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Iceboy Violet & Nueen

You Said You’d Hold My Hand Through The Fire

    This collaboration between Spanish producer Nueen and Manc vocalist / rapper Iceboy Violet - who has previously sprinkled their magic dust across Hyperdub releases from aya and Loraine James - traces the arc of a four year relationship, memorialising its highs and documenting its lows, processing, reflecting, and then ending with the ecstatic spark of new love. It’s a magical, intimate and heartfelt album, sometimes anguished but often enchanting. Nueen's music responds with foggy, but richly detailed, production. Smudgy drill-laced beats contrast with curdled, spiralling chords, at times drawing out a malevolent ambience. ‘You Said You'd Hold My Hand Through The Fire’ is an immensely affecting and lucid album, powerfully wrought, ultimately hopeful.


    A1. Heartbreak Of A Broken Stitch (ft Harriet Morley)
    A2. SM_FID
    A3. Everything Ends With An Inhale
    A4. Cement Skin
    A5. Pixel Petals
    A6. Slammd (Interlude)
    A7. Closer
    B1. Terrence’s Time Bomb
    B2. Fragmentary (Eraser)
    B3. Inside My Head (Interlude)
    B4. Still (ft Dawuna)
    B5. Fawning (Interlude)
    B6. Kiss Me Again (6am In Helsinki) (ft Bennettiscoming)



      Heavee is a Queer Chicagoan DJ & producer with a long history in footwork. His 2022 'Audio Assault' EP on Hyperdub showcased synth-driven, melodic footwork, but ‘Unleash’ goes much further into audio world-building, with a fresh, spongy and citrus-y sound palette and rich, bright chord sequences.

      It's minimal, airy, balancing light and dark, sometimes breezy and sometimes clinical. Heavee works simultaneously outside and inside the box, rebuilding footwork's framework and vibe to his own unique specification. Rhythmically, it's dance floor ready, using footwork's 160 template as a springboard for building new drum sounds to express these rhythms, and draws from R&B, rap, jazz and grime, with a sprinkling of bitter-sweet vintage Detroit techno.

      ‘Unleash’ takes footwork’s “eats all” approach to music and leads it in a fresh direction with a freedom of spirit. It's a strong addition to the footwork cannon and shows that experiments in dance music can be fun.


      A1. StarSeeker
      A2. Unlock
      A3. SearchN 4 Ft Babii
      A4. Bang Bang
      A5. Can U Feel It
      A6. Bounce Dat Ft PayPal & DanTOG
      B1. Unleash
      B2. See The Sun
      B3. Whiplash
      B4. Sumthin Different
      B5. Heart Fragments
      B6. Work Me
      B7. Make It Work
      B8. Smoke Break Ft Homesiick & Takuya Nakamura

      Lee Gamble


        On 'Models', Lee Gamble liberates sonic spectres to inform a suite of illusory anthems, subliming vulnerable, half-remembered fragments of dream pop, Soundcloud rap and trance in the process. Sung by cybernetic voices in an almost wordless language, his widescreen memories reverberate across the last few decades of pop history, smudging Elizabeth Frazer's surreal poetry into disembodied diva cries and Lil Uzi Vert's abstract, AutoTuned mumbles. Extracting haunted fragments of synthetic corrupted chatter and indecipherable non-words to sculpt dreamy pop simulacrums, Gamble takes the concept of the pop producer to its logical extreme; examining how intonation and language is engineered to monopolise our attention, his magical inversion of pop playing like a bewitching symphony of earworms.


        A1. Purple, Orange
        A2. Juice
        A3. XIth C. Spray
        A4. She’s Not
        B1. Phantom Limb
        B2. Blurring
        B3. Your Weight On My Arms

        Loraine James

        Gentle Confrontation

          ‘Gentle Confrontation’, Loraine James's third Hyperdub album, opens a new chapter of her real and sonic life in which she examines her past and present. It's a positively languid, enjoyably disjointed set made while listening to her teenage favourites; math rock and emo-electronic such as DNTEL, Lusine and Telefon Tel Aviv. The album also features an ever more diverse set of peers, placing them in her unusual musical settings and drawing out sensitive and reflexive performances. At other times the album stretches out into a drifting ambience as if seeking a sense of bliss in the everyday. ‘Gentle Confrontation’ is about relationships (especially familial), understanding, and giving back a little grace and care, while the tone of the record criss-crosses watery ambience with denatured rhythm and asmr beats. These 16 tracks are Loraine's best work yet, and a personal and musical leap forward, delivering a totally unique vision of electronic pop music.


          Barry says: The inimitable Loraine James effortlessly mixes languid lounge jazz, scattered electronics and woozy downbeat on her third album for veteran electronic superlabel, Hyperdub. It's full of melodic hooks, submerged under a wash of beautifully produced electronic soup, and it's my favourite thing she's done by far. Brilliant.


          A1. Gentle Confrontation
          A2. 2003
          A3. Let U Go Ft. KeiyaA
          A4. Déjà Vu Ft. RiTchie
          B1. Prelude Of Tired Of Me
          B2. Glitch The System (Glitch Bitch 2)
          B3. I DM U
          B4. One Way Ticket To The Midwest (Emo) Ft. Corey Mastrangelo
          C1. Cards With The Grandparents
          C2. While They Were Singing Ft. Marina Herlop
          C3. Try For Me Ft. Eden Samara
          C4. Tired Of Me
          D1. Speechless Ft. George Riley
          D2. Disjointed (Feeling Like A Kid Again)
          D3. I’m Trying To Love Myself
          D4. Saying Goodbye Ft. Contour

          (CD BONUS TRACK : Scepticism With Joy Ft. Mouse On The Keys)

          Jessy Lanza

          Love Hallucination

            On 'Love Hallucination' Jessy Lanza is in control as a songwriter and producer, flexing her skills in the studio and rebuilding her sound, taking chances with production and energy in all directions, from club-ready, to downbeat and sultry, with the theme of trusting yourself in the moment and using intuition as a compass driving the record forward. ‘Love Hallucination’ is the sound of an artist in bloom, an album of big emotions and big songs, with direct, personal lyrics, such as the upbeat but panicked opener 'Don't Leave Me Now' and the 2-step drama of 'Midnight Ontario', or 'Limbo', an ear worm disco stomper about produced with Marco 'Tensnake' Niermeski. Also featured as co-producers are David Kennedy (Pearson Sound), adding slick arrangements for the club, long-time collaborator Jeremy Greenspan (Junior Boys), and Paul White. ‘Love Hallucination’ is a bold and immediate record from Jessy Lanza, her most clear, authentic and best to date.

            STAFF COMMENTS

            Barry says: Jessy Lanza brings us her most flamboyant, widescreen release yet, with soaring synths and scattered percussion beautifully brought together into a startlingly modern soundclash of R&B, synth-pop and driven dancefloor electronica. A big stylistic leap forwards for Lanza, and another banger for one of the best labels in the alt 'tronica business.

            TRACK LISTING

            A1. Don’t Leave Me Now
            A2. Midnight Ontario
            A3. Limbo
            A4. Casino Niagara
            A5. Don’t Cry On My Pillow
            B1. Big Pink Rose
            B2. Drive
            B3. I Hate Myself
            B4. Gossamer
            B5. Marathon
            B6. Double Time

            Fatima Al Qadiri

            Gumar EP

              Building on the themes of her most recent album, ‘Medieval Femme’, Fatima Al Qadiri’s newest release sees her pairing up with fellow Kuwaiti vocalist Gumar. The EP - also titled ‘Gumar’, Arabic for "moon" - is an homage to a style of lamentation singing that both Fatima and Gumar grew up with and were heavily influenced by, and for which the latter received formal training as a teenager. On these four short songs, Fatima provides a minimal counterpoint to Gumar's elegant vocals, a coalescence that powerfully and sympathetically complements and extends with cosmic, almost elemental depth. Serious and mournful in tone, the record ruminates on the subject of unrequited love, arguably the most common theme in Arabic music past and present. The cover is an original artwork by Kuwaiti artist Khalid al Gharaballi, Fatima's bestie and long-time collaborator. 

              STAFF COMMENTS

              Matt says: Moving and painfully emotive, Al Qadiri adds to the beguiling cannon of neo-medieval musica with this release rich with Arabic influences and swathed in detailed synthscapes.

              TRACK LISTING

              Gumar (moon)
              Fidetik (i Lay Down My Life For You)
              Mojik (your Waves)

              700 Bliss

              Nothing To Declare

                700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

                Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

                ‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

                ‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

                TRACK LISTING

                A1. Nothing To Declare
                A2. Totally Spies Ft Lafawndah
                A3. Nightflame Ft Orion Sun
                A4. Anthology
                A5. Discipline
                A6. BlessGrips
                A7. Easyjet
                A8. Candace Parker Ft Muqata’a
                B1. No More Kings
                B2. Capitol Ft Alli Logout
                B3. Sixteen
                B4. Spirit Airlines
                B5. Crown
                B6. More Victories Ft M. Téllez
                B7. Seven
                B8. Lead Level 15 Ft Ase Manual



                  ‘Escapology’ - Kode9's first album since 2015's ‘Nothing’ – is the first audio document of a wider project, Astro-Darien, ongoing since last year. His most ambitious work yet as a multi-disciplinary artist, ‘Escapology’ is the soundtrack album to the sonic fiction Astro-Darien, which will be released in October on Hyperdub sub-label Flatlines.The music reconfigures Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics.‘Escapology’ is just one entry point into of the Astro-Darien universe, which had begun to surface in 2021 as a two-week audiovisual installation on the main dance floor at club space Corsica Studios in South London, and as a multi-channel diffusion on the 50 speaker Acousmonium at the invitation of INA-GRM in Paris, the institution founded in 1951 by the musique concrète pioneer Pierre Schaeffer, composer Pierre Henry and the engineer Jacques Poullin. The artwork for both ‘Escapology’ and Astro-Darien was produced by Kode9’s long-time collaborators Lawrence Lek (digital world design), and Optigram (typography and gfx). 

                  TRACK LISTING

                  01. Trancestar North
                  02. The Break Up
                  03. Toxic Foam
                  04. Orbex
                  05. Angle Of Re-Entry
                  06. Freefall
                  07. In The Shadow Of Ben Hope
                  08. Sim-Darien
                  09. Cross The Gap
                  10. Uncoil
                  11. Astro-Darien
                  12. Lagrange Point
                  13. Docking
                  14. Torus
                  15. T-Divine

                  "Antidawn" marks the return of Burial - our nation's beloved shadow dweller, emo-garage innovator and cultishly adored bass producer. After nearly 2 decades unravelling the mystery - with countless breakdowns, assessments and even dissertations written about how the artist composes and records his music - William Bevan had decided it's time for a further redux.

                  Reducing the sound to just vapours, the record 'explores an interzone between dislocated, patchwork songwriting and eerie, open-world game-space ambience', which perfectly puts into context what you have in front of you. Like walking through Skyrim's metaverse loaded up on dissociatives  and ketamine, there's no real linear structure to the album. As usual, snips, sounds and textures take precedent, but it's the silences and the spaces BETWEEN the snips that Burial has really emphasized on "Antidawn". There's a movement created with sparseness - a change of feeling; a beckoning towards the light through tense and dark realms.

                  Encapsulated in a frozen, urban Winter; there's movements of painful sadness, juxtaposed between bursts of radioactive warmth as whispers of forgotten angels drift in on FM radio interference. It's quintessential Burial - crackles n static n all - but occupying a space that couldn't be further from the dancefloor. If his more recent 12"s have hinted at this wandering, non-linear, long-walk-home approach then on "Antidawn" we're lost & abandoned in the multidimensional realities of the present; with little reassurance that 'everything’s going to be ok'...

                  It's as breathtaking and awe-inspiring as you'd expect from the UK demigod yet brittle, fragile, constricted and smothered in darkness. It's really nice to see him explore these realms and while thousands of his online bloggers and trolls will no doubt have countless critiques on his development; I for one am well on board.

                  STAFF COMMENTS

                  Matt says: Burial heads even further down the cold, long & lonely road into almost pure isolation. Like walking through Skyrim's metaverse loaded up on dissociatives it's a completely transportive, if fragile and desolate listen.

                  TRACK LISTING

                  A1. Strange Neighbourhood [11:04]
                  A2. Antidawn [08:43]

                  B1. Shadow Paradise [10:20]
                  B2. New Love [07:13]
                  B3. Upstairs Flat [06:07]

                  Lee Gamble

                  A Million Pieces Of You EP

                    Lee Gamble completes his ‘Flush Real Pharynx 2019-2021’ album cycle with ‘A Million Pieces Of You’, the third EP of a triptych written in a time when the subjective experience of overload came to a halt, giving way to an overbearing sense of loss, burnout and a desperate need for hope. These seven tracks feel more reflective, more human than the two preceeding EPs; the serpentine dopplers and seductive supercar engines of ‘In A Paraventral Scale’, and imploding motion sculptures of ‘Exhaust’. A deepfake of Lee’s voice appears from the chaotic slow-mo crash of ‘Balloon Lossy’, timidly telling of “[garbled]… good news”. The uncanny spectre of deep fakes, AI and deep learning models give way to the melancholic loneliness of the solo piano in ‘Empty Middle Seat’. Then glimmering, golden pads on ‘Hyperpassive’ slowly crawl into the hopeful, bright arpeggiations of ‘Balloon Copy’. ‘A Million Pieces Of You’ is a ride through a part-synthetic, part-modelled, part-imitation, part-taught, part-human, part[1]hopeful, part-reflective and paradoxically affirmative space – an involuntarily fitting finale to an album originally conceived in a world different to the one we now inhabit.

                    STAFF COMMENTS

                    Matt says: Lee Gamble continues to lead the way in terms of experimental electronics and post-everything nightclub deconstructions. A bit mellower in parts than some of his recent outings, it's nonetheless an arresting and encompassing listen throughout.

                    TRACK LISTING

                    A1. Balloon Lossy
                    A2. Newtown Got Folded
                    A3. Obsession Model
                    A4. Empty Middle Seat
                    B1. You Left A Space
                    B2. Hyperpassive
                    B3. Balloon Cop

                    Proc Fiskal's second album sees a reorientation of the source elements of his music. Where "Insula" fed off samples of the ramblings of his friends and sounds of his hometown, "Siren Spine Sysex" is laden with an inner voice of sampled Gaelic, Irish and English folk music, contorted and imbued into the futurist body of modern pop; the ghostly anima image of the female folk voice and the lamenting wheeze of the accordion rub against the rush of icey 808s and angles of grime. Joe Powers’ family history is in folk music, with several of his forebears active in the Scottish Folk revival of the 1960s. It's this cultural baggage - the Caledonian Antisyzygy of the earnest folk tradition he was raised in – alongside the modernist dance music he makes, that brings a personal element to the album. The music of "Siren Spine Sysex" examines dance music as folk music, re-routing them both comparatively, with the wordless emoting of chopped and screwed Gaelic vocals leading to joyous pop songs like "8 Mgapixel See Thru Phone" and "Leith Tornn Carnal". Though fast and detailed, "Siren Spine Sysex" feels relaxed and pastoral at times, its edits and drums sensual, swelling, and reactive to the music, its textures influenced by the tinny 16 bit flutes, strings, and wacky scores of gaming soundtracks.

                    STAFF COMMENTS

                    Matt says: Simply WOW. His first album was incredible and this one's taken it even higher! Casually dropping between half-tempo, luminescent breaks and plasma dub; there's no one who can conjure up the gooey, ketty daydreams that fizz and slurp like Proc. Beautifully radioactive intergalactic angel music. #LIKEx100

                    TRACK LISTING

                    A1. Anti Chessst
                    A2. Convaerge Iana
                    A3. Humancargoe Estt
                    A4. Recall (Throate Achres)
                    B1. Met Path Thoth
                    B2. 8 Mgapixel See Thru Phone
                    B3. Thurs Jung Youtz
                    C1. Her In
                    C2. The Most Beautiful Irish Song
                    C3. Leith Tornn Carnal
                    D1. Auld Peop
                    D2. Iaosiphsean Powers
                    D3. God Aed
                    D4. Roman Fatigue

                    Lee Gamble

                    Flush Real Pharynx 2019-2021

                      ‘Flush Real Pharynx 2019-2021’ is a three-part album from composer, producer and DJ Lee Gamble. Written over three years, and comprised of three seperate EPs, their individual releases unintentionally frame and timestamp a turbulent period. Across 77 minutes the full collection imparts a seamless tour through its three phases. File under #GullyAutomatedHyperConcrète.

                      “If the most widely available music is also the most easily digestible, then it is no wonder that artists like Gamble are so keen to grapple with music’s purpose beyond entertainment—to be an art form in fierce dialogue with the present.” (Pitchfork)

                      “This music gives form to the smart cities and networked realities of the 21st century … a thrilling meditation on the weirdness of now.” (Resident Advisor)

                      TRACK LISTING

                      01. Fata Morgana
                      02. Folding
                      03. Moscow
                      04. BMW Shuanghuan X5
                      05. Chant
                      06. In The Wreck Room
                      07. Many Gods, Many Angels
                      08. CREAM
                      09. Envenom
                      10. Glue
                      11. Naja
                      12. Tyre
                      13. Switches
                      14. Shards
                      15. Saccades
                      16. Balloon Lossy
                      17. Newtown Got Folded
                      18. Obsession Model
                      19. Empty Middle Seat
                      20. You Left A Space
                      21. Hyperpassive
                      22. Balloon Copy

                      ‘Medieval Femme’, Fatima Al Qadiri’s new ten track suite inspired by the classical poems of Arab women, invokes a daydream through the metaphor of an Islamic garden, at the border between depression and desire, where the present temporarily dissolves, leaving only past and future. Mixing neon drones and the faint outlines of Arabesque melody, ‘Medieval Femme’ reveals a fully-realised, dreamlike setting, shaded with colour and subtle friction. Conveying a thematic state of melancholic longing, Fatima seeks to transport the listener to a place of reverie and desolation, to question the line between two seemingly opposite states and rejoice in celestial sorrow. ‘Medieval Femme’ takes instrumentation from music of the Middle Ages, recast in a futuristic setting; soft-synth lutes, organs and pipes reverberate in space while gauzy pulses ripple in response. Fatima's vocals of repeated, mantra-like phrases are sometimes pitched and altered, drawing out increasingly intense peaks, angelic choruses and yearning incantations. On ‘Tasakuba’, Kaltham Jassim’s recitation of a couplet from the 7th century poet Al-Khansa', the sorrow of her words are given a turbulent, hallucinatory setting, before the album resolves on the final song, the limpid, airy ‘Zandaq’.

                      STAFF COMMENTS

                      Matt says: I'm loving all these hybrids of neo-classical, bass and ancient music that seem to be coming out right now. File next to: Doon Kanda, Faten Kanaan, Lee Gamble etc. Mega!

                      TRACK LISTING

                      A1. Medieval Femme
                      A2. A Certain Concubine
                      A3. Sheba
                      A4. Vanity
                      A5. Stolen Kiss Of A Succubus
                      B1. Golden
                      B2. Qasmuna (Dreaming)
                      B3. Malaak
                      B4. Tasakuba
                      B5. Zandaq

                      Foodman is Takahide Higuchi, from Nagoya, in central Japan. After remixing Jessy Lanza’s ‘Alexander’ last year, ‘Yasuragi Land’ is his first release for Hyperdub, alive with Footwork-inspired musical freedom and the sense that everything is a rhythm.Unusually, ‘Yasuragi Land’ has no bass. Instead, the album is breezy and refined; hyper-rhythmic music, made with a few simple tools, dances around your head. ‘Yasuragi’ and ‘Parking Area’ feel like gently deconstructed acoustic jazz, while ‘Ari Ari’ is deep house splattered with a cartoonish hiccup.

                      ‘Hoshikzu Tenboudai’ and ‘Shiboritate’ bounce around the speakers like trance-inducing polyrhythmic updates of the New York minimalists, programmed past human limits. ‘Food Court’ is busy with mechanical rhythm and naive melodies, ‘Gallery Café’ pairs a cute wooden flute melody with micro edited wooden drums, ‘Michi No Eki’ is like a digital take on Magma's complex rock, and ‘Sanbashi’ indirectly approximates 80s R&B. The album ends on ‘Misyuku’, with a treated guitar lick sounding like it was stolen from Daft Punk, woven into dense interlacing drums.

                      TRACK LISTING

                      A1. Omiyage
                      A2. Yasuragi
                      A3. Michi No Eki Ft Taigen Kawabe
                      A4. Ari Ari
                      A5. Shiboritate
                      A6. Hoshikuzu Tenboudai
                      A7. Shikaku No Sekai
                      B1. Food Court
                      B2. Gallery Café
                      B3. Numachi
                      B4. Parking Area
                      B5. Iriguchi
                      B6. Aji Fly
                      B7. Sanbashi Ft Cotto Center
                      B8. Minsyuku

                      Loraine James


                        Made during summer 2020, Loraine James’ second Hyperdub album, ‘Reflection’, is a turbulent expression of inner-space, laid out in unflinching honesty, offering gentle empathy and bitter-sweet hope. ‘Reflection’ further develops a unique pop sensibility realised on last year’s ‘Nothing EP’, while tones of Drill and R&B seep through into this collection too. In contrast to the brash splashes of 2019’s ‘For You And I’ LP and the grimey anger of ‘Nothing’, ‘Reflection’ is pared-down and confident, taking the listener through how last year felt as a young black queer woman in a world that has suddenly stopped moving, the arc of the album peppered with Loraine's diaristic confessions.

                        Starting positively with the gentle pop-trap of ‘Built To Last’ ft Xzavier Stone, into the bumpy instrumental of ‘Let's Go’, the album switches tone with ‘Simple Stuff’, followed by regular collaborator Le3 bLACK amplifying Loraine's vulnerability on the downcast drill of ‘Black Ting’, then ‘Insecure Behaviour And Fuckery’ is a techno glide which pairs Nova's confrontational plea for respect, delivered in monotone autotune, against deep Drexciyan chords. With Baths on vocals, the weightlessness of ‘On The Lake Outside’ soothes numb feelings, and Eden Samara explores the shadow world of anxious dreams on the airy R&B of ‘Running Like That’. Closing track ‘We're Building Something New’ with Manchester rapper Iceboy Violet brings the album together, confidently suggesting a new world is in reach. ‘Reflection’ is a brave step forward for a unique and creative 21st century musician

                        TRACK LISTING

                        A1. Built To Last (ft Xzavier Stone)
                        A2. Let's Go
                        A3. Simple Stuff
                        A4. Black Ting (ft Le3 BLack)
                        A5. Insecure Behaviour And Fuckery (ft Nova)
                        A6. Self Doubt (Leaving The Club Early)

                        B1. On The Lake Outside (ft Baths)
                        B2. Reflection B3. Change
                        B4. Running Like That (ft Eden Samara)
                        B5. We're Building Something New (ft Iceboy Violet)

                        Proc Fiskal

                        Lothian Buses EP

                          ’Lothian Buses’ is an EP of genre collisions with Proc Fiskal amalgamating his twinkling, caffeinated grime sound with the rhythms and sounds of other genres, without ever overthinking it. To kick off, ‘Thurs Jung Yout’ is a kind of shoegaze drill with strings and gentle tones swelling and dissipating against busy drill beats. ‘Baguettes’ is a more classic Proc sound, a galloping rhythm against a sparse melody that was a quick fix up for a show that turned out well. ‘Choco Frito (Calamari)’ was influenced by the good life, DJing in Portugal in the sunshine and hearing Kuduro played out. The latticing drum patterns nod to the style, dropping into a sunny accordion chorus with a plucked guitar line. ‘Scarab Aloph’ is Proc's style compressed, full of micro-glitches, tight drum fills and incidental drop-outs across a pretty melody, while ‘HopeTak2’ is his percussive, breezy take on funky house with smiley melodic stabs. Finally, ‘Mullit Madollock’ takes the sonics of airy Bukem-style atmospheric jungle, an instantly recognisable inspiration that's not been as foregrounded in Proc’s work before, refitted and updated with grime-inspired melodic bass kicks.

                          TRACK LISTING

                          A1. Thurs Jung Yout
                          A2. Baguettes
                          A3. Choco Frito (Calamari)
                          B1. Scarab Aloph
                          B2. HopeTak2
                          B3. Mullit Madollock

                          The Bug Ft Dis Fig

                          In Blue

                            The Bug aka Kevin Martin, and producer/vocalist Dis Fig aka Felicia Chen, refer to their style on ‘In Blue’ as “Tunnel Sound”; a foggy, melancholic meltdown of narco-dancehall-soul and dread-drenched, electronic dub. The 2018 prototype rhythms for this album were a continuation of Martin’s ongoing quest for a futuristic dancehall mutation, but more sci-fi, aquatic and smokey than before. An obsessive search for the right sultry 2AM voice to ride his syncopated walls of sub, fuzzed out white noise and infinite echoes eventually led him to Dis Fig’s torched soul-jazz glow, and 20 months of subsequent lab exchanges have resulted in the deeply sensual pulsations and lyrical long shadows of ‘In Blue’ - an album that shares shades of King Midas Sound’s wrecked lovers rock, alongside the bass immersion that The Bug has become infamously known for. Just as Martin took a stylistic swerve on ‘In Blue’, so did Chen. Previously known for experimental noise onslaughts and emotional exorcisms, she opts here for threatening intimacy and hushed confessionals, concentrating on bittersweet vocals and seductive surprises that are all the more potent for their inferred narratives and delicate delivery. Mixed during lockdown, the sense of claustrofear, escapism and tension throughout is palpable. With the bewitching croon of Dis Fig directing the flow, carnality and violence merge under the turbulent, cinematic surface of an hypnotically addictive album.

                            TRACK LISTING

                            A1. Around Me
                            A3.Destroy Me
                            B2.In 2 U

                            C2.Blue To Black
                            D1.No Return
                            D3.End In Blue

                            Lawrence Lek

                            AIDOL (OST)

                              Hyperdub are excited to present our first soundtrack release, Lawrence Lek's score for his debut feature film ‘AIDOL’, which premiered at Sadie Coles HQ in 2019 and has been shown at numerous virtual and physical festivals and exhibitions worldwide. Lawrence Lek is a simulation artist who uses computer-generated animation and video game engines to create films and virtual worlds that play with the language of science fiction, music videos and corporate world building. He has released soundtracks to five of his previous projects, most recently ‘Temple’ OST (Vinyl Factory, 2020).

                              ‘AIDOL’ continues his on-going 'Sinofuturist' cinematic universe, which posits the creative theory that China's technological rise is an emergent form of Artificial Intelligence. ‘AIDOL’ is a CGI fantasy that tells the story of a fading superstar, Diva, who enlists an aspiring AI songwriter to mount a comeback performance at the 2065 eSports Olympic finale. Set in a realm of spectacular architecture, sentient drones and snow-deluged jungles, ‘AIDOL’ revolves around the long and evolving struggle between humanity and Artificial Intelligence; a shifting and seductive virtual reality, punctuated by Diva’s songs and the voice of Kode9 as the unforgiving label boss. The soundtrack is a delicate lattice - complex, opaque and entirely synthetic. Diva’s yearning vocals - created with a Vocaloid voice synthesiser, sung in English and Mandarin - cast classical melodies over billowing, intricate arrangements. The instrumental tracks, produced with composer Seth Scott, are elegiac and beautiful, hybridising the film score archetype, folding in patterns from game soundtracks, vaporwave, and ambient fourth world music.

                              TRACK LISTING

                              A1. Intro (My Single Isn't Finished Yet)
                              A2. Deep Blue Monday
                              A3. In The Game
                              A4. Chance Encounter (Jungle Theme)
                              A5. Call Of Beauty
                              A6. Welcome To SoMA
                              A7.Unreal A8.Superstar

                              B1. One Nation
                              B2.Beware Your Fans, Diva
                              B3. Call Of Beauty (eSports Reprise)
                              B4.Followers (Diva's Theme)
                              B5.Farsight's Greatest Star
                              B6. In My Prime (Bonus Track)
                              B7.Apocalypse (End Credits)

                              ‘All The Time’, Jessy Lanza's first album since 2016's ‘Oh No’, is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in ‘Anyone Around’, subtle footwork flutter giving a nervous energy to ‘Face’, unusual underwater rushes underpinning ‘Baby Love’.

                              The songs also sound more “live” than ever before. Jessy’s voice is treated, re-pitched and edited on songs like ‘Ice Creamy’ and gestural sounds seem to respond to her lyrics in songs such as ‘Like Fire’, which reward the listener on repeated plays. More than previous albums, the lyrics on ‘All The Time’ became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. ‘All The Time’ has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it’s their best work yet.

                              STAFF COMMENTS

                              Barry says: Jessy Lanza has made many waves in the music world, finding a perfect home in the home of off-piste electronic adventures, Hyperdub. This one sees Lanza in a more playful mood, encompassing aspects of synthpop, future beats and r&b. It's a beguiling and exciting listen, and a superb return for Lanza.

                              TRACK LISTING

                              A1. Anyone Around
                              A2. Lick In Heaven
                              A3. Face
                              A4. Badly
                              A5. Alexander
                              B1. Ice Creamy
                              B2. Like Fire
                              B3. Baby Love
                              B4. Over And Over
                              B5. All The Time


                              Tunes 2011 - 2019

                                Topping off Hyperdub's 15th year, Burial selects 'tunes’ from the last eight years of his EP releases on the label, for this very welcome two CD collection.

                                Sequenced by Burial, ‘Tunes 2011-2019’ shows the depth and brilliance of his post-‘Untrue’ development; from long, twisting, collage works which travel through unexpected zones, to a more pointed, poppier side, and back again to the haunted, open horizons of his beatless pieces.

                                We hope this collection of Burial's work is familiar, yet unfamiliar, to each listener.

                                17 tracks across 150 minutes, all previously released, six being available on CD for the first time.

                                STAFF COMMENTS

                                Barry says: Though his albums have possibly garnered the most adoration than anything else, Burial's post-LP outings have been an absolute rollercoaster of unbelievable groove and unrivalled ingenuity. For those of you that didn't snag the EP's, or if you're a CD buyer, 'Tunes' is absolutely essential.

                                TRACK LISTING

                                DISC 1

                                01. State Forest
                                02. Beachfires
                                03. Subtemple
                                04. Young Death
                                05. Nightmarket
                                06. Hiders
                                07. Come Down To Us
                                08. Claustro
                                09. Rival Dealer

                                DISC 2

                                01. Kindred
                                02. Loner
                                03. Ashtray Wasp
                                04. Rough Sleeper
                                05. Truant
                                06. Street Halo
                                07. Stolen Dog
                                08. NYC

                                DJ Spinn

                                Da Life EP

                                  Chicago footwork legend and co-founder of the Teklife producers crew (alongside his musical collaborator DJ Rashad), DJ Spinn makes his long awaited return to Hyperdub with ‘Da Life’ EP, and we couldn’t be happier to have him back. Featuring four brand new offerings, ‘Da Life’ EP is energetic, fast paced and classic footwork. First up is the high energy ‘Knock A Patch Out’, a frantic and cascading key melody contained in crisp claps, with Spinn’s vocal flowing in half way through the track. Next up is ‘Make Her Hot’, which starts out in half time blossoming into a full blown footwork slow jam. ‘Sky Way’, featuring Teklife member DJ Manny, has a moody G Funk melody that starts slowly in half time, with rolling snares and organic kicks. Closing track ‘U Ain’t Really Bout Dat Life’ is an ode to Teklife. Icey synths rise and shimmer with an auto tuned vocal from Spinn spelling out ''T-E-K-L-I-F-E”. Alongside Rashad, Spinn united the footwork genre's producers and took it global. 'Da Life' represents his re-entry back into the scene, four years after 2015's 'Off That Loud' EP, and he’s coming back as strong as ever. 

                                  TRACK LISTING

                                  A1. Knock A Patch Out
                                  A2. Knock A Patch Out (Clean)
                                  B1. Sky Way Ft DJ Manny
                                  B2. Make Her Hot
                                  B3. U Ain’t Really Bout Dat Life

                                  Loraine James

                                  For You And I

                                    Raised in the multicultural and mind-broadening London borough of Enfield, Loraine James grew up hearing everything from steel pan music to Metallica, from jazz and electronica to drill and grime, and the results of this exposure can be heard on ‘For You And I’. In part the album explores the complexities of being in a queer relationship in London - “I’m in love and wanted to share that in some way … to make songs that reflect layers of my relationship.” – and as a whole ‘For You and I’ is rhythmically free flowing and sprawling, with melodies that evolve into rippling keys, feeling like a live jam session with a jazz mentality, contrasting the delicate and abrasive. Opener ‘Glitch Bitch’ is a warm ear-worm, brandishing swirling textures with undulating keys and compressed percussion, with an introspective theme revisited soon after on third track ‘So Scared’, whose glitched percussion and syncopated dub bassline build to a frantic meltdown melody.

                                    On ‘London Ting // Dark As Fuck’, inspired by Dizzee Rascals's ‘Boy In Da Corner', James explores the darker side of her production with her frequent collaborator Le3 BLACK laying verses over the skeletal track. ‘Hand Drops’ is an instrumental, about public displays of affection in a queer relationship. ‘Sensual’ reflects on intimacy with vocals by UK singer Theo, whose lyrics capture love and gentleness over a soft, minimal production of ethereal keys and scattered glitches. The albums’ title track is also the most colourful, it’s ecstatic and effusive chaos driven by fervent synths expressing elation and the joyful side of her relationship, while ‘My Future’ is a more reflective moment, where warping synths wash in and out with compressed kicks, as the artist considers the dangers that may come with her relationship : “I wanna tie the knot / But the rope is dangerous”. ‘For You And I’ is a deeply intimate and personal offering, expressing happiness, anxiety, joy, sensuality and fear through a vivid sound palette and an experimental sense of rhythm.

                                    TRACK LISTING

                                    A1. Glitch Bitch
                                    A2. London Ting // Dark As Fuck
                                    A3. So Scared
                                    A4. Hand Drops
                                    A5. Sensual
                                    B1. For You And I
                                    B2. My Future
                                    B3. Scraping My Feet
                                    B4. Sick 9
                                    B5. Vowel // Consonant 


                                    Seven Steps Behind

                                      Since Danielle Mana's 2017 debut EP for Hyperdub, ‘Creature’, which was a taut, evocative suite of beatless, almost neo-classical electronics, we now find his music has caught an alien virus and started hallucinating. On ‘Seven Steps Behind’, the borders between reality and the weird have collapsed on each other, and with each listen through its zigzagging course, you’re rewarded by its strange twists and turns. ‘Seven Steps Behind’ is an electronic album that doesn’t always sound electronic; a great deal of the record has been created to sound like prepared pianos, harpsichords, cellos and flutes. At other times, sampled acoustic instruments and specially recorded sessions have been processed through software and careful editing. It’s this sophisticated layering of contrasting versions of the same sources that help give this record its uncanny balance.

                                      The album also plays with your sense of time in its mostly drum-free hall of mirrors, pulling from minimalism, chamber music, dark jazz, and synthesiser experiments. Mana’s singing voice also makes it’s debut here, albeit adorned by abrasive FXs. His lyrics are encrypted in noise, in fitting with the music’s chimeric character, casting images for the listener to decipher. His heavily manipulated voice enters on second track ‘Myopia For The Future’, sounding something like a singing motorbike pitched over bouncing ostinatos, or on ‘No Body’s inhuman, word-less range, where it’s impossible to tell where the human finishes and the machine starts. Or in the case of ‘Leverage For Survival’ it’s animal and machine. Here, as with the album’s eponymous final track, a sensory assault subsides to reveal a heart-wrenching melancholy that anchors the record. Listening to ‘Seven Steps Behind’ is like stepping into a dream, with all the curious emotions and buried meaning that involves. Yet for all its restless, shifting energy it manages to hold both dissonance and melody in sweet proportion.

                                      TRACK LISTING

                                      A1. Risk Taking
                                      A2. Myopia For The Future
                                      A3. Talking / Choking Ft. Yendry
                                      A4. A Note To The Limits
                                      B1. Swordsmanship
                                      B2. Leverage For Survival
                                      B3. Symphony Of Regulation
                                      C1. Solo
                                      C2. No Body
                                      C3. Instinction
                                      D1. Soaking In Water
                                      D2. Seven Steps Behind


                                      Death Becomes Her

                                      Angel-Ho is known as one of the founders of Non Worldwide, alongside Chino Amobi and Nkisi. Highly regarded as a DJ and electronic music producer, on ‘Death Becomes Her‘ she shifts things up to another level. Pulling on inspiration from her flamboyant favourites from Lady Gaga, Missy Elliot, and Bjork through to Kanye West, this ambitious, artful and sometimes radical album of neo-pop pushes the pop framework even further, often teetering on the brink of vertiginous chaos and dissonance, whilst slowly revealing its depth and grandeur once you settle into its sound world. Alongside a cast of collaborators that include French producer Nunu, South African producer Baby Caramel, Asmara Maroof from Nguzunguzu, Bon and Gaika, Angel re-orientates the usual trans-atlantic pop sound to encompass a brace of experimental, diasporic producers to create beats that alternate between angular, propulsive, murky, loose, abrasive and breezy.

                                      On top of these often advanced rhythms, she also raps and sings for the first time with lyrics about love, sex, glamour and struggle, universal fantasies, treated with an ambiguity that restructures the narrative within a trans-identity. Her choice of guest MCs also reflects this energetic queering with K-$ and Qweezy from Cape Town, plus underground Asian American rapper K-Rizz laying down assertive bars. On ‘Death Becomes Her’, Angel-Ho carves out a new space with her unique take on contemporary pop. Overflowing with charisma, sometimes reminiscent of Grace Jones, this album is fiercely sassy and celebratory. It feels like the start of something very exciting.

                                      TRACK LISTING

                                      A1. Business
                                      A2. Drama
                                      A3. Like A Girl Ft. K Rizz
                                      A4. Jacomina
                                      A5. Muse To You
                                      A6. Good Friday Daddy Ft. Queezy

                                      B1. Cupido
                                      B2. Live
                                      B3. Desity
                                      B4. Pose
                                      B5. Bussy
                                      B6. Baby Tee Ft. K-$
                                      B7. Like That
                                      B8. Parachute

                                      A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing. However, it was Rashad’s untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something…make something brand new." 100% committed to pushing further the potential of the footwork template, Still Trippin’ is ambitious in its range and scope.

                                      Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye’s talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork’s ability to confound. The album features a range of guests that span contemporary music; the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on ‘Get It Jukin’, Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to ‘Same Sound’, Fabi Reyna, the editor of the celebrated women’s guitar magazine She Shreds, sings and plays bass and rhythm guitar on ‘I Don’t Know’ and Jersey club queen UNIIQU3 offers production and rapping on ‘Gimme Some Mo’.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on ‘Smokeout’. Taye is ambitious in his hopes for the album; "I took this as an opportunity to not have boundaries with footwork. Different approaches to our ‘underground’ sound to make it broader. It’s only underground until it crosses that visible threshold.” This album brings all of this to the forefront. 

                                      TRACK LISTING

                                      A1. 2094
                                      A2. Trippin’
                                      A3. Need It (ft DJ Manny)
                                      A4. Smokeout (ft DJ Lucky)
                                      A5. Same Sound (ft Odile Myrtil)

                                      B1. 9090
                                      B2. Anotha4 (ft DJ Manny)
                                      B3. Bonfire (ft DJ Paypal)
                                      B4. The Matrixx (ft DJ Manny)

                                      C1. Get It Jukin’ (ft Chuck Inglish)
                                      C2. Pop Drop (ft DJ Paypal)
                                      C3. Gimme Some Mo (ft UNIIQU3)

                                      D1. Truu (ft DJ Paypal)
                                      D2. Closer
                                      D3. I’m Trippin’
                                      D4. I Don’t Know (ft Fabi Reyna)

                                      "The Underdogg" is DJ Tre's debut EP for Hyperdub. He contributed two brilliant tracks to the DJ Rashad tribute set "Next Life", but compared to other long term members of the Teklife footwork crew, he hasn’t released much. Tre has been about since the early days, born and raised on the south side of Chicago. Encouraged by Rashad and his partner DJ Spinn, he has been making tracks since 1999, over a decade before footwork's ascent to global popularity. On this EP his sound, for the most part, is rooted in the speedy 4/4 of juke. It features a sparse and minimalist take on footwork but he's got a knack of adding in tight little switches and details that keep the tracks moving as essential dancefloor weapons. The EP starts with "It’s House Hybrid", which has its musical roots in Chip E's "It's House", one of the very earliest house tracks. It’s a tried and tested dancefloor devastator on dubplate, built on a crackling and hiccuping juke 4/4 which grows in intensity, until a ferocious amen break cracks it open and joins in the onslaught. "A Hammond Jam" matches a moody organ with typical sub rumbles and ghetto-tek drum programming. "Get Dat Ass Up!" bounces against a twitching melody that'salmost purist Detroit techno in its executed, save for the stuttered footwork rhythm that underpins it all. "Tha Rhodez Jam!" micro-edits a delicate Rhodes sample into flickering shapes against switching 8 bar patterns of drums that go from rolling to soca-like pulses with whistles. Essential tools for DJs on the hyperplane.

                                      It's always an exciting time when Burial drops a new single, and this one features his long term friend, cohort and, really, if you think about it, the person responsible for bringing the skills of this enigmatic Londoner to our ears: Kode 9. If it wasn't for Steve Goodman's inspired A&R work way back in 2005 then who knows if this self-confessed recluse's body of work would have ever seen the light of day. A symbiotic relationship between label and artist, pretty much all Burial's solo work has been reserved for Hyperdub, with just a few mixes and collabs sneaking onto other outlets. Correct me if I'm wrong, but I think this is the first time since 2009 that the label head (not to mention author of Sonic Warfare) has remixed one of the most cultishly adored people in bass music - making this new 10" one hell of a coup! Burial's side continues to push the depths of deep UKG, rolling out one of his idiosyncratic shuffles to a fiery angelic mellodyne'd vox - classic Burial if you will then, but fresh and brand new and guaranteed to please. Kode 9 opts to set a new gold standard for the footwork / 150BPM genre, displaying a rhythmic prowess and beat construction that rivals anything from the trap genre with some of the most advanced synthesis (I'd you'd expect) passages to boot. As essential as it gets then. 

                                      TRACK LISTING

                                      A. Rodent 04:25 120bpm

                                      B. Rodent [Kode9 Remix] 04:41 150bpm

                                      Laurel Halo


                                        Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015’s In Situ - but with clear reference to 2012's sleeper-hit Quarantine - Dust is an album revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure. Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there. Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics.

                                        Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse; acoustic drums are warped into sensual, febrile melodies. The lyrics are themselves bricolage, without a specific narrator or place in time. They slip in and out of view, something that is visualised in the album’s inner panel. Extending the influence, the album opener ‘Sun To Solar’ is an adaptation of 'Servidão de Passagem' by Brazilian concrete poet Haroldo de Campos. In line with the album’s sound, Dust is 'Laurel Halo' as a flexible cast of characters. Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier. Laurel’s omnivorous influences play out in mutated fashion - coalesced, unfettered and inclusive - a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017

                                        TRACK LISTING

                                        A1.Sun To Solar
                                        A6.Nicht Ohne Risiko

                                        B1.Who Won?
                                        B2.Like An L
                                        B4.Do U Ever Happen
                                        B5. Buh-bye

                                        Jessy Lanza

                                        Oh No

                                          Jessy Lanza's second album 'Oh No' is addressed to her own constant nervousness. The pressure of music making, which used to calm her nerves, has led to a whole new world of contingencies that stoke the anxiety mill. The exclamation 'Oh No', for Jessy, marks yet another incident of randomness interrupting her tranquillity. All of which seems at odds with the confidence and spontaneity of this second album.

                                          Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the plaintive, reverb drizzled mood of the first album has all but given away to a more direct, self-assured and joyful set. As with many artists whose hometown lie off the usual network of cultural hotspots, 'Oh No' is driven positively by the idea of making music that isn't inspired by where she lives. Instead, the album resonates more with the philosophy of experimental pop of Japanese 80s electro outfit Yellow Magic Orchestra and Jessy's breathless, pitched vocals are reminiscent of YMO collaborator Miharu Koshi. Playfully laced with cascading arpeggios, crispy drum machines and breezy songs, 'Oh No' has an infectious energy that has been brewing in her live shows since her first album. As Jessy says ‘I want to make people feel good and I want to make myself feel good’.

                                          The album oscillates between the languid, coiled, arpeggiated slow jams of ‘New Ogi’, 'Going Somewhere', 'Begins', 'Could Be U', 'I Talk BB' and the low slung 808 groove of 'Vivica', where Jessy’s vocal gymnastics run wild over minimal drums and synths, and the catchy upbeat boogie of ‘VV Violence’, ‘Never Enough’, 'Oh No' and the high point of 'It Means I Love You’ which has a sparse addictive bounce with a pitched up vocal refrain and a nod to Shangaan electro. The trials of dealing with nervousness are also encrypted into the artwork, such as the plants that recur in the sleeve and videos. As Jessy remarked, "I became obsessed with surrounding myself with tropical plants. I've been convinced that the air quality in our house is slowly killing us. It might sound crazy but the plants have made a huge difference." Anxiety and botanical remedies or not, 'Oh No' is a bold second album from Jessy and a marked step forward for her sound.

                                          TRACK LISTING

                                          A1. New Ogi
                                          A2. VV Violence
                                          A3. Never Enough
                                          A4. I Talk BB
                                          A5. Going Somewhere
                                          B1. It Means I Love You
                                          B2. Vivica
                                          B3. Oh No
                                          B4. Begins
                                          B5. Could Be U

                                          Kode9 & The Spaceape

                                          Memories Of The Future - Yellow Vinyl Edition

                                            THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                                            First ever vinyl pressing of Kode9 & The Spaceape’s 2006 debut album, including previously unreleased extra track ‘Stalker (alt edit)’.

                                            Limited edition of 1000 copies exclusively for Record Store Day, pressed on translucent yellow vinyl, in gatefold sleeve.

                                            TRACK LISTING

                                            Side One
                                            1. Glass
                                            2. Victims
                                            3. Backward
                                            4. Nine

                                            Side Two
                                            1. Curious (Ft Miss Haptic)
                                            2. Portal
                                            3. Addiction
                                            4. Sine

                                            Side Three
                                            5. Correction
                                            6. Kingstown
                                            7. Nine Samurai
                                            8. Bodies

                                            Side Four
                                            9. Lime
                                            10. Quantum
                                            11. Stalker (Alt Edit)

                                            The fourth and final EP taken from Terror Danjah’s "Undeniable" CD opens with the amazing "Leave Me Alone" featuring Terror’s old vocal spar Bruza. This time it’s different though - instead of his usual cockney mateyness, Bruza’s reflecting on his bad mood. "All I Wanna Do" is the album’s densest track, featuring East End singer / songwriter Lauren Mason, who complements Terror’s moody music with a forlorn and angry vocal about a break-up, Terror editing her lines into strange rhythmic shapes which rub against the subtle trap-doors and fills of his accompaniment. "Time To Let Go" is light and breezy in comparison. With light Rhodes keys and a vocal from Terror himself , this is a house track in disguise, as the constant shifting patterns of the drums work against the flow of the melodic elements to produce something that is simultaneously recognisable as a both genre track and a Terror Danjah trademark tune. Number Four in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.

                                            The third EP taken from Terror Danjah’s "Undeniable" CD kicks off with one of the big surprises of the album, the inimitable genre-traversing "SOS", with a simple melodic riff played out over drum patterns that shift up in down in rhythm and tempo, grinding to a halt in the middle of the track before starting up again. "Sonar (Selassi Mix)" is a beatless mix of Terror’s classic grime riddim ‘Sonar’, where the originals rhythmic fx and melody pulse in and out of the mix creating strange smeared textures as sounds rub against each other. The album’s title track "Undeniable" features D Double E of Newham Generals, doing something you’d not expect of him – being romantic over Terror’s warm, colourful chords and melodies. Number Three in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.



                                            Burial returns with "Untrue", a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up, pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Where "Burial" first was humid, suffocating and unrelentingly sad, "Untrue" is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria. Forget central heating, the radioactivity of this album is all that you'll need to keep you warm this winter.

                                            TRACK LISTING

                                            Archangel 3:57
                                            Near Dark 3:52
                                            Homeless 5:20
                                            Shell Of Light 4:39
                                            Raver 4:57
                                            Etched Headplate 5:58
                                            Untrue 6:15
                                            UK 1:41
                                            Endorphin 2:58



                                            London's Burial issues this belated overview of his career to date on Hyperdub, including the definitive "Spaceape" and other formative dubstep and grime highlights. It encompasses the myriad of styles which have followed and continue to manifest themselves after UK garages's implosion. Universally acclaimed as one of the best, most ground-breaking releases of 2006.

                                            TRACK LISTING

                                            Untitled 0:36
                                            Distant Lights 5:26
                                            Spaceape 4:02
                                            Wounder 4:52
                                            Night Bus 2:20
                                            Southern Comfort 5:02
                                            U Hurt Me 5:23
                                            Gutted 4:43
                                            Forgive 3:07
                                            Broken Home 5:05
                                            Prayer 3:46
                                            Pirates 6:10
                                            Untitled 0:55

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