Beats Vinyl New Releases - News

The second release on Declassified carries on from where I left off with DCLSFD001, once again setting out to merge the UKG / 2-step framework with my influences from Drum & Bass and Dubstep. I originally wrote these four tracks with a view to releasing them as a double pack, but after some thought split the EP into 2 singles. Test presses for DCLSFD003 have just been approved, and I’m currently working on the fourth release for the label. I’d like to thank everyone for their continued support - obviously this wouldn’t be possible without you!”

MCC returns with x3 roll cage rattlers from the elusive DJ SKIFT, rumoured to be operating remotely outta the True North-North East territories. Recommended if ur into anything good.

Repress!

Club Culture is back for it’s third instalment of the series. Volume 3 takes you on a similar journey, with each track providing a different mood to bring us 4 tracks tailored for the dancefloor.

With tracks from Frankel & Harper, T. Jacques, Lavonz (with a classic reissue from 1998) and Main Phase. We look forward to taking you on a new chapter of ‘Club Culture’.

After two much-sought-after releases from DJ Chupacabra, Carpet’s Steps series just had to come back with a third. ‘Finissage’ and ‘Subsonic’ on the A both live up to their steppy billing, the beats dipping and diving in and out of pads and samples that nod unashamedly to UK garage and dubstep. On the B, ‘Wooded’ is a new-school minimal groover for a housier crowd, while ‘Dranzer’ rounds things off with massive bass, R&B-esque samples and just enough of a pinch of acid.

Over the past year or so I have watched as the releases on Holding Hands got more and more intense. Don’t get me wrong, I love it. Intense and straight to the face was always the plan for the label. At the same time I do have slightly more varied taste and I had been getting sent a decent amount of incredible music that didn’t quite fit on the original outlet. My first love when it comes to electronic music is dark, eyes down, bass heavy and so it seemed like now was the perfect time to create a label with a slightly deeper angle to accommodate this sort of thing.

Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truf e published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the rst volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol infulenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange eld recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low- lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and nely edited imaginary jams. The rst to take pleasure in this “People Pleaser” is undoubtedly its author as some of his nds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both in nitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.

DJ Pantha joins the Time Is Now family serving up a weighty cut of bassline driven goodness. Born and raised in Dudley DJ Pantha's career began in 2007 and this saw the start of hits such as 'Bully boys', 'They can't do it' and the most successful to date 'Candy Shop'.

DJ Pantha is one of the pioneers of Bassline and has spent the past 14 years mastering his craft, now finding himself with his own unique sound. Pantha links up with Bristol based label Time Is Now for his first vinyl release.

Drawing influence from the South London underground of the late nineties and early noughties with a nod to more contemporary Bristol sounds, London's Two Shell debut on Livity Sound this Autumn with their four track 'Access' E.P.

The duo have forged an EP of warm but stripped, deft uk style grooves to mark an anthemic debut.

Sweet 16 and we've got a very special four tracker from original don dadda Para. Two previously unreleased relics from '97 on the a side and a couple hefty slices of dark garage on the b. All tracks taken from DAT and remastered

Big Papa Nugs kicks off the No Dice label with his debut EP.

A killer dancer floor ready four tracker which is guaranteed to make you dance / keep you seated depending on your local restrictions.

Repress

Melbourne producer Pugilist hitting hard with a four track EP for these dark days.. As you may be used to by now on 3024, the artist showcases his wide ranging pallette of styles and flavors, and "Blue Planet" is no different. The title track is a slinky UKG informed dub roller reminiscent of early Shed. Acid Flange is a menacing 8am (or later) track for the deeper dancefloor or headphones. Pugilist's collab with Tamen is on a uplifting dnb tip and as a digi only extra we have "Quick Fix", a slinky Detroit electro piece.

Folklore Series is the music label created by the FOLKLORE team, based in Toulouse, south of France. Active since 2009, we gradually diverged from traditional clubs in order to reconnect with a certain freedom and to assert our values by investing alternately abandoned places, clearings and warehouses for our parties. The music we produce is inspired and dedicated to these gatherings and more generally to the sound system culture.

Small Moves level up with a killer debut EP from Dufi. Slick, skillful and precise, no button bashing here.

Freedom is the debut EP from South East London vocalist + DJ Ell Murphy for Shall Not Fade sub-label Time Is Now. The EP sees Ell collaborating with 5 acclaimed producers in the UKG scene; DJ Crisps, Stones Taro, Highrise, Picasso & Tuff Trax; each one hand-picked by Ell to bring their unique production style to the release; and made entirely during lockdown over the past year, working remotely with the producers based in Rotterdam, Australia, Japan & London.

London Underground garage artist "Highrise" joins the ever expanding and highly regarding Rhythm 'N' Vibe label.

East London imprint Late Night Superglue presents the first in its various artists ‘Biscuit’ series, with four rascal tracks from the underground…

The A-side kicks off with an inimitably menacing number from Droste, followed by driving broken-beat garage energy from Pekkuliar.
The B-side brings relentlessly dreamy 2-step from Driahn & Ease Up George, and concludes with a loopy late-nighter from Yard Customer.

The core tenets of Morgan Wright's music have long tested club music's context; the rituals and customs that define it, and how each of those genres change once removed from their traditional settings.
It's a space Morgan Wright feels at home in; one where he's constantly asking questions of the structure club music resides within, and what it means to create a new space for familiar sounds. And over the course of his debut album, Class Tourist, Morgan has found new ways to elevate those same questions - whether by way of intention, or a pandemic-induced coping mechanism.
In Class Tourist, Morgan again borrows from familiar strains of the subgenres which have come to form his musical identity. This time, he fuses sounds of post-punk, IDM and breakbeat, hopeful they converge to form a bastardised rendition of the latter, with "Australiana" at its core.
It's a sound that was made possible by a change to his songwriting approach, after pivoting from a loop-based production style - one which he has applied to a slew of other projects, for the better part of five years - to one which lends itself to a more standardised, contemporary format.

Moving through the record, Morgan toys with musical tropes of contrast with a calculated refinement unheard throughout his previous work. The coalescence of melodic optimism and bleak, mournful soundscapes feature on Class Tourist again, as you would expect. But this time, contemporary structure - with the exception of a few songs - along with the features of label-mate, Purient, and frequent collaborator, ENDL355, breathe new life, and even a new genre, into Morgan's work.

Orbital London, a label with UK flavours embedded in its ethos. They mark their next chapter with the ‘Dartford Crossing’ EP featuring founder, Jack Michael and on fire producer, Alec Falconer.

Time to get busy! ‘Holding it Down’ ignites the EP with it’s killer broken drums, splashes of acid, and old school vocal sample. Essentially everything you want from a 90’s rave anthem, but in modern times. Alec steps up for his ‘Over the Bridge’ interpretation of ‘Holding It Down’ a simpler structure than the original, but not to be underestimated. A squelchy bass line infused with garage drum work.

On the flip Falconer provides ’40oz’ a progressive arrangement which leads you in to a feel good energy, with infectious keys, and pensive pads. In return Jack conjures up his ‘Through the Tunnel Mix’ of ‘40oz’ taking things up a notch with its bending twists and turns, a gritty heads down affair from the talented producer.

The raw sounds of the producers and the Orbital London tenacity strike again, maintaining their status as an essential label.

For DSD023, Bailey Ibbs serves up a killer with his ‘Gurl’ EP. The A side delivers 3 Bailey originals, each serving up a different mood best suited for the dance floor. Where the B side provides 3 completely different flips of ‘Gurl’ delivered to you by Groovy D, Denham Audio & AK Sports.

Warm Fiction proudly announces the label's fifth record from N-Gynn. N-Gynn's Espetta EP sees the London producer experimenting with cosmic, driving sounds that draw influences from UKG, Techno- and Electro across four unique tracks aimed squarely at the dance floor.

Barely a year old and already well-established, Shall Not Fade's bassier sublabel Time Is Now dishes up a plate of deliciously fresh forward beats, from slick R&B vocal pieces to tracks which pack a punch. The six-track compilation features familiar faces from previous releases, with some featuring artists new to the label.

Freddie Baker, releasing under the moniker Bakey, got his first ever label release on Time Is Now last year and has been non-stop since, recently copping a spot on the Rinse FM Garage Hour. His offering for Allstars Vol.2 is a weighty stepper built on a growling bassline. "Dismantle" knocks you off your feet, luckily the second track (a collab between Interplanetary Criminal and Hypho) lays low in the intro before hitting you with a deep, wobbling drop, chopped up vocals skipping across the staccato rhythm. While relative newcomer Interplanetary Criminal (Zachary Bruce) has specialised in pretty upbeat garage, Hypho (Louis Richardson) has been experimenting on the bassier side of club music for nearly a decade, and his dubstep influence shines through in the depth of "Talbot Road". DJ Crisps - Julio Soewandi - closes out the A-side with a comparably bouncy "Ready Salted", dropping a warped bassline for added flavour. Soewandi is joined by South London singer-slash-producer Ell Murphy on "Arms Around", Murphy providing soulful vocals on a slightly dubbed out instrumental - Murphy, one half of UKG duo NITEWORK, lends a proper garage classic vibe to this one.

Joining them on the B-side is London-based Mark Ramsey (AKA Yosh), just a month after the release of his debut EP on Time Is Now. "Over and Out" uses adventurous sound design to build a cheeky roller. Topping off the star-studded comp is Copenhagen's own Main Phase. Adam Schierbeck uses this alias to put out high-octane breakbeat garage and homages to the 90s rave - "Special Occasion" twists and contorts, its monumental bass and MC samples an ode to soundsystem culture.

"I'm very happy to announce the launch of my label Declassified Records - a home for SP:MC productions moving forward. Starting my own imprint has been something I've been toying with for a while now, yet never given my full focus. As events began to unfold back in spring 2020, I realised there was a great opportunity for me to turn a bad situation into something positive. My busy schedule as a touring artist disappeared overnight, giving me a chance to focus my full attention on my music production.

The Album was the fourth LP released for Rephlex and was the first and only time that Grant Wilson label Claridge and Richard James's label released in a digital format only, "The Album" contains 13 tracks amongs the best rhythmic and melodic experiments of the Italian duo DArcangelo on Rephlex, from the musical planetary thoughts of 'Memento' to the brazen "Wild and Loose" walk and the 'Naara' frantic minimal due.. the marked rhythm of 'Circuit Deevel' while or 'Coal Garden' moments of various broken style. Now thanks to WEME records 'The Album' is printed on vinyl for all those who love the idea of having a tangible listening and tactile possession of this release. Listen, take it, collect it.

Farsight returns to Scuffed Recordings for his Renegade EP, featuring three new rave-inspired originals, backed by a bumping UKG remix from Interplanetary Criminal.

One of Italy's brightest new talents, Clap! Clap! (aka Cristiano Crisci) returns with his second album for Black Acre, following on from his colorful breakthrough debut LP 'Tayi Bebba'. Bringing together disparate inspirations and styles onto the dance-floor of his mind, 'A Thousand Skies' sees Clap! Clap! create a high energy and inventive kaleidoscopic fusion of sound - drawing on the traditional global rhythms of the old world, Hip Hop, Footwork, UK Bass and House. * The new album follows Clap! Clap!'s debut album, 2014's 'Tayi Bebba', which sound-tracked the tour of an imaginary island. 'A Thousand Skies' is a mix of Crisci's career to date combining samples and live instrumentation from Clap! Clap! and collaborators such as South African folk singer Bongeziwe Mabandla, John Wizards, and OY. As with his debut, the album is anchored by a story — this time of a young girl's journey through the stars — which completes the work.

* Clap! Clap!'s unique blend of global dance and timeless sounds draws from nature, traditional music, field recordings and the electronic savvy of modern centres like Chicago and London. At its core is the inspiration of everyday life, what Crisci calls 'the search for new flavours.'* The now internationally acclaimed producer and performer started his career age 13 in the mid-1990s as a rapper, before picking up the saxophone and performing both jazz standards and jazz/punk fusion with his band Trio Cane. Now, as Clap! Clap!, he's taking his energetic live shows across Europe and Japan. Following the release of his debut album in 2013, has found a fan in Paul Simon who told Rolling Stone the LP is 'a masterpiece. He makes music sound new and old at the same time'. This led to Crisci to collaborate on the production for this years Number 1 Paul Simon album 'Stranger to Stranger'.* With a passion for history and the sounds that surround us, Clap! Clap! is a unique electronic artist capable of both channeling the energy of the moment and the intricacies of where we come from to create music that can soundtrack where we're going.

Main Phase returns for a second full-length EP on Shall Not Fade's hugely successful sublabel, the bass-oriented Time Is Now. The Copenhagen native is fresh from an appearance on Danish leftfield label Petrola 80 and can otherwise be found heading ATW records with another Time Is Now regular, Interplanetary Criminal. He serves up a tasting menu of the most quintessential sounds in UKG across Buss It EP.

The title track is understated, sparse but tense using sparing Ragga vox that build to a crescendo, wobbling over into "Our Style" - expect space age FX drawn out over mutant inflections in another textbook eyes down cut. Cheeky bassline garage energy is brought in "Creepin", while teasing breaks and dirty south hip-hop in the vocals.

Looking to the infamous early years of garage on the B-side, "Freaky" channels those classic Ghost releases in its sub-heavy intent, spicy snare and catchy vocal hooks. The EP is closed out with the expansive, gut-wrenching wobbles of "Misdemeanour", accentuated with a highly intricate two-step rhythm.

Incl. Chris Geschwindner Remix

To kick off with their series, SINM presents its first record: First try Fridays (incl. Chris Geschwindner remix). The tree tracker consists of a blend between UK Garage, House and Electro to bring forward cutting edge rave sensations with futuristic vibes.

A side takes you straight to a two-stepper projectile, setting the tone with "First Try Fridays" and its powerful wobble sub and short electric stabs. Perfect for threatening the dance-floor in peak time hours alongside mysterious DDA's approach.

On the flip side, Realness teleports you to a nostalgic scenario with its polished chord progressions and breakbeat strikes. Slowly building up with vocal cuts and glitchy transitions, B2 reaches a both nostalgic and mysterious climax. To close the EP, Beam Dump's boss man captures the beautiful essence of Realness bringing beach-like sensations to a tune that's perfect for warming up a dance-floor or enjoying the after-hours.

More to come soon from the SINM crew, stay tuned!

We are an underground independent label looking to bring music to the scene that reflect the timeless sounds from the halcyon days in dance music whilst ensuring listeners hear sounds they’ve never heard before.

Emergence is our 2nd release and we have signed some tracks and artists which we feel are pushing the sounds of the UK underground forward, Incl. the unstoppable Interplanetary Criminal.
The sounds in the EP resonate rave memories, with darker sinister sounds and thundering basslines of Jungle, emerging into euphoric breaks and bubbling UKG.

To coincide with the release of their eagerly awaited debut album Gate Of Grief (now due out on 20 July), US dark electronic outfit WHITE RING release a double AA side 7' single of the two lead tracks on the album 'Leprosy' and 'Nothing'. Blending heavy, distorted electronics with eerie, unsettling vocals they push the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix

'Leprosy' is brooding, abrasive and ethereal all at once, the track draws from a varied and challenging palette, steeped in existential dread. It was the first song they wrote for the album and features the vocals of co-founding member Kendra Malia. As Bryan Kurkimilis explains; 'This song was the first time we really wanted to start exploring aggression in our music.'

'Nothing' is underpinned by gothic 80s beats and sinister synth bass-lines. It crackles and fizzes with arcade bleeps with wraith-like melodies floating over the top. In this song, nothing is true and everything is permitted. It features the first collaboration with newcomer Adina Viarengo, who added her vocals in 2016 to the existing instrumental track that Bryan Kurkimilis created for the first set of WHITE RING demos in 2009.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. Gate Of Grief arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe.

Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

Dwelling on the outskirts of pop music, WHITE RING grew up in the age of the internet and were exposed to a huge range of music. They have developed a unique style while pushing the boundaries of accessibility and musical genre. They have created a piece of art that is brimming with symbolism and underlying tensions, that seduces and scares in equal measure.

Off the back of the “Dartford Crossing” EP with Alec Falconer, label founder Jack Michael returns for a solo outing with four dynamite productions entitled, “South East Vice”.

“Mr Nice” has a killer sidewinding bass line which sits comfortably between the gentle synths and deeper vibes of the track. Title track “South East Vice” creeps with a more mysterious and serious energy, jam packed with sounds of the early rave days.

On the flip “Rampage” does exactly as it says on the tin, urgent, and direct, the ghetto vocal pays homage to garage sounds of the past, grime like synths flash in and out - going back to the roots. Showing no signs of slowing things down, the B2, “The Grotty Choir” is a slick and pacey broken beat number, with speedy shuffling drums and chunky bass, on a jungle tip.

Another display of dance floor bedlam from Jack Michael and the Orbital London outfit, enforcers of modern day rave moods out of the UK. Prolific sounds once more.

Super second venue on the new FOLKLORE records sublabel ! MUST HAVE

95Bones channels a year of pent-up dance

It’s all killer and no filler on this heady mix of breaks, NY house, acid and UKG. 95Bones flexes his hardware muscles on a 4-track EP designed to be played loud in a dark room.

In recognition of the influence of LGBTQ+ culture on contemporary dance music a portion of proceeds from this release will be donated to Stonewall Housing.

Lovingly delivered by the crew at YAM Records.

Taking you back to the sounds of Underground Garage with the bumping 2-Step flex of Jodo Kast.

From Norway via Berlin, O.M.Theorem debuts with an EP rooted in 160BPM sub-heavy atmospheric soundscapes, that explores connections between different tempos and time signatures. Side A presents two percussive driven polyrhytmic explorations while side B steps into slightly more familiar dubstep / UK Garage territory.

Jamie xx releases a remastered version of his debut album ‘In Colour’ on Young Turks.

Jamie’s definitive ‘In Colour’ is a bold, celebratory and emotional artistic statement that received critical acclaim across the board as well achieving huge commercial success.

The eleven track LP was widely regarded as one of the best albums of 2015 and was voted in the top 25 of Pitchfork’s Best Records Of The Decade. ‘In Colour’ went on to receive Grammy, Brit and Mercury Award nominations, reaching Gold status in the UK Official Charts, and its lead single ‘I Know There’s Gonna Be (Good Times)’ featuring Young Thug and Popcaan is certified Gold in the USA.

As well as continued success with The xx (whose third album ‘I See You’ was released in 2017), Jamie released a new single ‘Idontknow’ in April this year, which has sold out on 12”.

Zur Feier des zehnten Geburtstags von "In Colour", dem 2015er Debüt von Jamie xx, kündigt der Londoner Produzent und DJ eine limitierte Picture Disc Version der LP an. Das ikonische Cover Artwork des ursprünglich am 29. Mai 2015 erschienenen Albums befindet sich bei der 10th Anniversary Edition direkt auf der LP. "In Colour" hat sich über die Jahre zu einem modernen Klassiker entwickelt und wird gemeinhin als eines der prägenden elektronischen Alben der 2010er Jahre betrachtet. Der kaleidoskophafte Trip durch die UK-Dance-Kultur landete bereits im Jahr seines Erscheinens in zahllosen Bestenlisten. Mit Tracks wir "Loud Places" (mit Romy), "Gosh" oder "I Know There"s Gonna Be (Good Times)" (mit Young Thug und Popcaan) wahrt das Album die Balance zwischen Crossover Appeal und Underground Credibility. Es war für den Grammy und die Brit Awards nominiert und landete auf der Short List für den Mercury Music Prize. Auch ein Jahrzehnt später brilliert "In Colour" nicht nur durch seine Produktion, sondern auch durch die emotionale Dimension, die es auf den Dancefloor gebracht hat. Es ist ein Album, das einen persönlichen Liebesbrief an die britische Clubkultur in ein globales Statement verwandelt hat.

third release from the capital city camp. This time its an EP by Popup

'Ianua' is the stage name of Filippo Midali, a 360 degrees electronic musician that sweeps primarily from techno, electro, breaks, jungle to Chicago footwork with a stable contamination from HipHop culture and scratch, the art of vinyl manipulation.

The self-titled album, his debut album, fully represents this, moving from track to track between various musical genres. The name 'Ianua', 'door' in Latin, comes from the idea of the multiverse and inter-dimensional doors; this is depicted on the cover, on which the front represents the door distorted by the journey through space and time and the back, together with the titles, the sketches and formulas of the presumed door- building scientist.