digging in the boxes in dj spatts loft we found numerous dat tapes in good condition, some contained tracks from the mind bombing album. we thought they were lost so it was a no brainer to remaster them and make some of them available on vinyl. remastered and recut by music preservation society
keysound recordings are excited to present three very unique cuts from scratcha dva x gage: “flytnurse,” “piffd” and “flytnurse (darqmix)”. dark, euphoric, weighty, and somewhat restless, they defy obvious categorisation. gage has made himself a formidable reputation by releasing some of the most forward-thinking darker dance music in the last three years, predominantly on the ever-quality crazy legs imprint. “telo” was a standout dancefloor moment, equal parts impactful and experimental, quickly followed up by the -mercury ep,- -2017 stay paro- and his banger-collab with kevin jz prodigy, -bad bitch.- scratcha dva first appeared on keysound 66 releases ago with the explosive dread grime anthem “bullet a go fly” featuring badness, riko, flowdan and killa p. but in truth he has a lengthy production back catalogue both before and after that 12”, with albums on hyperdub, his new “interludes” project and a track on the recent landmark kode9 & burial fabriclive 100
shout out to my barrys da mix, leon, vonnett, james, tilde, jamie k, edem, mr2, fugee, 88.2 crew, leon at music house, loxy, mike p, logos, parris, mickey pearce, scratcha, all the silent listeners and all the bedroom ravers. run out groove etching im oldskool like stratford rex, i’m oldskool like templ
skeleton recordings kick start 2019 with this four tracker ep from dj vapour and mecca. two tracks each from these very talented producers, that have been tested and proven on the dance floor and been getting some great support.
having started out throwing diy raves in toronto canada, the forth collective became influenced by the citys hunger for self-expression. various artists vol. 2 is the second instalment in a series of compilations that gives toronto artists a chance to realise their ideas on the local and international stage.
a lethal coming together of two metalheadz stalwarts in total science and jubei makes up our fourth release of 2019. between them they’ve conjured up a duo of first-class drum and bass cuts, both primed for the dancefloor and brimming with essential flavours
following on from the success of hotplates001, featuring germany’s otz, comes the boutique portsmouth-based label’s second release - from noted bristol producer theo bennett, aka sepia. at the forefront of dubsteps current generation of producers, sepia has received heavyweight support from the likes of mala, joe nice and truth, with a take on the genre that ranges from moody, melodic dub-hymns through to full throttled club tracks.
boka records unveils the label s 50th release, a major milestone! recalled for service for the occasion is chad dubz who last appeared on the label late last year with his 22 ounces ep, the track of the same name has now racked up over 100k streams via spotify. chad continues to make solid progress on this ep, building and improving on previous output.
this highly prolific uk drum and bass producer returns with his second tempo records release. this work sees alex judd rhythmic tweaks and overlays of texture with intricate melodies, heavy dub basslines giving the tracks a live & energetic feel.
ltd reissue, first vinyl ep archiving the birth of ortem featuring metro, books and cuelock. vector files takes the baton and runs with it. proceedings notch up to hyper speed as a rolling acid inspired bass line, boom bap beat, amen chops, arpeggios all !re o as the halle bop comet comes into view via some remote viewing. the energy created by the track could catapult a man to venus.
repress 2018 .. with the benefit of almost zero british press attention, clubroots selftitled debut cd gained quite a cult following last year, with plenty of enthused chat on message boards like dubstep forum, while both mary anne hobbs and rob booth commissioned clubroot mixes for their respective (and much respected) radio shows. his sound is often compared favourably with burials more atmospheric sequences, and with a similar air of annonymity characterising his public (non) profile, he seems already to be attracting an audience who betray a certain obsessiveness in their listening habits