Suche:bristol

"Imagine the opposite of a snake shedding its skin: a body slithering among the debris of 21st-century music; a porous, viscid body, its skin an adhesive, lodging onto itself bits and pieces along the way. Some are scraps, rusted, discarded parts. Some are the jewels of crowns, unglued and fallen from grace, now re-attached on this makeshift contraption. Where does a body end? Does it end where these prostheses begin?

Jay Glass Dubs’ Soma (“body” in Greek) is a palimpsest. Look closely and you can find all sorts of DNA microarrays on the body’s skin – Bristol voices, Detroit electro hums, the amen break, the all-encompassing dub haze – but, as with all palimpsests, they are simultaneously one and a multitude. The body lives, its prostheses live.

The body moves."

Frankfurt dynamo Shan, fresh off the back more eclectic fire for Running Back and Live at Robert Johnson, get's to dive into the legendary Candi Staton vocal vaults, and comes back up with 'One Day' : classic sounding, piano-lead house on the Deep Mix, tough, big floor bumper on the Ruff Mix.

Remixes come from fast rising Bristol newcomer Litherland and Phonica's Earth Trax, both strong, with breaks and piano's on the former, space and widescreen dub all over the latter.

Tectonic is very proud to welcome Lamont to the team!

Bristol’s bendy-beats whizz kid is mainly known for dropping jaws with his releases on Swamp 81 and it’s various offshoots. This time, he’s been chipping away at 4 fine-cut gem, especially for Tectonic - bringing some darkside vibrations in addition to his usual bounce.

‘Hold Dat’ runs at 135bpm, sitting in-between grime, dubstep and housey/techno/whatever that thing Lamont usually does! Charged with a disgusting, totally greasy bassline, this one drops hard and keeps going - quality moves for (now, mostly imaginary) dancefloors.

‘Push’ takes it down a notch, to 130 for a more heads-y work out, laden with crackling, fizzing sonics - and heavily punctuated by sub bass hits. The energy levels step back a touch, while building intensity.

‘Brain’ sees Lamont working more familiar territories - sending a pounding 4/4 kick drum out to hold together a series of collapsing percussive hits and warping melodies - as a ‘brain’ sample, simply haunts your brain.

The EP closes off with ‘Open Letter’, taking things into a dread-space; dub wise, deep and dangerous. The lurching bass hits take charge and push you through layers of echo’ed hits and micro-melodramas, to round off this great EP in fine style.

It's the third chapter in our 'Moonshine Recordings meets...' series where we focus on various talented vocalists from the UK sound system scene. In this session we have met the inimitable Rider Shafique straight out of Bristol. Riddims and versions built by the Moonshine family members - Baodub, Bukkha, Dubbing Sun, Inner Echo and our fresh signing Joyful Lion. Vocals mixed by Sam Binga and the whole project was mastered from stems by Studio As One.

These two pivotal figures, who have stood at the forefront of drum & bass for over two decades, have now teamed up with an array of globally respected producers including Calibre, Roni Size, Nu:Tone, S.P.Y, DJ Zinc, Chimpo and DJ Marky, to create an uncharted 16-track LP. Following on from the success of the pair's first single 'Fix It All (feat. London Elektricity)', sit back and get ready to embark on the lyrical journey of a lifetime.

DRS first came across Dynamite during his time in Roni Size's Bristol collective Reprazent, the winners of the 1997 Mercury Prize 'Album Of The Year', now showing full circle movements in 2020. 'Playing In The Dark' pays respect to this collaboration and the combination of styles which is signalled so clearly throughout DRS and Dynamite's sound. As Dynamite explains that "the producers brought their pallets" for himself and DRS "to paint on", the duo were able to convey their message, history and wisdom in one of the most boundary pushing
projects that drum & bass has seen.

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Available as super limited edition including 60x60cm Poster !

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before

The 8th instalment on Infernal Sounds comes from the mind of Bristol based, DE-TÜ. Intricate sound design and dubwise pressure reigns supreme throughout this three track EP, all armed and ready to annihilate any dance floor..

The first notes of Relapse’s “Underground Rave Hits for a Shuttered Club” are obscured with abrasive noise. For this Pinecone Moonshine album, the Bristol based musician known for drum and bass drew from many influences. Melodies and harmonies suggest ideas from extreme metal, blues, folk, and unique medieval, ritual notations. The album ranges from slower tempos like the funky 100 bpm “Curse, or a Swan” up to the 200 bpm breakcore “Hitroll Beat Heart.”

Shanti Celeste is a vibe. She’s got that magic lightness of touch even when things are getting Jacques Cousteau deep or panel beating heavy. This makes her the perfect candidate for the Sound of Love International 3, channelling the spirit of both those after-hours sessions and the more frivolous daytime boat parties. This is serious music for serious music heads but, after all, everyone is still on holiday. It’s linear and cohesive but plays with the emotions -carnivalesque fun, psychedelic flow-states, heads-down rhythm trax, playful skipping garage, and more abstract moments. Deep joy to deep space and back, often in the space of 3 or 4 well-selected records.

There’s a deep musical and personal connection to the festival - as she says of her first time playing at the Beach Bar, “there’s a heavy Bristol crew there and it all feels easy and nice. It was just good
vibes all round”. And she does make it sound easy too, which belies a DJ with some very serious skills and an ear for a killer tune that others might well overlook. And it’s this that makes the 3rd instalment of the Sound of Love International such a joy - a welcome panacea to all of us suffering from the Croatian blues this year.

To which end, we get a cheeky exclusive collaboration between Shanti and her sister-in-arms Saoirse in the shape of ‘Solid Mass’. Persian’s uniquely British paean to the post-rave Sunrise ‘Morning Sun’, cavernous dub runnings outta the Bokeh camp from Seekers International. These are the lift- off tunes, setting the mind-state for the journey ahead.

Things tighten up with cult underground hero Lucas Rodenbush under his E.B.E alias giving us the taught, grooving, dubby tech-house and Gideon Jackson’s ‘Taj Mahal’, crisp, spatial, mystical and criminally slept-on. We go deeper into the night with Perpetual’s Awakenings’, one of those records that is so much more than the sum of its parts. And who knew that Mark Seven was such a dab hand with the dank machine funk? Check 1998’s ‘Crank’ for the skinny. By the time Paco Pack’s rubberised ghetto house reimagining bounces into play it’s GAME OVER.

The final side leaves us with the soft landing - Cari Lekebusch ‘Output 2’ is both pacey and drifting and Pauline Anna Strom’s ‘In-Flight Suspension’ does what it says, whips away the drums and leaves us floating in space. Will we ever touch down?

To overuse a phrase, this compilation arrives in strange times but is a glorious reminder of what brought us all together and will again. The music and dancing under the stars. See you in 2021.

Italian producer Clap! Clap! returns to Bristol's Black Acre with his third album, ‘Liquid Portraits’. Born and bred in Florence, Cristiano
Crisci’s musical career extends back to the mid-90s where he started out as a rapper, before picking up a saxophone and exploring
both jazz and jazz/punk fusion with Trio Cane, and then returning to his electronic roots with A Smile For Timbuctu project - a
collaborative effort that released four albums and performed across Europe. By 2008, Crisci decided to strike it out on his own as Digi
G’Alessio, channeling the same hip-hop meets electronic music energies as those animating the nascent Los Angeles beat scene for a
string of EPs and albums. Soon Crisci hit upon a new formula when he started combining samples from the African continent with
energetic drum programming. The results led to the birth of Clap! Clap! in 2013, which has since been recognised and supported by the
likes of Paul Simon and Gilles Peterson. The stripped-back, high-energy yet inventive sound caught the attention of Black Acre with
whom Crisci has been working with ever since, including his first and second albums ‘Tayi Bebba’ and ‘A Thousand Skies’. Returning
to Black Acre, Clap! Clap!’s third album once again deploys his inimitable technique in fine style, however with new eyes as this new
project signifies a definite shift in his work having spent the last few years learning the art of mixing which has lead to some
breakthroughs: “In recent years I’ve spent a lot of time studying essential mixing techniques. I then built an acoustic-treated room and
set up my new studio. I started to convert digital into analogue and vice versa with good converters and achieved sounds that I’ve
never heard before from my speakers. This had a huge positive impact on my mixes and result on my music.” Entitled ‘Liquid Portraits’, the album - as the name suggests - is a collection of sonic paintings, an attempt at capturing furtive, subconscious memories through sound. The tracks reference trips Crisci took and people he met – from southern Italy to Hokkaido via the Kif Mountains of Morocco – as well as more abstract ideas of loss, calmness, and childhood. Having been approached by Paul Simon to work on his 2016 album ‘Stranger To Stranger’ after Simon discovered ‘Tayi Bebba’ through his son, Clap! Clap! is no stranger to collaborations and this album features a small cast of talents, such as south Italy percussionist Domenico Candellori (‘Southern Dub’), Belgian artist Martha Da’ro (‘Moving On’) and harpist Kety Fusco (‘Rising Fire’)

Ragoo Records celebrates its debut on wax with an highquality record, “Break It Down”. The release features an
original cut from Astratto & Brine plus three stunning
remixes from the best young talents in the Italian house
scene. Recorded and fully composed on the first day they
met in the studio, the Original Mix is a dusty deep house
jam perfect for the club or for chillin’ wherever you want
to. For Astratto, Ragoo Records co-founder, this
represents his first official vinyl release. Brine has
delivered hot tracks through the infamous Irma and has
recently appeared on Boogie Cafè Records and Trend
Records. On the A2 Sam Ruffillo offers an impressive
remix that merges the Original to the land of jazzy vibes
with some smooth Rhodes and an extra groovy bassline.
Over the last years Sam Ruffillo has been releasing great
EPs via Irma Records and the Bristol-based Boogie Cafè.
DJ Rou’s remix occupies the flip side with a real classic
deep house joint full of warm pads and rolling drums. Chief of L'Archivio record store in Bologna, charismatic DJ and
outstanding producer, DJ Rou has released his music
through labels such as Bosconi Records, Cognitiva, Red
Rooster and Daphian Prod. The B2 remix is produced by
D’Arabia, Red Rooster founder and House of Disco
affiliated artist, who accomplishes an hot groove
explosion, with a special Jamiroquain feeling, perfect for
burnin’ the dancefloor. This EP is intended to be a
snapshot of Bologna’s house music scene. All artists
featured on it are based in the city and contribute to its
musical landscape.

Luar Domatrix (Rudi Brito) is perhaps more recognizable as half of the artsy-duo Yong Yong that emerged in 2012. After a long season spent in Glasgow, and with editions by Naivety (Naive’s sublabel of Inês Coutinho aka Violet) , Sucata Tapes (Discrepant) and with a track inserted in a VA from 12th Isle, comes back to Lisbon (his hometown) clearly soaked by the sounds of the Scottish industrial center.

“Baía Stamina”, produced in Glasgow, is strongly inspired by the local club scene and evokes the utopia of a heavenly bay somewhere in Italy. Although always looking to bend the barriers of that “squarish” side of dance music, “Baía Stamina” is a dance record. It starts with “Bo Teias”, a track full of percussive elements and unusual sound effects that presents itself as a hymn of the “Baía Stamina” - pure boilling energy. “Take” is the least functional theme on the record. Metal percussion layers are overlapped over a string, creating a certain unrest and discomfort. A vocal incites consumption ("Take, Take, Take") to the point that a pad clears the way for liberation creating a more relaxing and dreamy ambience.

Closing the A side “Bo Teias” gets a remix from the Glasgow duo General Ludd, with whom Rudi used to live. In this version, and as the name implies, “Bo Teias (Gen Ludd Disco Problem Remix)” moves the focus away from the dance floor, ands transforms itself into a rhythmic exploration over the void, punctuated by some recognizable elements. “Outra Face” is a track made to blow up soundsystems! Anchored in distortion and in a broken beat led by the kick of the infamous TR-808 there is an almost epic vibe to it, that shows the confidence that Rudi Brito has acquired in his relaxed production style. “Heavven” closes the record in a completely British tone. The soulful vocal reminiscent of some garage tracks, echoes Bristol production and a time when dubstep producers decided to lower their bpms to something closer to the house. Without ever rushing the theme moves through different sonic landscapes and electronic glitches until a Portuguese voice announces “Acabou-se a brincadeira” (“Playtime is over”). This is peaktime; it's time to go dancing.

Soundsmith and technology rebel Katatonic Silentio back now on a solo LP one year after her first personal release.
Bass missiles, encompassing atmospheres & killer fast focused drums shouts, everything is intently encased in an emancipation act, an insurgent statute against our own oppressions.

Seven tracks pathway leading to a final act of awareness and deliverance from ourselves, without any aversion to go far away, beyond all flags, all frontiers, all countries, all barriers, all beliefs.

Big South West energy here as young Bristolians Litherland make their debut on new North Devon label with the dreamy, rolling, old school / new school breaks of ' Ida's World'.

'Keffala Breaks ' drops the tempo, adds some grit, and keeps drifting along, before up and coming Italian electro duo Hiver finish things up with a deep and streamlined version of Ida's World.

A focal point for the unique punk-funk that was coming together in Bristol as the bridge from the 70s to the 80s arrived, Maximum Joy was formed by Glaxo Babies multi-instrumentalist Tony Wrafter and 18 year old vocalist Janine Rainforth. Soon they drafted in additional Glaxo Babies in the form of drummer Charlie Llewellin and bassist Dan Catsis, along with guitarist John Waddington, fresh from The Pop Group. The group set about making a one-of-a-kind mix of funk, punk, pop, jazz, dub, soul, afrobeat and reggae; creating a brilliant burst of danceable tunes wrapped around elastic basslines and complex percussion, punctuated by melodic horns and stabs of guitar, all of it highlighting Rainforth’s naturally enthusiastic vocal style. They immediately took their place on the rosters of influential labels like Y and 99 with iconic debut single Stretch, as the band had clearly captured something special.

Entering 1982, Kevin Evans had replaced Catsis as Maximum Joy set out to make what would be their only full length LP. Recording at Berry Street and The Lodge with producers Adrian Sherwood (On-U-Sound legend), Dave Hunt (Flying Lizards, Pigbag, This Heat) and Pete Wooliscroft (Kate Bush, Talk Talk, Peter Gabriel, OMD, This Heat) the band would mix practiced grooves with imaginative improvisation. The results were absolutely jaw-dropping.

Station M.X.J.Y. kicks things off with Dancing On My Boomerangand promptly sets forth the blueprint for bands like !!! and The Rapture to capitalize on nearly twenty years later. In fact, those bands can only dream of the mix of driving percussion and spectral shards of guitar that Maximum Joy has clearly already mastered. Do It Todayannounces itself immediately with Rainforth delivering a looping and infectious vocal melody that the others dance around playfully, as handclaps keep the stomping groove intact, leaving a dancehall hit for outer space circling your turntable.

If you ever wondered what it would sound like if ESG and The Slits combined forces, Let It Take You There has the answer for you. Llewellin periodically delivers a cascade of marching band percussion while Waddington’s classic R&B riffs are transformed into a slithering snake trying to keep pace with Evans locked in groove as Rainforth’s singsong vocals are reduced to whispered echoes. They close out side one with the delicious slab of pop that is Searching For A Feeling. Clearly pronouncing the band’s intention to find the positives in a dire time for England, they look to rally those around them to focus on making real change in the face of opposing voices via one of Rainforth’s most delightful deliveries.

Side two sees Wrafter stretching out on Where’s Deke?, showcasing what had already been obvious, as he is the band’s secret weapon, often coloring each tune with his horns, sometimes in several styles just seconds apart. He underlines that feeling with the raucous and bouncy Temple Bomb Twist, before they hit a straight groove in Mouse An’ Me, like a dub infected Train In Vain. Well, if The Clash had ever allowed themselves to properly lose their minds on the dancefloor.

A funky afrobeat flute and guitar battle breaks out (way cooler than it sounds) before Rainforth rallies the troops to not only fill up the disco, but also the surrounding streets in political resistance to Thatcherism via All Wrapped Up. It is entirely genuine and their activism has none of the menace of the others in their scene, but rather a feeling of sharp optimism amongst this danceable masterpiece. It is that optimism that always set Maximum Joy apart, and makes their grooves all the more irresistible today.

Sadly, the upward trajectory of the band was cut short as Rainforth left the group, and soon afterwards seemed to stop making music altogether. The reasoning seemed destined to remain a mystery, until earlier this year when she gave a brave interview to The Guardian where she revealed that an assault by someone in the industry caused her to retreat entirely from music for nearly three decades. Luckily, Janine has embraced music once again, and she refuses to let the magic that was Station M.X.J.Y. be lost as well.

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

‘Reality Tunnels’ is a concept that was originally introduced by Robert Anton Wilson in his 1983 book ‘Prometheus Rising’. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective – the subjective filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills – but unconventionally so – knowing well that safe predictability and rounded polish don’t get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener ‘Entangled Particles’, before planet-hopping onto the spiky insidious grimestep of ‘All Man Got’, featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, ‘Accelerated Culture’ offers the album’s most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler ‘Returnity’, before ‘Finding Space’ reaches to the cosmos’ far-flung, glowing outlands.
Back to an urban reality is ‘Party’, where a subtly menacing sense of dread is ignited by Killa P’s incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, ‘Back To Beyond’ is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre’s masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual ‘Change Is A Must’, and on ‘Non-Terrestrial Forms’ an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack’s ‘Mezzanine’ and Tricky’s ‘Maxinquaye’ – found here in ‘The Last One’s scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.

Various Artists: Lisene, Hartta, Sourpuss & Interplanetary Criminal

"Banoffee Pies Records" drop the 13th release in the original series. This VA aptly entitled "Common Ground" is a crossover of influences from 4 artists with a selection of tracks all above 150 bpm from producers of a similar generation giving a nod to their youth and early musical journeys, largely inspired by Drum & Bass and Jungle raves across the UK.

The release divided in two with a Dark A side and Light B side offering parallel moods of depth and liquidity. The opening track "Class Of '92" from Lisene, one half of the Space Cadets duo, with previous releases on Seven Hill Records and an EP lined up with Planet Euphorique later this year, pushes complex drum patterns and pulsing synths evolving in energy levels throughout. The A2 from Bristol based Hartta offers a more spooked out bass heavy cut with "Hauntology", ready for powerful system rumbling.

The B side begins with title track "Common Ground", an ode to dusted jungle and liquid drum & bass from Leeds based Sourpuss, known for running the Stretchy Dance Supply parties, - this track serving hedonistic eye rolling gurner euphoria, sounding more like an og 90's prodcution. The last track on the disc "Vapour" comes from Manchester's Interplanetary Criminal. With his UKG EP "Move Tools" on BP010 landing on the label and many dance floors at the end of 2019, this nostalgic drum scattered jungle cut stylishly closes off the compilation. Ltd. Press. BP x

Mastered: Optimum, Pressed: MPO & Distributed by KUDOS.

Sludge machine music slapped through the infinite mixing desk by SRS - the combined mind of Sunun and Robin Stewart. At any pointData Fossil'sgiddy industrial riddims could collapse under their own weight. There are Sunun inputs and there are Robin Stewart inputs - but everything is offered up to their machines gladly for an output of nu-human-beat. Voices drift through the mix in hushed Italian and Robin's gruff roboticized drawl, floating dub chords left hanging for cavernous subs and rattled bones, distant harps and arps, a sudden blast of trills. 'Spit Fossil' itself is a clipped noise-pop wonder - the aural equivalent of a lights-on Avon dancefloor with only the weirdest left standing.



Recorded on the rooftop of a housing project called Camelot in 2018, the two Bristol locals debuted the live / unplanned collaboration in an inflatable arena called 'Toldo' in the Brunswick Club ballroom (RIP). Then again at Young Echo at the Cube Microplex - a night where it's said anything is possible (Sunun even dubbed Guest's live human heartbeat there recently….). IfData Fossilis hard to describe - it's just the sound of the musical freedom of a city that will never run dry.



It's a high Bokeh honour to welcome Sunun back after we helped release her 2018 debut,Ooid EP. Her live show continues to be the most inspiring re-use of dub principles we've witnessed (again and again). Time only grows her music outwards causing the Young Echo collective to demand she join them. SinceOoid,she's released a 12" of MPC wonders with close Bristol pals Cold Light.


Recently bearing his dub-side to all that didn't know on Trilogy Tapes'Time Travel EP, Robin Stewart is half of world conquering techno-cult Giant Swan. Also a veteran of Rwdfwd stable of imprints (Fuckpunk and NoCorner) - his music DNA is equal parts shoegaze and steppas. In 2020 he was officially recognised for having the largest collection of Bokeh t shirts.

Bristol-based artist Void Cells returns on Blind Allies with a solid five-tracks EP, filled with atmospheric beats and raw, distorted pads.
The record, different to the previous releases, includes a special remix by NX1 and features vocals by Helena Markos.