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Blackpool based noise rock and punk trio ‘Those Fucking Snowflakes’ are a vibrant clash of political punk, hardcore rock and math rock that has been getting 6music play from the likes of Tom Robinson and Gideon Coe and has a two page feature in the next issue of Vive le Rock magazine as well as props from Jason Williamson of Sleaford Mods.

The band formed as a means to scream the dread and horror faced in these confusing times of our modern society. From the current mess of the UK political system to the intolerance of, well, everything. From race and gender to such simple items as Greggs releasing a Vegan Sausage Roll, the band are shouting about it backed with a tight unique sound and occasional off kilter humour.

‘deploying 1000 volts through the civility of discourse’


The band have self released two EP’s - ‘U Ok Hun?’ and ‘Straight Wealthy White Male Suffrage’ on their own label ‘The Recording Industry Is Dead, Records’.

Montreal-based producer & DJ Slick Shoota brings us Function, his debut LP and first solo release on the Teklife imprint. A native of Norway known for his renowned Oslo club night Ball Em Up, he's been a member of the elite crew since 2015, contributing tracks to the label's compilations such as On Life Vol. 2 and VIP Trax. Using a unique palate that combines both traditional footwork drums and eclectic otherworld sonics, this album expands on the signature sound he's been brewing during the course of his career, celebrating his longtime love of the Chicago soundscape, with a healthy helping of UK rave, jungle, and vibes from other fast paced club realms. Slick starts the record off with Hovercraft, a big burly mutant rap beat riding a glowing titanic wave of jungle subbass, with vicious hi-hats stabbing through the mix. Desire Path follows with hysterical horns cruising along a stampede of erratic Chicago percussion. A glitchy, malfunctioning computer meets drumline stomps on See Me Flex, resulting in a psychotic, yet psychedelic sci-fi soundscape. Ultra-distorted hardcore kicks open up Jellyneck, dropping straight into a dungeon of ghostly vocals and headlong toms. Warehouse 2K opens up the B-side with R&B chops and lasers floating on a charming cloud of pulsating pads. Mad doppler sirens loop around your head on Delahaze, as distant clangs and crashes fight an impatient, throbbing bassline. Classic rave atmospheres are met with Slick's elegant sound design on MTL Hardcore, his ode to his adoptive city. The album closes off with Special Tek, channeling the signature quirky drum sounds of the late DJ Rashad over a pounding, fast paced house beat, a wonderful nod to the Windy City and its influential sonic culture. Carving out his own sound from the legacies of Chicago, the UK, and other underground club hotspots, Slick Shoota has found his own recognizable voice within these realms of dance music, and this LP serves as documentation of that solidified voice. Years of studying the masters and immersing himself with their work has clearly paid off, and he's respectfully taking these sounds he loves in exciting new directions. Bridging gaps both historical and geographical, Function marks a pivotal point in his career, and is clear evidence that Slick Shoota is vital member of the legendary Teklife family.

Dehumanization is the only full length album from the band Crucifix. Recorded in 1983, it is considered a classic American hardcore album and a landmark of anarcho-punk.Dehumanization delivers a raging critique of war, violence, displacement, and the decimation of human rights and human dignity—themes at once global in scope and also completely endemic to Reagan-era America. The intensity of this message is matched only by the intensity of the sound: a heavy minimalist construction built on brutal guitar riffs, low-end distortion, hardcore fury and teenage speed. It is an album of pure raw power, a hot blast of personal and political outrage and musical adrenaline.Fusing California hardcore with metal and second wave British anarcho-punk, Crucifix carved out their own highly distinctive wall of sound on this release. Ignoring the rules of punk purism in favor of a well produced huge guitar sound, the album preceded much of the hardcore metal crossover of the mid-80s and played an influential but often unacknowledged role in the punk and metal subgenres that followed. “Annihilation,” the album’s opening track, has become iconic . Quoted often, it’s been sampled by Orbital and covered by A Perfect Circle and Sepultura. The original vinyl version of Dehumanization was released on the Crass Records offshoot label Corpus Christi in the UK, and has been out of print since the 1980s. This new Kustomized rerelease has been carefully remastered from an original vinyl source and adheres closely to the audio quality of the original. In addition, the six-panel foldout poster sleeve has been reproduced in its entirety. Taken together, the words, music and graphics of Dehumanization form a complete work and a resonant and enduring document of the period

Theo Nasa makes his debut on Rekids this December with ‘Worldwide Ravers EP’.

The Alien Sound Trax boss, who has previously appeared on the likes of World Unknown, Suara, and UNCAGE, makes his mark on Radio Slave’s imprint with the hard-hitting and distinct ‘Worldwide Ravers EP’.

Deeply infused with the unmistakable sound of the UK, Nasa draws from his broad range of influences for his EP, distilling elements of Jungle, Rave, and Hardcore into his own brand of meticulously crafted, difficult-to-pigeonhole techno. Opener ‘Dubska’, clocking in at over ten minutes long, is a relentless and fast-paced affair, bubbling along at breakneck speed with the help of classic vocal samples, while ‘World Dance (Rinse Out Mix)’ fuses breakbeats and droning bass to create a high energy track that twists and turns at 140bpm. Field recordings of birds in ‘Summertime Raving In London’ sit alongside classic drum kits and emotive chords while living up to its titular character.

Phantasy’s #PH100 retrospective continues with PH45RMX. Denham Audio, perhaps one of the most prolific British production crews emerging in some time, arrive on Phantasy with a breakbeat-heavy and lucid take on James Welsh’s ‘Cold Land’.

Originally released under Welsh’s original alias of Kamera in 2015, ‘Cold Land’ remains one of the underrated gems in the label’s back catalogue. Initially emerging from a shed in rural Mallorca, it’s halcyon poly synths and skittish drums immediately recall the wide-eyed optimism of 90s IDM. Far from mere ‘braindance’, ‘Cold Land’s emotive quality affords it a unique timelessness.

Fresh from releases on Lobster Theremin and E-Beamz, Denham Audio build on their recent reputation for both nuance and impact, comfortably interweaving the dreamy melody of Welsh’s with unapologetic breaks, taking the original’s futurist sonics into the parallel scene of UK hardcore and DnB. For those with a warehouse going spare, the alternate ‘Raw Mix’ hits even harder.

Slick jungle, low-slung broken beat and even a deep house banger, 'Interlocked' assembles 8 tracks of some of the purest old-school vibes by a veteran of the scene under a brand new alias for a frustrated and precarious (post)-lockdown summer. Tapping the drama and energy of the largely pre-generic party days of '91-94 - a halcyon time of transition in which Drumskull himself, as a life-long skater otherwise stoked on the the raw energy of 80s skate video soundtracks - to Black Flag, JFA, Minor Threat, Stupids et al, to Primus, Gang Starr and Meat Beat Manifesto, made the passage into syncopated machine funk, to sub bass, time-stretched breaks and automated beat production.

Physically drumming in a couple of skate punk bands in the early 90s, exposure to hardcore and early jungle tapes in '93 by DJ Dimension and DJ Rob (Leeds Orbit, UK), amongst countless others, inspired an archetypal move to sell his drum kit so as to land a set of Technics 1210s. Spinning techno and jungle on the local free party scene and clubs as part of a DJ collective from '94-96, crafting early tunes on Amiga ProTracker software, and shortly after running club nights in mid-90s London with Mo' Wax and Ninja Tune artists, Drumskull expresses the eclecticism of the era across 8 big tracks of previously unreleased material. Evoking all the energy and excitement of being involved in those early years of dance culture, 'Interlocked' powerfully yet playfully connects then to now, reveling in a sense of timelessness, mutation and hybridity.

Album photography by Amir Zaki from his book with legendary Skateboarder Tony Hawk and author Peter Zellner 'California Concrete: A Landscape of Skateparks (2019). Graffiti lettering by original UK stylemaster and beatmaker REQ TDK.

Award-winning International DJ and Producers The Prototypes release their third album ‘Ten Thousand Feet & Rising’. The Brighton based Drum & Bass duo were previously signed to tastemaker label ‘Viper Recordings,’ home to Matrix and Futurebound.

The Prototypes’ potent, hard-hitting production and broadsword body of work on seminal labels such as UKF, Viper Recordings, Shogun Audio, Ram Records, Technique Recordings and Formation. Anthems that have been supported across the entire D’N’B scene such as ‘Pale Blue Dot’, ‘Pop It Off’ and ‘Kill The Silence’.

Their expansive and versatile remixes of acts ranging from Ed Sheeran to Avicii to Friction by way of their sought-after bootlegs of Fisher and Knife Party and unreleased dubplate remixes of Bad Company and Pendulum. Not to mention their extraordinary debut album ‘City Of Gold’ that exploded in 2015, took them around the world several times over and elevated them to headline status.

‘Shadows’ is the first single from the new album, which they explain as ”a throwback to the Hardcore scene from the late 90s, with a piano line influenced by pivotal names through the history of the UK’s rave scene such as Vibes & Wishdokta, DJ Dougal, Slipmatt, and Nookie, to which we added a straight up banger of a bassline”.

Featuring Ulta Music’s singer Lily McKenzie, known for her collaborations with industry heavyweights including Giggs, Conducta and Wiley, as well as featuring on Crazy Cousinz’s 2017 smash hit, ‘No Way’, alongside Yxng Bane and Mr Eazi signed to Ultra Music.

Previously supported by the likes of Zane Lowe, Annie Mac, Andy C, Roni Size, Friction, J Majik & Wickaman, Pendulum, DJ Fresh plus many more.

Side One is heart-pounding Techno, Hardcore and Electro. Side Two is 90s inspired UK Jungle with an excellent rework from Tim Reaper.

Of everykune tre
The hawethorn blowet suotes
My lemmon sse ssal be
The fairest of erthkine
Wel was hire dring
The cheld water of the well-spring
Wel was her bowr
The rede rose and the lilye flour

Repress

Techno Letfield legend. Peder Mannerfelt returns, this time in original format, with the second version of a track called The B. The first version probably never existed. As you will hope that this one never existed too while your brain is melting in a Swedish oven spiced with hoovers and sub bass.

Hard to deny the back and forward energy between the Copenhagen scene and KAOS. Repro is back in the show. The moment of impact is a heavy trip on high energy mode. Please wear your helmets.

Dirty Rocking Bassline is most probably one of my (and SPFDJ) top 3 most played tracks ever. That would be a reason to be more than excited to welcome directly from Devon (UK) to Darc Marc. But you wanted more: Running With The Devil has been another sure hit in your TRACK ID?? requests in the last months. Free-party rooted, hyperdrive, sexy, dark, fast... And now you believe.

The hardcore-IDMish dystopia from Uncrat closes poetically this new issue, giving more meaning than ever to that mighty quote that once a wise friend of mine said at an after and that I take now as life motto.

#TOOMUCHISTHEMINIMUM

Repress

Pink Vinyl

The DJ Producer is a legend and has been a force to recon with for well over 2 decades. Unlike some veterans this hot piece man meat still keeps reinventing himself, pushing the envelope with every new piece of music he creates. That's what true artists do, they push boundaries and keep their hearts and souls in it full force till the bitter fucking end and amen for that.

So yeah.. about this record.
Can't Describe It (Finally) is a killer uplifting Rave slammer using a classic sample from the past in a track for the future.
Cant Fuck With Me on the flip is a 210 BPM UK Hardcore Techno banger that embodies everything great about that signature UK sound filled with a ton of Fuck you's for that extra dose of Fuck Off Power.

No A or B sides on this Pink Punk as Fuck vinyl. This one is AA all the fucking way!
Blast these fuckers loud & proud people. This ain't no easy listening elevator music I can tell you...

FFF continues on his rich run of form with a heavy double hitter on Foxy Jangle - classic jungle signatures meet cutting-edge production precision across both tracks.

"No Ice Cream" fuses rare groove, ragga and neo-classic jungle rhythms, the resulting roller a molotov cocktail of club-ready jungle for the big soundsystems and low-slung, sweaty basements.

"Backstreet Dub" is an altogether smokier affair than the flip. Pulsating UK hardcore DNA meets dub sensibilities and DnB breaksmanship, creating a strong-armed sonic journey littered with emblems of soundsystem culture.

All tracks by FFF
Lacquer cut by Shane @ Finyl Tweak
Mastering by Bob Macc @ Subvert Central
Artwork by CISTO
Additional graphic design by Yorobi

17 Steps present ‘New Atlantis’, a 5 track EP from versatile DJ, producer and dance music historian Chrissy.

The EP takes its name from an unexpected source – a 17th century utopian novel of the same name by Sir Francis Bacon, depicting a future society in which science has become the ruling principle. It’s an inspiring idea for Chrissy – an antidote to the assault on truth and intellectualism led by climate change deniers, anti-vaxxers, flat earthers, creationists, unfit-for-office demagogues and the slow suffocation of fact-based journalism.

‘New Atlantis’ explores the utopian worldview implicit in early rave music, drawing on classic Chicago house, UK hardcore and Drexciyan electro. The result is a collection of jacking breaks and bass infused dance music washed with a bittersweet euphoria – celebrating and lamenting an era’s forgotten optimism.

Raving Techno - Inna oldschool batch of UK hardcore meltdown
with the PCP influence behind... Massive! Mastering by Martin Haar!

RAVE026 is a double hammer of blitzkrieg gabber and seething acid trance/schranz from Service
Animal (Vereker) and Crime Unit, featuring material previously issued on impossible-to-find
tapes by the cult, DIY label; Live Adult Entertainment
The punkish reputation of Live Adult Entertainment precedes them as one of the underground’s
keenest yet elusive operations to emerge in recent years. Based in Thessaloniki, a port city in
northern Greece, they’ve released some 28 tapes, CDR’s and lathe cut vinyl of musick ranging from
psy-trance to industrial noise and concrète since 2017, and always in editions ranging from zero
to 20 tops, leading to feverish and frustrated reactions from those listeners who’ve chanced upon
their YouTube videos before they get taken down. Finally, this 12” features the first readily available
and properly mastered LAE material on a physical format.
On the A-side, Endangered Species label boss Oliver Vereker adopts his gabber alias Service
Animal for his first outing proper since appearing as Renoir on his label’s 2017 CD, ‘Death Always
Follows’. Revolving material originally available on tape in edition of 20 copies, it boots off with
the 12-hp hoof and dive-bombing drones of ‘Core Of Reality’ next to the evil Arcardipane styles of
‘F.T.W’, which are both produced with the same, powerful conviction in charred black metal, noise
and hardcore techno that made his 2015 releases as Restraint and Grace so vital, only with added
acceleration and syncopation.
The B-side follows with a pair of seething workouts from the ‘Cyber Afterbirth Vol.1’ mix by
LAE co-owner, Crime Unit. Hearkening back to a sound that was ubiquitous between Hackney
Warehouses and small-town UK/European techno clubs in the late ’90s/early ‘00s, they are
ravenous examples of the LAE aesthetic, applying scuzzy DIY principles to gnashing German
schranz and adrenalising acid trance with ruthlessly direct results that pack one of the meanest
breakdowns you’ll hear this year. Trust they will mercilessly sort the dancers from the posers.

A-Future presents a fierce electro-charged production debut for EON Records.
After a solid summer of gigs at IICON Glastonbury, Inner City Electronic Leeds, Gottwood and Boiler Room, A-Future now shares a progression for his DJ project which has been impressing crowds across the UK with its range of left field beats and punchy up-tempo tracks.
Deploying tricks learned from his weighty record collection, the Birmingham based producer works in hardcore breakbeat flares, deep electro basslines and headsy IDM synths into original track No Era for what is a high-grade first showing.
Censor records head and long time friend Alex Jann and Berlin’s mysterious electronica producer Secret Universe provide a remix each. Jann comes in deep with a gritty bass line that drives his version with a solid flow primed for 140bpm dance floors. Secret Universe then sets etherial moments beside to belting syncopated jungle beat programming for a headsy and heavy take on No Era.
This is the second release on A-Future’s EON Records label which launched in March 2019 with Sepehr’s Cybernetic EP featuring Stratowerx and A-Future remixes.

The re-launched Secretsundaze label continues to spread it's wings with the signing of Lisbon born, London based Silvestre.The push and pull of influences from his own and adopted countries have combined to find him a unique sound that embraces rap, R&B, reggaeton as well as breaks and woozy pads from UK hardcore and house. Mixing samples, his own voice and continuing the fusion of reggaeton and breakbeat/techno from previous releases, the Silvestre Is Boss EP aims for a hazy vibe.AAAs Silvestre explains: The pad and synth choices on this EP are picked specifically to sound dreamy, a dream where you arrive at the club but the party is already finished, which sucks." Silvestre began making his name in 2015 with his first release on the Diskotopia label from Tokyo and followed that up with appearances on Creme Organization and Paraiso. He then dropped the killer 'All The Things' EP of mid-tempo party bangers on his own Padre Himalaya label which reached the top 30 of Phonica's illustrious Singles of the Year list. The Silvestre Is Boss EP is his strongest work to date with 5 tracks of quality floor and headphone directed material that perfectly balances the need for playful melody and harmony with tough grooves and synthetic ambience. Drafted in on remix duty is Secretsundaze fave D.K. (Antinote records) who takes EP heater 'Fuego', dialling down the breakbeats for a smoother trip.

Hailing from Cardiff, Elmono has previously released on Cold Recordings, launching the label with it’s first release and following up with a twisted take on Swamp 81 style UK bass 4/4 music. His debut on Tectonic shows off a different flavour altogether, combining all the classic elements of old school UK rave music - and giving them a fresh twist. Tempos run around 128-130bpm while the mood captures the essence of 92-94, as hardcore mutated into jungle.

We kick off with ‘Cooper’s Dream’ which filters upward from a muted position, dropping into a jungle-tech format, building up to a strange melodic bass line as we are taken further and further into the void of Cooper’s hallucinogenic dream space!

‘For The Future’ begins with a short, gentle intro before dropping wildly out of the blue into a tearing bass drop that will rip apart the walls of any dance. Harking back to the old school ways, the track develops with sample snippets and ‘ardcore synth stabs.

Flip then for ‘Endorfiend’ which runs with the theme of jungle/hardcore ingredients, reworked for 2019. Swooping bass hits and melodic chimes leave one foot in 1992 and the other in the here and now.

‘Shermi Paradox’ closes up the EP with splashing drum breaks, dissonant chords and synths, spinning acid like elements alongside Detroit-esque bass patterns.

Juan MacLean and Man Power debut as Juan Power for Life and Death

Life and Death continue to serve up brilliantly unpredictable releases with a new one that brings together American DFA stalwart Juan MacLean with the UK’s Me Me Me label head Man Power, plus an edit from the boss, DJ Tennis.

Juan MacLean is a multi-faceted artist who has a history of everything from playing in post hardcore bands to producing some of DFA’s most celebrated releases. He does classy house bangers with synth pop and disco layers like no one else. Man Power, meanwhile, is someone who is fantastically eclectic in what he does on all fronts as a DJ, label boss and producer. He’s made corrugated acid, hands in the air house and machine disco and plenty in between on his own label, but also cult outlets like Correspondent and ESP Institute. The coming together of these two undoubted studio wizards, then, is a fascinating prospect.

And so it proves right from the off: opener ‘Crescendo’ is a nine minute masterpiece with rickety house drums making you move while the shuffling percussion builds the pressure. Gorgeously warm chords eventually join the fray and have a blissful effect that sets you off dreaming and keeps you in a trance until the end.

DJ Tennis himself then steps up with an edit of ‘Excuse Me Daddy’ that is deep and cavernous. Next to the suspensory pads is an intricate synth line that takes you in on yourself in perfectly melancholic ways.

Closer ‘Praise The Toad’ then picks up the pace with more live sounding drums and a sparkling lead synth that rises and falls to cosmic effect. Drawn out over the full length of the track, and in amongst some chattery claps and smart effects, it makes for a journey to the stars that will cast a real spell on all who hear it.

This is an innovative collaboration between two masters of their craft.

Ibiza Records label was established back in 1989 and was one of the main contributors to the UK underground music scene. Those behind the label were the innovators of Hardcore Jungle, Jungle Techno and Jungle genres in the 90s stemming from Warehouses to clubs and now festivals. Ibiza Records Label returns today with some new releases and a back catalogue of gems for the real Junglists out there.

Another 3 track EP comes out of Ibiza Records archive vault's called Archives Vol 4 produced by Noise Factory. Each of these tracks represents 'The Original Jungle Sound' from back in the 90s.
This 3 track EP called Archives Vol 4 comes from out of Ibiza Records archive vault and produced by Noise Factory. Each of these tracks represents 'The Original London Jungle Sound' from back in the 90s.

A.JUNGLE MYSTIC - This track made back in 1999 produced by one of the member's of Noise Factory aka Drumpella Black. Keeping with the original sounds of Noise Factory and the elements of techno and hardcore the early developments of Jungle.
AA.CAN YOU FEEL IT - This track made back in 1999 produced by one of the member's of Noise Factory aka Drumpella Black feat. Tremma T on the vocals. Keeping with the original essense of jungle, piano stabs and hardcore flavours.
AAA.ROLL WITH ME - This track made back in 2000 produced by one of the member's of Noise Factory aka Drumpella Black feat. Jnr Dangerous on the vocals. Once again showcasing the true elements of jungle.

• Debut album by production whiz-kid Mantronix, one of the most important acts in the mid-80s hip-hop. Pioneers of drum machine, sample technology and art of the remix.
• Features NYC club anthems ‘Needle to the Groove’, Fresh Is The World’ and ‘Bassline’ (UK top 40 hit).
• This is raw hip-hop and electronic music of the highest calibre.
• Cult classic proudly reissued by Demon Records on 180gm heavyweight black vinyl with
printed inner sleeve.

BAR03 is BAR Records' very first spring release. With 2 tracks by The Hague's JEANS and 2 more by Italian duo Younger Than Me this one is dedicated to the ravers.? First track by Jeans is 'Grand Theft Mind Explorer', a race car journey full of various breaks and melodies into the 4th dimension. The second track 'Nohzdyve' sounds like a spring tune on a hardcore clubnight. The peaktime beat slowly fades into a sweet and nicely confusing end. Younger Than Me's 'BaRave' has some classic UK rave elements; the signature drums are accompanied by a happy end of the day melody. This track asks for a perfect sunset. 'Dirty Sex' is the different one, a vocal track for darkrooms. Contains the beautiful voice of Justine.

Meda Fury welcomes Tom Wrankmore aka Eliphino to the imprint for a stunning EP of thunderous breaks, 303’s and serious sub-bass pressure. Hailing originally from the Leeds, but with wider travels to settle down in both London and Berlin, Wrankmore’s music embraces hip-hop, rave, and UK garage. He now serves up
a pungent confection pitched between the Hessle Audio crew, Joy O and Demdike
Stare’s most recent efforts. Having released heaters for Brownswood and Hoya Hoya over the years, Eliphino now debuts as part of the Meda Fury family with the Realistic Sex EP.

Wrankmore has been locked away in his studio for the last 1.5 years, abstaining from gigging and releasing records to knuckle down and produce, emerging with a new darker edge and a much more hardcore sound. Tom explains: “The theme of the EP
is trusting your intuition in an information flooded world. I’ve collaborated with visual
artists Tom Pounder & Jon Harris who have created two videos for the release, one for Disc Rhythm and one for Realistic Sex." Meda Fury boss Nick Williams; “Tom's new music epitomises to me what modern club tracks should sound like - wild, energetic, deadly. He’s discovered his own dark new world of sound fusing breakbeat, acid, speed garage and even industrial stylings”

Bristol stalwarts October & Borai join forces once again for their second outing on Happy Skull. The pair join the dots between sleazy EBM and rugged, hardcore atmospherics.

Lead track 'Fatal Rumba' is a titanium plated slab of latin funk for freakier, late night dance floors. On the B-Side 'Swipe Left' drops the tempo but turns the pressure up to boiling point, a chugging drum machine workout complete with pulsating 303's and dub techno chords. To round things off, Conch bosses Bash & T give 'Swipe Left' the full UK treatment, flipping it to a mutant funky roller.

Dubplate’s Don Persian has repressed this Hardcore Breaks Techno Riddim, seeing there were only 100 in existence before going for crazy prices, now including a mix from S.Bell capturing a shimmering soundscape vibe, adding perfection to his unsung abilities. This E.P. has some speaker destroyer’s on there, introducing the MixMaster Max into the pot alongside the Persian doing what can only be called world dub music. Sterling breaks shuffling at a downtempo 8 bit vibe with a really heavy bass! MixMaster Max’s history is interesting to say the least...

Born October 1966. Break Dancer in 1984, under the moniker Mad Max, started a crew named The Back Street Warriors, busking all over the UK at places such as Covent Garden/Leicester Square Performing on stage & in clubs. They once jammed with The Rock Steady Crew in Camden Palace in front of an audience.

Then in 1987 he became a DJ, playing all genre’s of music, he first played on RJR Radio, playing Electro, Hip Hop, Soul, R&B & Reggae. Moving forward he started playing Acid House & Four to the Floor Music styles, by the early 90’s he played on Weekend Rush & then went onto Defection, Touchdown, Don & Passion FM, playing Acid & Hardcore Jungle.

In the early day’s, MixMaster Max was one of the Innovator’s of Jungle music by mixing Hardcore, Reggae & Hip Hop together, helping other’s to produce, fuse & gain idea’s in the music industry. He was by Far the most Original, Innovative, DJ anybody had ever heard.

In 1991 he played alongside John Saunderson at the Camden Palace on a Friday night, he also played at the Famous Hacienda Club in Manchester.

He was the first DJ to create the Topsy Turvey, which is one turntable on top of the other, he came runner up in the DMC World Championships in the early 90’s.

He played at some of the Biggest Rave’s back in the day, Pirate club 93, Fantazia 92, Dungeon’s 91/92, Turnmills 92, to mention a few. He also played on Avenues FM & People’s Choice, which were legal Radio Station’s, not forgetting Kool FM & Centreforce.

He performed on stage with the We Papa Girl Rapper’s in 1990 at the Notting Hill Carnival. This Legendary Cult figure is a Master of the Nunchucker’s & TurnTable’s!

His innovative Mixes were ‘legendary’ he was a pioneer precursor to the Art form known as Jungle Music, not to mention his Scratching abilities, which was ‘extraordinary’!

For those that listened to pirate radio back in the day, he was the legendary cult figure that inspired us all, giving us the freshest musical styles that had never been heard before!

He can still be heard on Radio today...What an inspiration this Unsung Hero has been to us All!

No Concession on this one... the uncomon rare oldschool sound pushed at its extreme pleasure : that particular sound we heard a lot here in France with XMF (formerly now The Hacker), Bunker (NL) and to be more precise with Agro (UK) and Power Plant (Germany) but of course... Drop Bass Network (USA) ! Respect to the original Acid Hardcore caves ! BIG UP The Untitled !

Reaper Recordings is a brand new label focusing on delivering a regular supply of second to none jungle and jungle related music.

Reaper is getting the ball rolling with the first in a series of 10' vinyl releases courtesy of Ghosty, who has released music under many different aliases for over 15 years. Presented here are two tracks of meticulously programmed hardcore jungle: modern production values and attention to detail whilst maintaining grit, dirt, warmth and weight. Both tracks have recently been road tested with great reception at various Jungle events around the UK.

Side A, 'Dead Already' is a low slung, bass driven, dark jungle workout with creeping, tape saturated arpeggios with powerful lows and aggressive, punchy percussion.

Side B, 'Forward' is a soul influenced, 94 style jungle track. Solid, deep sine basses hold down the chopped, steppy, dynamic drums.

AF Trax = Against Fascism Trax and is a new label project instituted by JD Twitch/Optimo Music. Its aim is to make a musical and cultural protest in opposition of rising far right politics and ideology in the world. Encouraging artists to make music intended to interrogate these toxic ideas, and with all label profits donated to Hope Not which campaigns to counter racism and fascism. Against Fascism Trax's intent is to provoke conversation, inform and financially support the opposition to fascist thinking. Its simple idea is that we must do something more than just talking. The moral thing to do is to act.

AF Trax plan to release 10 Eps in 2019. The first release is a 4 track EP from Logtoad, channeling UK hardcore but in a 21st century way.

Logtoad is a performance artist, sound designer, DJ and veteran of Glasgow's music community, active since 1992.

He has performed live music a handful of times under a variety of aliases. He currently lives 225m above sea level, less than 50km from Hunterston B nuclear power station.

Limited Edition: 500 x 2 LP Gatefold Pressing. Bentley Rhythm Ace formed in Birmingham in 1996 when ex Pop Will Eat Itself bassist Richard March and DJ Michael Stokes discovered a shared love of obscure, oddball and eccentric tunes. Utilising lo-fi cut and paste sampling techniques combined with analogue synths and some wild turntable action their debut EP was picked up by Fatboy Slim's Brighton based Skint Records and released to widespread acclaim. The BRA live show added Fuzz Townshend on drums and James Atkin (ex EMF vocalist) on keyboards and the latter years of the 90s saw BRA firmly established as festival favourites with appearances at Glastonbury, Reading, V, T in the Park, Montreux Jazz and Fuji Rock amongst many others. Their irreverent approach mixed with big beats, thundering bass, wild synths and esoteric samples proved to be a hit with fans and critics alike. 1998 saw Bentley Rhythm Ace crowned 'Best Dance Act' in that year's NME awards. Their eponymous debut album was given a worldwide release after the Bentleys signed to Parlophone records and the band toured extensively in the UK, Europe, Japan, Australia and USA. As well as releasing a highly regarded DJ mix album on Ministry of Sound, and releasing a second album for Parlophone (featuring vocals from Black Grape/Ruthless Rap Assassins frontman Kermit), BRA also produced well received remixes for the Beastie Boys and Supergrass as well as soundtracking several TV shows and adverts. This "21st Birthday - Bonus Tracks Edition" of the album has been compiled by Richard March of the band and includes the original 11 track album along with 2 bonus tracks remastered and repressed to vinyl for the first time in almost two decades! Presented in a deluxe gatefold sleeve, complete with original artwork and comprehensive sleeve notes for all thirteen tracks written for this release by Richard March. Bentley Rhythm Ace (21st Birthday - Bonus Tracks Edition)

Massive debut from Chontane
Industrial Techno x UK Hardcore x Electro
Featuring a roof raising JoeFarr remix.

For fans of: Deapmash, Ansome, Scalameriya

DJ SUPPORT:

FJAAK
Peder Mannerfelt,
Scalameriya
Manni Dee
JoeFarr
Lag

Axe Gabba Murda Mob Releasing On Prspct's Rvlt Imprint For The First Time. What Does This Mean Well.. Bryan Furry & Hellfish With Their Signature Quality Uk Hardcore Sound But Jut That Little Bit More Broken Up. In Other Words: Brutal And Out Of The Box. Just The Way We Like It!

Comma And A.fruit Land Two Unadulterated Bangers On Rua Sound, Backed With The Unmistakable Sounds Of Tmsv And Itoa On Remix Duties.

Oakland's Comma Roars Out Of The Blocks On His Rua Debut With A Crushed-up Glitchy Cut Entitled Gasworks. Comma Rams The Heavier End Of The West Coast Beat Scene Into The Uk Hardcore Continuum, On A Track Buzzing With Furious Energy.

If You Don't Know Itoa Yet - It's Time To Catch Up. Exit Record's Latest Addition Brings His Singular Production Style To The Remix With Whip-sharp Drums, A Colourful Sound Design, And Fresh, Unconventional Arrangements.

A Producer In Ascendency, Russia's A.fruit Serves Up The Darkness On The Flip With A Stepping Growler, Sodden With Bass. Her Production Is Tightly Bound Together By D.e.'s Intense Vocal And Delivers A Punch.

Rua Regular Tmsv Picks Up The Pace On The Remix, Rounding Off The Ep With Dancehall-infused Dread-rave Vibes, Like Only He Can.

Support From Deft, Fixate, Tim Parker, Breaka, Mister Shifter, Dolenz, Yorobi, Executive Steve, Coco Bryce, Hyroglifics And More.

You may remember the closing of Space, Ibiza with Carl Cox when he played a bootleg of Total Confusion.
Barry Obzee Hobbs (Rising High A&R) spent a lot of time trying to locate the Remixer and finally did a few months ago. We have now signed the remix which will be released on vinyl in May and on digital in July. The story goes like this: Carl Cox has been playing the version at most of his shows including Tomorrow Land, Kappa Future Fest and Timewarp ( see video clip below) but this is where the story becomes more interesting. The Remixer, ROD Malmok from Rotterdam aka Benny Rodriguez, who is a very established DJ Producer playing for Loco Dice in Ibiza etc and releasing on Ben Klock's imprint Klockwork, Chris Liebing's imprint CLR, Adam Beyer's imprint Drumcode and many more was inspired to remix the track through a conversation with Dubfire, Rod gave him a rough copy the following day. He played it to Carl Cox at Space, Ibiza and Cox begged him for a copy - see video below
If you've been around the scene for a while you will know that Rising High Records was one of the first labels to shape Techno, Hardcore and Breakbeat in the UK and was huge!

That's a pityless good Deathchant... Volume 4 long awaited pearl bringing 45RPM loud cut dispite there are 4 tracks. BIG DIGGAZ have the culture ! Funky UK Hardcore !

Here's one for all the hardcore Disco and Soul lovers out there, one of the finest and rarest manifestations of the legendary writing, arranging and production team of Randy Muller and Jeff Lane (Skyy, BT Express, Brass Construction, Aquarian Dream, Spiders Webb and many more!). First appearing as a 'Columbia Records Disco Series' promo 12" in 1976 this is a wondrous example of that mid to late 70's uptempo Soul sound morphing into Disco, and boy are we glad it did! Drenched in pure Philly vibes 'I'm Ready To Give Up My Life' is a real beauty, clocking in at over 9 mins of pure dance-floor joy with soaring strings and a driving rhythm. Pure class all the way and one for the aficionados for sure. Beautiful Soul music that will certainly deliver the goods in the club indeed. As per the original 1976 promo release this 12" features the same program on both sides.

This underground Disco classic has been legally reissued by Above Board distribution in conjunction with the legal rights holders - Sony Music Entertainment. This high quality repress features original Columbia white label Disco 12" artwork and has been remastered from Sony's original sources by Optimum Mastering, Bristol UK.

* With a number of high profile releases already behind him for labels including the legendary XL Recordings and Dusky's 17 Steps imprint, Hugo Massien has carved a sound for himself that sees him bring together elements from house, techno, dubstep and hardcore, all combining force to produce this killer 4-track EP, running at the techno-friendly tempos of around 128bpm.

* 'Advanced Aerial Threat' kicks things off with a fractured half-step rhythm that gives more than a nod to his formative years as a fan of the early UK dubstep movement. Stark, deadly and meticulously constructed, the rhythm taps a pace as wild bass stabs rip across a theatre of sound.

* Next up is the delightful melancholy of 'Ursa Minor' which takes a rolling breakbeat as its backbone before a Reese-like bassline emerges from beneath, rising and empowering. An intimate piano line comes in, providing an introspective element, balancing the otherwise rave-savvy ingredients in place.

* 'Candy Flip' takes things into a more electro direction, providing a reliable work out for the dance floor as the tightly tuned drums and bass hold down the spooky synth stabs.

* Last up, closing the EP is 'Divisions From The Start' where once again we see Hugo's intuitive sense of soundscape grandure, creating a kaleidoscope of moods all strung together with precision drum programming and heavyweight sub work.

* DJ Support from: Shed, Loefah, Pinch & many more.

Recorded in the Autumn of 2017 at their studio in Vancouver's Deep Blue, MVX / U41A' is the first new music from Minimal Violence to be released on Ninja Tune's Technicolor imprint and the first to be recorded outside their usual home production space. The result is a record that intends to reduce pop music to its emotive qualities and apply that abstract nostalgia back into dance tracks. Their penchant for the heavier and more aggressive side of dance music is most evident in its infiltration of the duo's often raw and disorientating live set. Formed in 2015 the duo, consisting of Ashlee Luk and Lida P, have a string of releases to date with labels such as Lobster Theremin, 1080p and Jungle Gym Records. Drawing on Luk's years of experience playing in punk bands, they combine hardware sequencers, drum machines and synths, to weave together acid tinged compositions that derive inspiration from early electronic and minimal synth through to heavier UK rave and hardcore.

His latest release I KNOW from Elypsia Records is a quintet of Detroit inspired remixes of the song 'I Know'. Inspired by Kevin Saunderson, his original TECHNO MIX (7:06) is a hardcore and high energy track with intensity to match the wildest of crowds. The EP also contains 3 remixes of the track, each exposing and accentuating the brilliant aspects of his complex tune. It begins with the LUCIEN FOORT REMIX (6:41), a lively big room hit with a punch fit for an epic Saturday night. UK MIX (6:46) follows with subtle electric melo-dies and rhythmic drum and bass patterns that give listeners the feel of wonder and excitement under a clear starry sky. With a clean and gravitating groove BIT FLOAT REMIX (7:42) would fit perfectly in any Ibiza party with flair and style. This release is a masterpiece of its own and nothing less than the product of a man who was born with beats and melodies ingrained in his soul. For Orlando Voorn, making music is more than a way of life, it's a necessity. From the early age of 9 his natural intuitions became apparent when his drum teacher told his parents he could play everything that was shown to him, even though he had no ability to read a score. He began to DJ at the age of 12, and 3 years later won the World Mixing Championships of 1983 at just 15 years old. Steve Clisby, from the popular American band 'American Gypsies', recognized Voorn's ability and taught him chord structures, which gave him the tools to begin composing tracks using keys and bass. His artistry then took off, making a name for him-self with his vibrant dance tracks under the alias 'Frequency". Today, he's known as one of the Netherland's most inventive and ingenious producers in the world of electronic dance music. Having produced a wide variety of music under a number of monikers including 'Fix', 'Format', 'Urban Nature' and 'X-it', his diverse ability stems

Tadd Mullinix first made a name for himself as Dabrye in the early 2000s with a pair of instrumental albums combining the rhythmic finesse of Detroit hip-hop with the ingenuity of electronic music. But instrumental beats were only a temporary goal, a way for Mullinix to catch the ears of MCs. On Two/Three, his second Dabrye album for Ghostly International, Mullinix brought together a formidable crew of local and national talent to make the statement he'd always intended. Released in 2006, Two/Three o-ered a fevered vision of rap's future that remains just as intoxicating a decade on. Ahead of the long-await-ed conclusion of Dabrye's hip-hop trilogy in 2018, Ghostly is reissuing Two/Three.

Dabrye's move towards rap began in 2004 with the album's first single, 'Game Over' featuring Jay Dee and Phat Kat. An early inspiration of Dabrye's, Jay Dee invited Mullinix to his crib in 2002 for a listening session during which he picked the 'Game Over' beat to rap on. Crucially everyone involved was in accord that despite perceptions of their respective work this would be a hardcore rap song. Together with Kat, Jay delivered a one-two lyrical punch on 'Game Over' that no one saw coming. Detroit made the world go round and everyone's head spun. 'Game Over' set the tone for the album and, over the next few years, became a Detroit anthem — shortly after Jay's passing in 2006 the audience at Movement Festival sung his verse.

Moody, propulsive, and above all ambitious, Two/Three emerges from a sonic stew of Detroit and UK dance music, Jamaican sound clashes, and hip-hop sampledelia. The guests, a who's who of the mid-'00s underground rap scene, engage in a raucous rhyming session that pays as much attention to the realities of the streets as it does world events. MF Doom, Wildchild, Vast Aire, Beans, and AG represent for the various coasts while local talents — Waajeed, Ta-Raach, Invincible, Finale, Kadence, Guilty Simpson, Big Tone, Phat Kat, and Jay Dee — bring Two/Three alive with an infectious energy. In between bursts of raw rap and hard beats, Dabrye showcases detailed instrumentals that evoke bleak industrial futures, underwater meditations, and smoky late night sessions. With Two/Three Dabrye placed himself at the forefront of hip-hop's new wave, throwing a Molotov cocktail into the rap world as uncompromising as the head-twisting cover art from WK Interact. The independent press praised Mullinix's audacity. Over the following years the impact of Two/Threewas felt in slow increments as Dabrye's music became central to the sonic makeup of a new generation of producers. As this beat scene grew and moved away from rap, it showed Mullinix the influence of his work and the value of his vision for Dabrye as his own brand of Detroit hip-hop.

Fresh from his 'Let's Roll EP' on Radio Slave's Rekids, Hopeworks curator Lo Shea further cements his status as a true innovator of the UK underground with the 'Iterations EP' on Dusky's 17 Steps.

Leading the charge, 'Iterations' is 8 dark twisted minutes of tripped-out melodic techno that will sweat the walls of warehouses from London to Tokyo - drawing a lineage from The Omen, Atomic Jam and The Orbit through to Berghain, De School and - indeed - Hopeworks itself.

On the remix, Stockholm's Peder Mannerfelt takes it down an industrial rabbit hole of terror-core synths, rave sirens and sonic paranoia.

Across rest of EP, Lo Shea flexes his sonic diversity with 'Ornithurae' offering an intruiging mix of bruising bass, twitchy layer loaded percussion and sinister soundscapes - somewhere between d&b don Dillinja circa '96, early Claude Von Stroke, Radioactive Man and fellow Sheffield legend Oris Jay.

Dark, soulful and ravey, 'Higher' closes things off with a uniquely UK hybrid that traces lines through militant Tresor-heyday techno, vintage Strictly Rhythm diva house and hardcore vibes.

2x12" Repress

Answer Code Request returns with his sophomore album Gens on Ostgut Ton, entering darker but equally bass-heavy territory.
Answer Code Request's 2014 debut LP Code was an exciting moment for electronic music in Berlin - one that offered a break from the eternal hall and monolithic 4/4 kicks that ruled the city's club landscape. As a hybrid gesture, the album's spirit recalled an especially fruitful era in the German capital from the mid-90s to early 2000s, when dub and paddriven Detroit techno cross-pollinated with Berlin's industrial aesthetic to create one of the city's most exciting musical chapters.
Today the musical vision offered by Berghain resident Answer Code Request, real name Patrick Gräser, has proved far-sighted. While at first glance electronic music in 2018 seems increasingly balkanized, borders between genres have once again become fuzzier.
Now, on his follow up LP Gens, Gräser looks beyond the bass euphoria of Code toward darker horizons and a desolate atmosphere befitting of current global circumstances.
In a sense, Gens (Latin for tribe or lineage) reverses the notion of the hardcore continuum as proposed by music journalist Simon Reynolds: embedded in a tradition of US andcontinental European techno, Gräser seeks its disruption through hardcore outgrowths, from ambient jungle to later variations of British bass music and IDM. It's an interesting twist when seen in the larger biographical context of Gräser who, born and raised outside of Berlin in early 1980s, jumped from East German youth radio DT64 to American hip-hop, acid and early UK hardcore - a radical shift of musical interest born of a radical shift in political circumstances. On Gens, the unsettling atmosphere is established early on with the fading rave opener of the album's synonymous title track, and continues through the scrambled military communications and post dubstep rhythms of 'Sphera'. From there, sci-fi pads, heavy phasing and alien syncopation lead explorative third track 'Ab Intus' out into space. Aglimmer of otherworldly positivity arrives with the warm, distorted breakbeats and interwoven synth melodies of album standout 'knbn2', while Gräser's most dancefloororiented melds jungle and techno, Amen and 4/4 kicks, on 'Cicadae'.