from FKA Twigs, five brand new tracks recorded in a few days shortly after the release of the astounding LP1. Opener figure 8 sets the EP's darker edged tone perfectly within the first few seconds; a tough reverb-drenched kick drum thunders far away before her unmistakable vocal delivery lays itself over the top and scarce drums creak and groan threatening to fall apart at any second due to the weight of the track. Sudden explosions of melody with a strict eye on more underground club-rooted sounds shower throughout on this sure to be everywhere soon future RNB anthem. I'm your doll glances back at previous releases but pushes the sound FWD with more abstract mechanics at work in the beats with an impeccable vocal delivery as ever. In time comes takes a trap melody to devastating effect with auto-tuned vox sped up and down stretching across while glass & patron could be her most dancefloor focused work yet, a tight garage flex coils itself around deep subs keeping the low-end swaying before mothercreep ends things with a tight minimal electronica feel but with a maximal sensibility. The closest thing we could reference it sounding like would be a club focused pop LP dream hook up between Arca and Micachu. M3LL155X is a completely singular release and one that really pushes the boundaries of experimental pop for the masses but brings in a darkside electronica undercurrent that upon hearing it will have people at every corner of the club yearning for more.
After the success of the critically acclaimed "The South Sack Mack" album with Chuuwee, the German producer team JR&PH7 is getting ready to make more noise in the late summer of 2015. Next up is "Noir", an eight track EP that will make listeners across the globe remind why JR&PH7 might just be the best German export next to your favorite car and lager. "Noir" features include some of finest up and coming artists in Hip Hop today. Extremely hungry and talented emcees such as Chuuwee , Eric Biddines and Romaro Franceswa have been bubbling on the blogosphere for more than a minute. On their JR&PH7 produced tracks they prove why Hip Hop heads should be on the lookout for them in the future. Once again, throughout this record, JR&PH7 deliver sample heavy beats that serve as the perfect canvas for the respective emcees storytelling and innovative wordplay. Highlights of "Noir" include the lead single "We Do Our Thing" that has Willie The Kid, MaLLy, P. Blackk and Fabrashay trade rhymes over an atmospheric instrumental backdrop as well as Chuuwee's "Rock The Party (Bang Bang)". On this standout track the Sacramento rhymesayer and longtime JR&PH7 collaborator rocks your local house party over a hard knocking drum break that will leave you with neck problems. With the release of this new EP, the two German beatsmiths let everybody know that they are a force to reckon with in 2015. There is light in the darkness, just ask JR&PH7.
If you heard Obsidian last year, you already understand. On his sophomore album as Baths, Will Wiesenfeld fully shed of his sonic influences with a staggering work of graveyard beauty. Contrasts to the other artists became null. Giving it a 8.6 “Best New Music,” Pitchfork hailed it as a “subversive work that gets uncomfortably close to pop, confronting closed minds with what they don’t want to believe.” Always a gifted musician, Baths became a fully conceived artist: a songwriter of uncommon sensitivity, a whimsical and romantic spirit, and a lay-me-gently-down falsetto. Think of his Anticon EP, Ocean Death, as a companion piece—the Dia De Los Muertos to Obsidian’s Halloween. It’s title and the eponymous opening track existed before a single note of 2010’s Cerulean had been recorded. Darker in tone, they were always targeted for a sophomore album, but wound up a different cut of gem. Ocean Death is the exquisite setting. Just five songs and a shade over 20 minutes, the idea was to avoid over-thinking. Songs were perfected not embellished. The subject matter remains dark-tinted pop. “Ocean Death” reclines in the aquatic seabed. The lyrics are simple and bleak, but the effect is celestial. The 3 a.m. introspection and heart beat pulse are almost reminiscent of Four Tet or Pantha Du Prince. The pulse is almost minimal techno, but it’s suffused with maximalist emotion. A small part of Ocean Death was recorded in a hotel room in Spain, but it was mostly done at a friend’s home in LA, the same place where Obsidian was completed. Both records traverse similar terrain: morbid lyricism, direct vocal melodies, a felicity in subsuming electronic experiments into pop songs. It’s about death, apathy, and loneliness. It sounds like a final love letter to a chapter of life that has already ended—and maybe it has. Songs are currently being theorized for a third full-length, and the direction is vastly different. It’s not normally in Baths’ nature to rehash old ideas. In a sense, Ocean Death was an experiment to animate these beautiful but discarded fragments. We’re lucky they survived. Baths has a rare gift for cloaking melancholy with gorgeous arrangements. The emotions are raw, but the musicianship is refined. Guitars are scraped and processed. Vocals are clipped and layered, drowned and resurrected. But what lingers are the songs themselves; ideas fully formed and immortalized, built to haunt forever.
The Nickel EP marks Red Apples 45's five year anniversary. It's only right for AG & Ray West to celebrate the label in the spirit it started. The Nickel showcases the duo's chemistry and growth while keeping to their essence. Special guests appearances that include Roc Marciano, L Fudge, John Robinson and Red Apples' own Superstar Dave Dar. With original water color art by world renown artist & Graffiti writer Cern1 of the Ymi crew. To all that have supported us: The red apples movement has been about the music from its inception and will continue to be. Our only goals are quality pieces and culture preservation. Thanks to all the great artists whom have contributed their various talents and energy to our projects along the way. Thank you to all the people who have listened, shared, purchased, blogged, downloaded, interviewed, wrote about & help spread the word of our movement. This EP is dedicated to the late Party Arty.
AlunaGeorge are a London-based two piece comprised of members Aluna Francis (vocals) and George Reid (producer). The AlunaGeorge sound falls somewhere in between TLC, CocoRosie and Hudson Mohawke. Essentially they specialise in slightly wonky sounding, eccentric pop music with a strong UK vibe. The 12” features two brand new songs, as well as ‘You Know You Like It’ which has been called a future classic by a number of publications. The band have just wrapped up a UK tour with Friends and a brilliantly reviewed appearance at The Great Escape.
Since his emergence at the tail end of 2011 Evian Christ, AKA Joshua Leary, has had a whirlwind two years. Off the back of his breakthrough mixtape ‘Kings And Them’ which came out on Tri Angle Records in February 2012, the 24 year old Ellesmere Port, UK, native has produced music on Kanye West’s ‘Yeezus’, collaborated with acclaimed conceptual artist Matthew Barney, released the notably abstract soundpiece ‘Duga-3’, performed around the world alongside the likes of Purity Ring, Actress and Four Tet, and garnered positive reviews and features in global tastemaker titles including Magazine, Dazed & Confused, Pitchfork and VIBE, amongst many others. On ‘Kings And Them’ Evian Christ conjured up a sound that was influenced by hip hop as it much as it was by more ambient forms of music. With ‘Waterfall’ Evian Christ has taken his unique sound into a far noisier and more aggressive territory, exhibiting a creative restlessness that continues to make it harder to pigeonhole this young, evolving artist.
The tail end of 2011 saw the emergence of material from a producer known only as Evian Christ, with oblique YouTube videos accompanying music which seemed to occupy its own particular twilit corner of the musical landscape, poised somewhere at the crossroads between freaked, haunted ambience and sparse, twisted R&B. Signing shortly after to Tri Angle, Evian Christ (aka 22 year old Merseyside resident Joshua Leary) released a free mixtape, ‘Kings And Them’, collating his eight tracks to date, and heralding the arrival of a truly exciting new talent in the process. This special edition 12” collects together four tracks from ‘Kings And Them’ in new and remastered form, and sees the first proper physical release from Evian Christ.a
In a Beautiful Place Out in the Country, released in 2000, shows Boards of Canada at their most focused and effective, exerting a gorgeous yet disorientating hold over listeners in the space of just four tracks. ‘Zoetrope’ is one of the duo’s brightest and most carefree tracks, with sharp synths unfurling into changing patterns like ripples on the surface of a lake, all the while returning to an unrelenting throb. It is every bit the equal of Aphex Twin’s ‘Ambient Music Vol.2’, and a rare example of Boards’ straightforward, though no less beautiful, work. Elsewhere, the EP’s offerings are more percussive and dense, with ‘Amo Bishop Roden’ employing ticking 808 percussion sparsely but effectively at a strange distance from saturated string iterations. Throughout the EP, drum patterns seem claustrophobic, denying momentum in a way which forces the listener’s concentration ever inward, onto the decaying synthetic textures at the music’s core. ‘Kid For Today’ conveys an uneasy undercurrent, despite its optimistic surface of twinkling Fender Rhodes and waves of sensuous static, and the title track employs vocoded vocals and cackling children’s voices which are at once dark and naively pleasurable. The record captures Boards of Canada offering up layers of interpretation and rich portals of memory whilst resisting being pinned down to a specific mood, a feat which few electronic outfits can manage with such alluring power.
Saaab Stories is the second extended play by American rapper Action Bronson. The EP was released on June 11, 2013 and is entirely produced by American record producer Harry Fraud. The EP, which was released by Vice and Atlantic Records, serves as Bronson's major label debut project. It features guest appearances from fellow American rappers Wiz Khalifa, Prodigy and Raekwon.
With the aim of breaking the mould and taking down boundaries, Andrea's "Black Magic" is the result of a combination of influences melted together in guitar amps to create a wavy piece of music. From the vocal-oriented track "Down" featuring Vanessa Elisha's lush vocals to the club-melting "Without You", Black Magic has a wide range of aesthetics and a particular attention to detail that creates its own unique world much like the artist behind it. Young Parisian native Andrea has been building up heat over recent months with his innovative live shows (playing at shows alongside Flume, AlunaGeorge, Shlohmo, Bondax and Glitch Mob amongst others) and his own productions and remixes of The xx, AlunaGeorge, Sam Smith, Say Lou Lou, Rosie Lowe, Stwo, Slow Magic, Drake and The Weeknd to name but a few, drawing in fans and scoring radio support from tastemakers such as Benji B, B.Traits, Monki and Rob Da Bank at BBC Radio 1 and Eddy Temple Morris at XFM. Some of his solo efforts have come in the form of a track on Trapdoor Records Trapdoor Volume 2 compilation series, a track on Flirtini’s Heartbreaks & Promises Volume 2 compilation and the much anticipated “Tenderly”. Add to this his residency on Rinse France, his own label Moose Records, countless remixes, free downloads, a collaboration on Ta-Ku’s Create&Explore project, Andrea’s very own #OneSampleOneDay project and his recent NASA EP and it becomes clear that Andrea is one of those artists who puts the work in. Thankfully, he has no intention of slowing down! Andrea’s Black Magic EP is due for release on via Jakarta Records the label that has been kicking off many successful careers in the last years with early releases from renowned producers such as Kaytranada, Ta-ku, Mura Masa, IAMNOBODI and many more. The release will be made available both digitally and on vinyl (with a very special white-label B-side).
Limited to 500 copies. Short Stories defies traditional notions of what it is to create 'electronic music' traveling through uptempo house, heavy bass, UK-garage, hip hop and soulful vibes - in 5 succinct stories. Sam Gellaitry is the 18 year old from Stirling, [central] Scotland - where the "culture" part of the wiki section reads one line. Culture in the form of music however, is plentiful and diverse in Sam's case – drawing on influences from Madlib and Jamiroquai to Flying Lotus, Röyksopp, Hudson Mohawke, Mr. Carmack and Outkast. By the time Sam was 16, he'd learned to engineer and master audio which might shed some light on his unique song structure and diverse journey through many genres apparent in the course of one single track. Sam marries his love and knowledge of bass guitar, synthesizer and piano with honed production skills to create seamless heavy hitting electronic music that retains raw instrumental elements and evokes a certain happiness and soulful connectedness. With a father who has a background in making bagpipes amongst other talents and Mum - a former band member playing guitar and singing, it's really no surprise that Sam's magical ears give him the ability to translate 5+ genres seamlessly into one beautiful song or 'Short Story'.
Award winning Canadian DJ/Producer and Montreal hip-hop pioneer, Toast Dawg unleashes his sophomore instrumental EP “Brazivilain Volume II”, a collection of 6 brazilian rare grooves infused tracks, yet subtly funky and very contemporarily banging. Fou Barbe!
Over the last year, London-based artist FKA Twigs has produced a series of strikingly original pieces of music, each of which featured an equally striking visual accompaniment. Produced by FKA Twigs and Arca, EP2 is comprised of the 4-tracks "How's That," "Papi Pacify," "Water Me" and "Ultraviolet" and serves as her first release for Young Turks.
Ta-ku returns to headphones around the globe this June with Songs To Make Up To, the long-awaited follow up to his 2013 beat suite, Songs To Break Up To. “Love Again” is the project’s first salvo, a collaboration with singer/songwriter JMSN and fellow bass expert Sango (Soulection) that lays handclap-ready gospel vibes all over Ta-ku’s signature, soulful knock. Songs To Make Up To marks a major artistic leap forward for the Perth producer, but like the song says, “Give it time, give it time / This ain’t no race.”
Jessy Lanza meets the Teklife crew on this sultry EP, with DJ Spinn and Taso's first-released RnB track, and a Teklife footwork remix with assistance from the late DJ Rashad. The main mix is a dejected confessional slow jam with Jessy's plaintive vocal sitting in the middle of spiralling drums and teardrop-like chords, a gentle guitar refrain dropping in at the end like a comforting hand on the shoulder. Following an instrumental version, the Teklife mix doubles the tempo, switching the gentleness to deliver an interpretation that touches on tense anger, with the sweeping chords the track is built on snapping into shivering shapes, as strings simmer in the background, building the tension. Also included is Bambounou's remix of 'Fuck Diamond', a track on Jessy's ‘Pull My Hair Back’ debut album, which appears here on vinyl for the first time after an initial CD-only release last year on the ‘Hyperdub 10.4’ compilation). Bambounou transforms it into a rough drum machine workout, leaving sparse elements of the original in place - a splash of vocal and a held chord - building a dynamic trance that slips and slides in and out of different patterns.
Atlanta emcee Yani Mo wrecks laid back instrumentals with a soft touch akin to Ladybug Mecca of Digable Planets. Like a rapping aikido master, she intertwines her vocals subtly within a beat, amplifying its strength and redirecting boom bap energy straight to your cranium.
The '6613' EP from DJ Rashad's vaults will be released just over a year after his untimely passing, with all the proceeds going to his family. Some of these songs will be familiar to anyone who saw Rashad DJ. The first are two really upbeat, rolling juke tracks; 'CCP2' has breezy worldless vocals chopped and diced over a rolling claps and kicks, and 'Cause I Know U Feel', with Gant-Man, chops a longing vocal refrain into a delirious frenzy of unexpected shapes, over pounding kicks and toms as a warm synth swells up. The vocals recede towards the end leaving just a synth glow. 'Ya Hot', with Taso, chops and changes rhythms, dipping into half speed trap, to rolling 4/4 and into more offbeat patterns, while a hectic, bleeping melody bangs out in contrast, almost as if its tracing the pattern of dancing feet. 'Do Not Fuck' is a paranoid 'footwork as a virtual panic attack' track, drawing fxs through a tunnel of accelerated bleeps, the only constant being a deadly serious guitar breakdown, a deep bass tone and the warning words of the title. The energy of DJ Rashad will remain strong through his music.
King Krule's (formerly Zoo Kid) second release brings with it, an expansion of vision, both musically and thematically. The connective tissue between these five tracks is still Marshall's stark, direct lyrics, but over the span of the self-titled EP, there is an arresting sonic progression, as his songs open up to become a loose knit meditation and renewal of hope in the face of desperation. Shades of The Streets' plainspoken and observant ramble dance with the heart on sleeve confessions of Billy Bragg. Archy's influences are a patchwork for his voice to lay in, woven from several generations music as divergent as the 80s romantics, jazz, no wave and dub. The first vocal track 'Bleak Bake', for instance, opens with levitating keyboards and Marshall clearing his throat, before sampled strings and 808 drum 'pooms' swoon in and he sighs. 'The Noose of Jah City' drives the knife in deeper -some of his most intoxicating incantations to date- with Marshall singing of being "suffocated in concrete" over a lushly upholstered backdrop of chiming guitars and shuffling sampled beats. While in the gorgeous 'Portrait in Black and Blue' he unleashes a bounding piece of classic croon. But even though the subject matter may at times be harrowing, the songs themselves are never anything less than exquisitely crafted, possessed of an almost spectral beauty, as epitomised in the shimmering instrumental intro "363N63". Taken as a whole, the "King Krule" EP is the sound of a young man growing up and attempting to grapple with the realities of the world he inhabits, and a fascinating, brutal journey it is too.
Following the low-key online-only release of Sundanza in 2010 plus his noted collaborative work with Jessie Ware, Lil Silva, SBTRKT, and Koreless, Dual is Sampha's first full solo outing. The record was put together over a period of 18 months in the gaps between, and time after, an intense touring schedule with SBTRKT live. Working from his childhood home in Morden, the tracks were written, produced and mixed by himself in isolation. Offering an intimate and idiosyncratic glimpse into his artistic intent, the EP, which includes "Indecision," showcases Sampha's talents not only as a vocalist but more broadly as a songwriter and producer.