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Gifted & Blessed is back again, this time with his first full-length album as The Abstract Eye, bearing his soul through his arsenal of analogue and mostly vintage drum machines, synthesizers, and effects processors. You Can't Unsee Me consists of 8 pieces recorded live and in one take at different moments over the last 10 years. Throughout the album, AE exhibits simple-yet-complex sequencing and processing while emphasizing depth, warmth, and heart. Whether you're looking for music to dance to, music to relax and vibe to, or music to think deeply to, this has it all. One thing that's for sure about The Abstract Eye...once you've experienced what he brings to the world through his signature brand of electronic music, you simply can't unsee him.

Slam poetry, rap battles, singing, song writing and drumming. The hit album “Say Yes” by Iyeoka is now being released as a high quality vinyl version (180 g) in gatefold. The YouTube hit “Simply Falling” received over 216 Million clicks.

Iyeoka (read: ee-yo-kah) is well versed in many expressive arts, but in essence she is a storyteller and poet. "My goal is very simple", says the US Nigerian American, "I want to move the world, one poem at a time". She does this enchantingly well with her album "Say Yes (R)evolved". In poems set to music Iyeoka Ivie Okoawo (her full name) reveals herself to be a strong, self-confident woman of the modern world. She tells tales of love and relationships in the 21st century and philosophizes about the daily struggle of life and being a woman in a post-feminist world digging deeply and personally into her African roots.

Musically Iyeoka handles expertly a wide variety of styles from electronic soul "Break Down Mode" to technofied R'n'B "Broken Hearts Anthem (Walk Away)", from energetic dance inducing grooves "The Yellow Brick Road Song", to a more jazzy "Happily Ever After", from melodic soft rock "Say Yes", to pop "Soundtrack to Life" and reggae "Testify". She certainly has presence and shines out with a silky smooth elegance reminiscent of Sade "This Time around", "Simply Falling". This woman has real all-round talent, and she knows how to use it!

Early support from Luke Slater, Kr!z, Truncate and Rødhåd. After 4 years, Blenk is back on Enemy with another incredible EP. “Breaking the Loop” is 5 tracks of Blenk’s signature hypnogrooves that will easily compliment each part of the night. This EP kicks off the 20th year anniversary of Enemy Records. Over the course of 2025, expect a handful of new releases and represses from our most indemand records!

“Lost” is the EP’s warm, ambient kick off. It perfectly sets the tone for starting up or finishing off a set at any time. We all need intros, so…here ya go.

“Outline” is a monstrous track that has been hammered regularly by a few of our select friends. It’s as funky as it is punchy. We could write more words, but who cares…it’s the big one.

“Silo” is the tracky roller of the EP. This one is for the “Just the grooves please, I’ll take it from here” type of DJs.

“FM9” is for Interstellar travelers, or at least for the people who took enough acid to think they are. If you’re into ‘wormhole techno,’ this is one is right up your quadrant.

“Dissociative” does exactly what the title says. While it has those A side qualities, it’s the perfect introspective wrap up for the infamous B2 spot.

Following a string of successful releases and performances at some of the electronic world’s most revered underground venues, Italian DJ and producer Matisa returns with her captivating new single, '1234 Bisous', out now.

With sultry vocals and classy tech-house sensibilities, this deep, rolling cut is primed for the dancefloor. Nodding to Matisa’s love for euphoric, nostalgia-inducing rhythms, shimmering acid and piano-laced sounds, the gorgeous single offers a glimpse into her forthcoming mini-LP, ‘In My Head’ due for release on 31 January 2025.

'1234 Bisous' carries the same bold energy that has solidified her place in the scene while introducing a more introspective and emotional depth to her sound; a deeply personal track that encapsulates the bittersweet emotions of fleeting love and the unexpected start of a new romance.

“Un deux trois quatre bisous, I was keeping just for you, But then I wake up in a boom, Just a lad lays in my room”.

"This track captures the bittersweet end of a significant love story as a new one begins. It’s not your typical love-at-first-sight scenario… It took a solid five minutes for that spark to ignite and that undeniable feeling to hit." – Matisa

Known for her uplifting, radiant house selections and productions, Matisa's music carries a distinct energy—shimmering with bold rhythms and acid-driven sounds that draw from 90s rave culture and global club scenes. Her versatility behind the decks not has also made her a standout at world-renowned venues such as Berghain | Panorama Bar, fabric, and Circoloco, where she consistently delivers unforgettable sets.

With past releases on respected labels like Gudu Records, Butter Sessions, On Loop, and Optimo, Matisa’s upcoming mini album marks a major milestone for Matisa, as she showcases an ever-evolving sound and her remarkable production prowess, seamlessly blending both nostalgic elements with futuristic sounds and a raver’s spirit.

With her new “Let Me Be Your Fantasy” remix package, Anané continues to solidify her position as one of the most talented and charismatic recording artists in the world today. It’s never easy to take on a classic disco tune, which in this case is a song originally released in 1978 by The Love Symphony Orchestra. But working with producers Two Soul Fusion (Louie Vega and Josh Milan), Anané has crafted a new version of this song that retains the glamour of disco while also injecting a raw toughness and rhythm perfectly suited for today’s dancefloors. As is her custom on her remix packages, Anané has pulled together an outstanding team of producers to lay down their own very unique and high impact mixes, including Masters At Work, Dimitri From Paris, Mousse T, Blackchild and Moplen.

Paris-based talent Manda Moor arrives on Hot Creations for the first time this May with the three-track The Climax EP, continuing a standout 2022 for the Danish-Filipino artist.

Rustling with tribal undertones and a rolling four-four groove, The Climax instantly transports us to the dancefloor and beyond. Jungle-like melodies live beside infectious lyrical samples before the minimal-sounds of Sandy Groove soon arrive, as fast-paced drums drift beneath a pummelling bassline throughout. Besame rounds things off, ratcheting up the tempo with bell-like percussion and driving kick-hat combos, forming an upbeat, club-ready cut.

Manda Moor has fast-become an esteemed force in contemporary house circles. Racking up acclaimed releases on labels such as Kaluki, Tamango and DJ Pierre’s Afro Acid, her MOOD EDITS series - in conjunction with Sirus Hood - has garnered support from true industry heavyweights, including Pete Tong, The Martinez Brothers and Loco Dice to name a few. Each edition of MOOD EDITS has reached the number one spot on Bandcamp’s House / Deep House / Minimal chart, proof of Manda’s keen ear for production, whilst her club and festival sets include performances at Amnesia, The BPM Festival, Elrow and many more besides.

Crossroads production team continue the collaboration with the rising italian soul singer "Cler" here performing two classics from different eras:
On side A we find a fresh new version of "Don't Lose The Magic", a soulful-dance classic written by Shawn Christopher, here covered with a more uptempo r&b mood. On the back side the young singer shows her vocal skills on the super classic "Georgy Porgy", which here finds a super warm nu-soul groove.

Mr. K returns to the fertile ground of the Paradise Garage for his latest with two certified floor-fillers closely tied to the legendary club.

TW Funkmasters’ “Love Money” took an unusual path to its eventual elevated status as a dance classic. The brainchild of UK radio reggae jock Tony Williams (the “TW” in the group’s name), it was conceived in response to seminal rap release “Rapper’s Delight,” but with reggae superstar Dennis Brown’s 1978 hit single “Money In My Pocket” as the lyrical inspiration. Indeed, the vocal version of the Funkmasters’ song is considered the UK’s very first homegrown rap tune. But it was the flip side that garnered the most attention in New York however. “The original track was quirky and worked at the Garage,” Danny Krivit says, “but when the dub came out, it really blew up everywhere. After that very few people played the vocal.” Krivit’s edit here takes the influential, futuristic dub and tightens the arrangement up for the 7-inch format. “Love Money” went on to heavily influence the New York City dance underground, with homages coming in the form of subtle tributes (Mateo & Matos’ “Love Style”) to a virtual remake from Larry Levan himself (Man Friday’s “Love Honey, Love Heartache”) to the untold records that have sampled or been influenced by the spacey, heavy groove.

We’re back closer to home and a more traditional source for Garage classics with our flip side, Janice McClain’s “Smack Dab In The Middle.” The Philadelphia born and bred singer burst out of the gate with this very Philly sounding single in 1979. Written and produced by her uncle, the song was recorded when McClain was all of fifteen years old, a fact made more astonishing by a commanding vocal performance that resonated immediately with listeners. Recognizing a good thing when he saw it, disco maven Ray Caviano picked the song up for his newly minted RFC label and enlisted Larry Levan himself to mix it for 12-inch release. It is Levan’s version that provides the jumping off point for Krivit’s edit here — “the original 7-inch version the way it was never seemed worth playing,” Krivit says — and he makes the most of the jazzy Philly disco groove, injecting extra energy in the early minutes of the song with a tasty filtered break unique to this mix.

Pressed and mastered with DJs in mind, this loud and crystal clear single is the perfect combination of bonafide Garage classics and the talents of Mr. K, all on one compact piece of vinyl.

Following the launch of his new music label, Early Morning, in September 2024, Guy J sets the stage for its sophomore release-an immersive two-track concept by acclaimed producer Roy Rosenfeld.



Roy, an artist whose productions often transcend genre boundaries, offers near-17-minute material with an imaginative work that captures attention and a creative depth.

The opening track, "Forgotten," evolves with a measured intensity, layering elements that cultivate a ritualistic atmosphere. The arrangement unfolds through indigenous-percussive influences, steadily progressing towards a resonant climax. By the third act, rich, deep chords punctuate the experience with a sense of calm, only to transition into a melodic break followed by the tribal-inspired crescendo.

Equally compelling, the closing "Hello" begins with an 80s arcade-inspired, lo-fi aesthetic juxtaposed against high-fidelity beats. Driven by ethnic percussion, it conjures the raw energy of ancient rituals, evoking primal imagery of witch doctors dancing around fires to honor the cycles of life.

Here, Rosenfeld merges traditional, futuristic, and vintage synth elements in a call to fellow producers, challenging them to innovate while empowering dancers to embrace nights of hedonistic freedom.

Repress!

PPU back at what they do best, with more unreleased fire from Illinois producer Electro Wayne. People kept asking where's the rest of the Circuit Shock Productions?? So here's the next installment of demos selected by Electro Wayne and you, his fans!

The Long awaited release of My Life With The Wave Vol 2 is here. Mike Huckaby is finally ready to take you on another journey of skillful sound programming using the legendary Waldorf Wave Synthesizer.

Yes, this is Volume 2 of My Life With The Wave. 4 tracks of strictly deep house music made entirely from the Wave. Enjoy another experience of music made exclusively with this synthesizer, The Waldorf Wave.

Kicking off the EP we have a Jungle Techno track from 2007 ‘Revolution’ made by Persian & DJ Staf, ‘Kool London’s finest DJ’...

‘D dub retwist’, see’s a minimal Break Heavy Dub amidst a Trippy background soundscape from a Japanese Movie.

‘Rumbling interlude’ There’s some interesting Organ at play over modern D&B being played here, al be it with the room vibrating (hence the title) this short segment is a nice escape!

‘Milton 21’ This track dates from 2001, this is a rare glimpse of what Jungle Techno may have become, a direction of futurist sound play amidst Bone Crunching Heavy Bass! Again, Genre pioneering stuff, from True Underground Artists.

‘Not nuff time’, feature’s Lauryn’s freshly sounding Tone, over one of Persian’s Breakbeat projects...

This has variations of electronic shades of what a deejay would love! These tracks were found & lovingly remastered for this ‘ Collector’s Breaks’ EP.
The cross over has been kept!

“Thunder” is the second release from Hip Horns Brass Band in 2022. With “The Dream” the band paid homage to 90’s rap with the collaboration of London singer R.A.E. In “Thunder” they continue with the fusion of brass band and hip hop, but with an instrumental look and making references to contemporary rap artists.

For this recording they have had the trumpet of Miron Rafajlović, one of the references of jazz on the state scene, as well as the production of Tito Bonacera and the drums of HOSS$ Benítez one more hit. The groove that is established from the beginning —which the most music lovers will quickly recognize—, together with the careful arrangements and the enormous quality of the soloist, make “Thunder” a fresh and energetic song for the dance floors. Apart from the digital release in collaboration with graphic designer Hermes LeBleu, “Thunder” has been edited and distributed by Rocafort Records and Say it Loud Records. Side B includes the single “Marathon Runner”, a sample of the band’s first recordings that vindicates the raw sound of the street brass band.

Linking music and literature, building a bridge between the written and the sung – only the greats have managed to do this in the past. Leonard Cohen, Scott Walker, and Patti Smith were just some of the shining stars that Anna B Savage orientated herself towards as a teenager. Born on the anniversary of Bach’s death, the young musician spent her birthday every year in the Green Room of the Royal Albert Hall watching her parents perform compositions by the grand master. That shaped her. Today, thanks to albums such as her debut, “A Common Turn” (2021), and the incredibly sensual art-pop opus “in|FLUX” (2023), the singer-songwriter is one of the truly exceptional talents on the British independent scene. In her music, otherworldly vocals nestle up against chamber orchestral compositions, delicate arrangements rise up and blow away, and the musician’s highly eclectic sound grows song by song into an experience that lingers for days and weeks. Potentially life-changing.
A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.” Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she finds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home. That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.” In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reflected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

Linking music and literature, building a bridge between the written and the sung – only the greats have managed to do this in the past. Leonard Cohen, Scott Walker, and Patti Smith were just some of the shining stars that Anna B Savage orientated herself towards as a teenager. Born on the anniversary of Bach’s death, the young musician spent her birthday every year in the Green Room of the Royal Albert Hall watching her parents perform compositions by the grand master. That shaped her. Today, thanks to albums such as her debut, “A Common Turn” (2021), and the incredibly sensual art-pop opus “in|FLUX” (2023), the singer-songwriter is one of the truly exceptional talents on the British independent scene. In her music, otherworldly vocals nestle up against chamber orchestral compositions, delicate arrangements rise up and blow away, and the musician’s highly eclectic sound grows song by song into an experience that lingers for days and weeks. Potentially life-changing.
A sense of rootedness is at the heart of Anna B Savage’s third record You and i are Earth, a record that is as much about healing as it is an unbowed sense of curiosity, and, more simply, “a love letter to a man and to Ireland.” Following on from her critically acclaimed records A Common Turn and in|FLUX, You and i are Earth manages to convey a sense of intimacy, while also being open-ended. Gentleness is as radiant a touchstone on the record as earthiness, something that Savage attributes to the place she finds herself at present, both geographically and emotionally. And quite literally the record bears witness to a particular piece of earth - Ireland, and Savage’s relationship to it as her new home. That process is brilliantly rendered on Agnes, a complicated piece of work featuring Anna Mieke that turns on tropes of duality and transformation. It mirrors an unsettling experience that Savage had through meditation, which ultimately ended in an immersive, beautiful feeling, “I felt like I was part of the earth, completely connected to the mycelium network, I felt like I was where I was meant to be.” In many ways, that experience framed the album’s artwork, a photograph taken in some woodlands in Co. Sligo, with Savage looking up at the trees, their fractals reflected in her eyes, mirroring something she had felt in her meditation, bringing us back full circle, and to that sense that we are essentially in unison, or at least striving to be, that “you and I are earth”.

Dienne creates hazy pieces of music full of the melancholy of remembrance and loss combining analogue instruments with reverb-drenched vocals and shimmers of processed electronic sources. Her new album "Conducturis" emerges as a sensory exploration of the human spirit and the boundless horizons of artificial intelligence.

"Abundant in beauty and rich in disturbances" serves as the guiding principle for Belgian composer, Dienne, as she builds songs and soundscapes that portray the images and stories that play behind her eyes.

Combining analogue instruments like the oboe, the piano, and the flute with reverb-drenched vocals and shimmers of processed electronic sources, she creates hazy pieces of music full of the melancholy of remembrance and loss.

Her debut album Addio (2022) was released on Nicolás Jaar's Other People imprint. Addio is a 32-minute study on loss and mourning. Following the death of her grandmother due to Covid-19, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her "Addio" through musical form. The result is a deeply intimate work that channels classical instrumentation through foggy electronic experimentation.

Memories, biographies, and family histories merge in this simultaneously somber and optimistic work which plays out like a universal and comforting ode to lost loved ones. Her second album, Conducturis, accompanies an immersive film installation delving into speculative fiction, conceptualized by Mira Sanders and Cédric Noël. Conducturis will be released on Cortizona at the end of January 2025.

Conducturis is an immersive film installation project that delves into the realms of speculative fiction, employing the cinematic language of the road movie to envision the ramifications of constructing an artificial brain within the Swiss landscape.

Following their encounters with key figures in the Human Brain Project during an art research expedition in Geneva from 2019 to 2020, conceptualized by Cédric Noël & Mira Sanders, they stumbled upon a remarkable discovery: a hidden fiber-optic cable linking Geneva to Lugano.

Anchored at both ends by the Human Brain Project in Geneva and the CSCS (Centre Suisse de Calcul Scientifique) in Lugano, this conduit facilitated the transmission of intricate brain simulations from the imposing computational hub in Lugano to Geneva via a 'superconductor' cable.

While the nuances of this fiber network eluded the naked eye, Sanders & Noël meticulously pored over maps, gathered endless data, and traversed the terrain. In crafting "Conducturis", they chose to portray an immersive journey along this IT infrastructure connecting Geneva and Lugano, exploring the curious allure of dreaming about artificial landscapes.

The accompanying originalscore by Dienne invites audiences to delve into the intersection of human creativity and machine intelligence. Guided by the principle of being "abundant in beauty and rich in disturbances", Dienne embarks on a sonic exploration of the Swiss landscape, translating its ethereal beauty and technological wonders into evocative musical compositions.

"How can a human sound like a machine?"

This intriguing question lies at the heart of Dienne's artistic endeavor. For her, the soundtrack of "Conducturis'' transcends mere musical notes; it embodies a profound philosophical exploration into the essence of human creativity amidst the rise of artificial intelligence.

Similarly, "How can a human being compose like a machine?" serves as a pivotal inquiry guiding Dienne's creative journey. As she navigates the delicate boundary between human expression and machine cognition, she skillfully intertwines the pulsating rhythms of data transmission with the haunting melodies inspired by artificial landscapes.

Drawing inspiration from the cinematic aesthetics of the road movie genre, as envisioned by Sanders & Noël in their speculation on the construction of an artificial brain, Dienne weaves a sonic tapestry that transports listeners on a contemplative journey through mountains, lakes, and cities.

Each track for "Conducturis" becomes a testament to the fusion of brain and landscape, inviting audiences to ponder the limitless potential of human imagination.

As audiences immerse themselves in the evocative world of "Conducturis", Dienne's soundtrack serves as a guiding force and perfect companion, leading them through a transcendental experience where reality and imagination merge, and the symphony of human and machine harmonizes seamlessly.

"Conducturis" emerges as a sensory exploration of the human spirit and the boundless horizons of artificial intelligence. With Dienne's soundtrack as its heartbeat, this project invites audiences to embark on a voyage of discovery, where the echoes of human creativity reverberate across the digital frontier.

"When it travels, the voice is a double agent, a trickster, or a dubious guru, but when it pauses for a recording, it's historical, capturing a mood or an emotion for all time. I didn't expect that I would hardly recognize the people who made Salt — myself and Hessel Veldman — a year and a half after recording it, but this is where I find myself now, so I'll say a few words about this temporary prosopagnosia.

Twelve years ago, when I moved to the Netherlands from Japan, I made a piece called How to Lose Your Voice. It was a YouTube hit because people wanted to learn how to actually lose their voices, though I doubt they found what they were looking for in the video. But I mention it because it's like a diary for me: my voice simply isn't the same now as it was then.

I wonder where my voice has gone.

I just listened to a radio interview with a woman who had her larynx removed.

About fifteen minutes after listening to her new voice, altered by the use of a voice prosthesis to make her audible, the interviewer played a recording of her pre-surgery voice. Of course, I was curious to hear it, and although it was immediately obvious that the gentle ease of her first voice was gone, this new voice, with its raw, gravelly sound, was even more intriguing because of its determined power to express that which needed to be expressed.

When Hessel and I first listened to the Salt in its entirety, I said in astonishment, "who wrote this?"
Marianna Maruyama, sure, but this artist goes by more than one name. Many voices spoke through me in this album. You might even recognize one of them as yours."

Midori Hirano and Brueder Selke"s debut album Split Scale unites two artists who share both inimitable skill and depth of expression. Pillars of Berlin"s new music community and globally lauded composers, they each share a background in classical tradition while practicing on the cutting edge of modern music. Split Scale is an elegant emotive ambient album built primarily from pianos and cello and electronics. After tracks on Longform Editions and the creation and curation of the Q3Ambientfest, this power pairing should be an immediate hit with fans of quality ambient or minimal modern music. As Brueder Selke, the polymath duo brothers Daniel and Sebastian Selke"s interdisciplinary partnerships are vast and include classical institutions like the Hamburg Elbphilharmonie and Filmorchester Babelsberg. The brothers have additionally been working as musical directors of the Schaffrath Chamber Orchestra and curating their own festival Q3Ambientfest which has featured the likes of fellow artists such as Laura Cannell, Mabe Fratti/Resina, Jules Reidy, Grand River, Yair Elazar Glotman, and now-collaborator Midori Hirano. Midori Hirano"s mastery of sound sculpting has put her in high demand as a composer for film and television, including recent soundtracks for All or Nothing, Tokito, and a documentary on the Premier League, alongside astounding collaborations with artists including Hprizm of Anti Pop Consortium and Ilpo Väisänen of Pan Sonic. In addition to her own composing, Hirano has remixed the likes of Robot Koch and Rival Consoles. Split Scale, the group"s first album together, follows a series of live collaborations. The artists chose a simple concept, following a western scale from beginning to end, and from this created a suite of sublime, synesthetic soundscapes and cinematic movements. The vivid tapestry of sound and color is luminous and emotive.

Midori Hirano and Brueder Selke"s debut album Split Scale unites two artists who share both inimitable skill and depth of expression. Pillars of Berlin"s new music community and globally lauded composers, they each share a background in classical tradition while practicing on the cutting edge of modern music. Split Scale is an elegant emotive ambient album built primarily from pianos and cello and electronics. After tracks on Longform Editions and the creation and curation of the Q3Ambientfest, this power pairing should be an immediate hit with fans of quality ambient or minimal modern music. As Brueder Selke, the polymath duo brothers Daniel and Sebastian Selke"s interdisciplinary partnerships are vast and include classical institutions like the Hamburg Elbphilharmonie and Filmorchester Babelsberg. The brothers have additionally been working as musical directors of the Schaffrath Chamber Orchestra and curating their own festival Q3Ambientfest which has featured the likes of fellow artists such as Laura Cannell, Mabe Fratti/Resina, Jules Reidy, Grand River, Yair Elazar Glotman, and now-collaborator Midori Hirano. Midori Hirano"s mastery of sound sculpting has put her in high demand as a composer for film and television, including recent soundtracks for All or Nothing, Tokito, and a documentary on the Premier League, alongside astounding collaborations with artists including Hprizm of Anti Pop Consortium and Ilpo Väisänen of Pan Sonic. In addition to her own composing, Hirano has remixed the likes of Robot Koch and Rival Consoles. Split Scale, the group"s first album together, follows a series of live collaborations. The artists chose a simple concept, following a western scale from beginning to end, and from this created a suite of sublime, synesthetic soundscapes and cinematic movements. The vivid tapestry of sound and color is luminous and emotive.

*press Release From David Katz*

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.