£14.99Angel-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.Visit product page →
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.
3. Like A Girl ft. K Rizz
5. Muse To You
6. Good Friday Daddy ft. Queezy
12. Baby Tee ft. K-$
13. Like That
£11.99London's Babyfather are back with the debut full length follow up to the street classic 'Meditation'. "BBF" Hosted By DJ Escrow.Visit product page →
“Without a doubt, I guarantee that it will be in rotation at every club, at every party and coming out the speakers of every car ...this makes me proud to be British ” Idris Elba.
1. Stealth Intro
3. Meditation ft Arca
7. PROLIFIC DEAMONS
1. Platinum Cookies
2. Esco Freestyle
4. God Hour ft Micachu
2. HELLS ANGLES
4. Escrow 2
1. Deep ft Arca
2. Escrow 3
3. The Realness
5. Snm ft Arca
6. Stealth Outro
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A continual seller ever since release in April 2006, demand for Burial’s roundly praised debut has rocketed following a swathe of superlative appraisals and high rankings in the various year-end review sections.
With the DJ in mind, optimum sonic integrity has been maintained by removing the CD version's beatless opening and closing tracks, and the remaining 11 tunes have been re-sequenced and re-cut to allow those 4 that have until now not appeared on vinyl to be presented in newly-mastered 12-inch-standard audio across the first 2 sides ('Wounder', 'U Hurt Me', 'Spaceape' and 'Prayer').
With both the 'South London Boroughs' and 'Distant Lghts' EPs now out of print and likely to remain that way, this limited edition two-wax pack offers the only way to get your Burial fix in club-ready configuration, but it won't be around for ever as the ever-elusive producer is near to completing his next opus, at which point this changes tense from present to past. Advertising to run in Observer Music Monthly from 18/03, and still very much in stock on CD right this very minute.
2. Distant Lights
5. Night Bus
6. Southern Comfort
7. U Hurt Me
10. Broken Home
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1. Street Halo
3. Stolen Dog
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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.
1. State Forest
4. Young Death
7. Come Down To Us
9. Rival Dealer
3. Ashtray Wasp
4. Rough Sleeper
6. Street Halo
7. Stolen Dog
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Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand.
Yet despite this, his music speaks loud and wide, and the world has been listening ever since his ‘South London Boroughs’ EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many ‘best of’ polls. Now 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 the debut’s 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.
Kicking off with the skittering 2step syncopations and vocal science of ‘Archangel’, ‘Near Dark’ and ‘Ghost Hardware’, before long it descends into a space of radiant divas and ambience. 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 typified by the epic, muted optimism of the album’s last track ‘Raver’. Forget central heating… the radioactivity of this album is all that you’ll need to keep you warm this winter. ‘Untrue’ is available as full 13 track digipack CD, including recent underground hit ‘Ghost Hardware’, and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.
3. Near Dark
4. Ghost Hardware
6. Etched Headplate
7. In McDonalds
9. Shell Of Light
10. Dog Shelter
£6.99Her first release since last year's ‘Wait Til’ Night' album, which featured synths and live instruments meshed with Cooly's vocals, this EP by contrast presents five tracks of house music, the Cooly G way : stripped down to the essentials, dark, and built for maximum soundsystem impact.Visit product page →
These tunes have a steely grid more common to techno, but at house's slower pace. Kicking off is the moody 'Trippin B', with a spiralling three note bassline and a quick dubbed out sample of Cooly's voice, over tough rolling drums, finessing the art of keeping it simple and effective.
‘Booboo’ is all shivery male / female vocal samples and slip-sliding drum patterns that subtly warp and transition.
'Flange City' runs a see-sawing acidic five note scale over shaky, spacious claps, a rolling drum pattern and a deep sub bass kick.
‘Waybay’ featuring Marc Perrineau is the most straight-up track here, a spooky dive into scratchy, scissoring rhythms, with a subtle panning melody over dubby bass.
'Horrors In The Dance' is a wild workout, with strange shapes thrown across bouncing drums that stop and start, build and drop with dub sirens thrown into the deep spaces in between.
‘Armz House’ is powerful and direct return to the dancefloor for Cooly G.
1. Trippin B
1. Flange City
2. Waybay ft. Marc Perrineau
3. Horrors In The Dance
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Hyperdub's year of excellence continues apace with the release of Playing Me, the long awaited debut album from Cooly G.
Emerging as a key figure in the UK funky scene some four years ago via some highly prized Dub Organiser CDrs, Cooly's musical progression has been charted via a series of EPs for DVA Music and Hyperdub.
On this thirteen track album what is most apparent is the confidence this South London producer has in her own singing, a voice that sounds dipped in pain and anguish at times.
At others Cooly utilises her vocal delivery as an integral part of the music, which draws from all manner of UK music history of recent times whilst very much sounding part of her modern house template.
Oh and there's a Coldplay cover to end the LP too...
1. He Said I Said
2. What This World Needs Now
3. Come Into My Room
5. Good Times
8. Playin' Me
10. What Airtime
11. It's Serious
12. Is It Gone
13. Up In My Head
£10.99Cooly G returns with ‘Wait 'Til Night’, an album of sensitive, lo-fi bedroom music, it’s lyrics sketching dreamy scenarios of seduction, lust and sex. The moody South London house of her debut album 'Playin Me' and her DJ sets has given way to a near-horizontal, sometimes melancholy and highly original take on R’n’B.Visit product page →
The tracks swing effortlessly with no-fuss musical arrangements that are filtered through reggae sound system culture and US R’n’B in equal amounts, with a slight hint of dark synthpop wound throughout. The pace has come down from the deep, tribal house she's known for so far, with the only constants that run through the album – her intimate vocals and smokey synths – cross-hatched with her characteristic broken rhythmic sense. Opening with title track, Cooly coos about a date, over an infectious synth lead that wouldn't sound out of place on a Depeche Mode song.
'Like A Woman Should' is twilight music, synths rolling out like clouds over pulsing drums, while the vocals whisper invitations.
'Your Sex' is a fantasy with synths and surprisingly stabbing, hooky and distorted rhythm guitar.
'I Like' feels like the opening of an especially dreamy jungle track stretched into a full pop song.
'Dancing' rolls out drums and a mini guitar figure into a gently dizzy waltz, while
'Quick Question' plays out the scenario after the dance.
'Want's' barely-there song structure of drum and occasional bass with a wiry synth lead, is accompaniment to a near-whispered vocal.
The pace steps up with the smouldering 'So Deep', with a deep synth bassline and a muscular hip hop beat. '1st Time' is all depth charge bleeps, guitars and piano.
'Freak You' is spacious and guitar driven, with Cooly beaming in directives through a distant voice transmission. The album's final honest, angry and forlorn track, 'The 3 Of Us', comes down hard on an absent parent, a full stop on the romance that the album narrates. It also reveals Cooly G as a skilled rap artist, something she’s kept hidden until now, with double-time flows casting off a missing babyfather.
‘Wait ‘Til Night’ finds Cooly G casting her net wider than her debut album, with songs that are more confident, accessible and stylistically consistent. The album comes laced with Cooly's unique honesty and charm and is sure to win her new fans with her catchy melodies, slow-jammed stories of blighted urban romance, and engaging lack of pretension.
1. Wait ‘Til Night
2. Like A Woman Should
3. Your Sex
4. I Like
6. A Quick Question
2. So Deep
3. 1st Time
4. Freak You
5. Fuck With You
6. The 3 Of Us
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Darkstar in 2010 are an upgraded model of the darkstar which released the much loved single ‘aidy’s girl is a computer’ at the end of 2009. That song, and previous singles ‘need you’ and ‘squeeze my lime’ hinted at a nascent songwriting talent and mastery of oozing synth drones that has burst into life on their debut album, ‘north’.
The band have adjusted their focus, adding lead singer James Buttery to the production and writing team of James young and aiden whalley, and the result as heard on ‘north’ is a brave, low-key pop masterpiece, which discards the cheap thrills and treadmill ideas that many deploy to access success. instead, 'north' will creep up on you with each listen, seducing with its’ achingly gorgeous, synthesized songwriting.
From the intro track ‘in the wings’, right through to the closing song, a lush new version of 'squeeze my lime' now called 'when it's gone', the album blends their crunchy, citric synths, baroque strings, piano and tender guitar with vocal harmonies, gently laced with glitches and noise.
Here, Darkstar have subtly found the beauty in distortion. the first single from the album, the catchy ‘gold’, is a cover of a little known human league song ‘you remind me of gold’, inspired by hearing the original slowed to 33rpm.
Insectoid drum machine rhythms carry the song along accompanied by a chilly piano. 'Deadness', 'Dear heartbeat', 'Two chords' and 'North' impress with their icy radiance, the rich, wafting strings, dreamy guitar and keys bury the otherwise snowy-white sonics, the crunch of the drums and the translucent vocals sounding as if they’re sung by a hologram.
Some tracks, like 'Ostkreuz' and aspects of 'Under one roof' conjure up a soundtrack to twin peaks if it was set in the north of england. Mini-anthem of 2009, 'aidy's girl is a computer' also earns a slot among the new material.
With their first long player, Darkstar have produced an album many bands with far more experience and many more releases and under their belt can only dream of.
Downbeat, breezy, sometimes melancholy, sometimes just plain sad, at others optimistic and affirming, and always gracefully elegant, 'north' will surprise many, a classic record for short days and long nights
1. In The Wings
4. Aidy's Girl Is A Computer
5. Under One Roof
6. Two Chords
9. Dear Heartbeat
10. When It's Gone
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After three albums for as many labels, Dean Blunt and Inga Copeland, also of the group Hype Williams, release their debut Hyperdub LP, 'Black Is Beautiful'.
Amid rumours circulating, and confirmed by their “advisor” Denna Frances, the album was recorded during a tremulous period for the two: Inga Copeland’s Arsenal girls tryouts, Dean's 'Waschbärgate' trial (he was implicated in being behind a one night robbing spree across 16 taxidermists based in London and the South East, allegedly only for racoons) and his subsequent conversion to Nation of Islam upon being acquitted.
'Black Is Beautiful' is laced with their signature hazy glow and is full of crunched eurovision lullabies, kinetic drum machine jams, unsettling funk, smeared walls of synth, moments of unadulterated opiated bliss, mogadon rap, infinite coughs and insights into the odd sexual behaviour of crackers.
The word “EBONY” occupies the album’s entire front cover space in bold white print. ‘Black Is Beautiful’ is red and white.
£6.99The ‘6613’ EP from DJ Rashad's vaults will be released just over a year after his untimely passing, with all the proceeds going to his family. Some of these songs will be familiar to anyone who saw Rashad DJ.Visit product page →
The first are two really upbeat, rolling juke tracks; ‘CCP2’ has breezy worldless vocals chopped and diced over a rolling claps and kicks, and 'Cause I Know U Feel', with Gant-Man, chops a longing vocal refrain into a delirious frenzy of unexpected shapes, over pounding kicks and toms as a warm synth swells up. The vocals recede towards the end leaving just a synth glow.
'Ya Hot', with Taso, chops and changes rhythms, dipping into half speed trap, to rolling 4/4 and into more offbeat patterns, while a hectic, bleeping melody bangs out in contrast, almost as if its tracing the pattern of dancing feet.
'Do Not Fuck' is a paranoid 'footwork as a virtual panic attack' track, drawing fxs through a tunnel of accelerated bleeps, the only constant being a deadly serious guitar breakdown, a deep bass tone and the warning words of the title.
The energy of DJ Rashad will remain strong through his music.
1. CCP2 [ft DJ Spinn]
2. Cause I Know U Feel [ft Gant-Man]
1. Ya Hot [ft Taso]
2. Do Not Fuck [ft DJ Manny, DJ Spinn and Taso]
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Chicago Footwork legend DJ Rashad rounds off an impressive year on Hyperdub with his first album for the label, building on two EPs which have shown the extent to which his and his numerous Teklife collaborators’ sound have evolved in 2013.
Named after the recreational cocktail of codeine and sprite, ‘Double Cup’ sees trad 808 footwork workouts thrown into collision with more recent mutations of the sound, presenting Rashad’s most comprehensive showcase of the diversity and strength of the Chicago scene in 2013. The album drags hip hop, R&B, acid, house, techno and jungle into its footwork turbine, spitting them all out in recombinant fragments glued together with purring 808 sub triplets and jerky polyrhythms.
The album warms up with a distinctly low slung, g-funk flavour, typical of Rashad & Spinn’s collaborations with San Francisco-based Taso. Hiccuping divas grace the rhythms on ‘Show U How’ and ‘Only One’ and ‘Everyday Of My Life’ (with Phil), with the crew providing their raps on ‘Pass That Shit’, ‘She A Go’ and ‘Kush, Drank, Barz’. The previously released ‘I Don’t Give A Fuck’ marks the dark pivot point of the album, with the pace picking up in the second half with more driving 4/4 flavours such as the title track ‘Double Cup’, the thunderously jacking ’Acid Bit’ with Addison Groove and Chicago house flavours of ’Reggie’ and ‘Leavin’(with Manny).
The trip climaxes with the jagged breakbeat science of ‘Let U No’ and ‘I’m Too Hi’ (with Earl). ‘Double Cup’ is another indication that not only is this music still some of the most exciting, forward thinking music for the dancefloor that’s around right now, but that footwork can eat anything.
2. Show U How
3. Pass That Shit
4. She a Go
5. Only One
6. Everyday Of My Life
7. I Don't Give a Fuck
8. Double Cup
9. Drank, Kush, Barz
11. Acid Bit
13. Let U No
14. I'm Too Hi
£6.99Visit product page →
DJ Taye is one of Chicago Footwork crew Teklife's youngest producers, stepping up with his first full release for Hyperdub after some impressive tracks on the ‘Hyperdub 10.1’ and ‘Next Life’ compilations.
The ‘Break It Down’ EP is invigorating from the word go. On the relentless stargate of 'Go Away' with DJ Paypal, smooth funk is chipmunked and chopped into a thousand digital shivers and starbursts over a tough grid of drums.
'That Love' featuring Tripletrain and DJ Manny is all romantic coos and seesawing keyboard riffs, micro-edited, stretched, chopped and spring -loaded in and out of comprehension.
‘XTCC’ in contrast is minimal and mournful, with the repeated phrase “There's a void where there should be ecstasy” over drums that cut from half to double time, over a blanket of bass with sad chords slowly coming in towards the end.
'Break It Down' flips a ferocious yet minimal vocal cut up, coiled around a bristling vortex of detailed drum edits, before a goofy melody brings it to a close.
1. Go Away ft DJ Paypal
2. That Love ft Tripletrain & DJ Manny
1. XTCC ft DJ Earl
2. Break It Down ft DJ Earl
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