On HRM002 Marquis Hawkes delivers his take on Georgian myths. Each track of the EP is dedicated to one realm in the Georgian cosmology. A1 'Zeskneli' takes us to the white heavens, where the gods reside. A raw and hypnotic house track, deep and celestial. On the B-side we are bound to the earthly plane of 'Ukana Skneli'. Trippy yet percussive, Marquis Hawkes shows off his funky side. His vision of the underworld 'Kveskneli' is rich in soul and unapologetically dancy. A beautifully crafted journey through mythology and sounds.

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Marquis Hawkes kicks off 2019 debuting on UTTU with 4 romantic house gems aimed at the mind, body and soul of the dance floor.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018. Ahead of this, Hawkes will release a new single featuring acclaimed UK soul singer Jamie Lidell on the 20th July. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single from June, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album in an extended version. The album will be the producer’s second LP for us, following his critically acclaimed debut ‘Social Housing’ for the label, which was released in 2016. Entitled ‘The Marquis of Hawkes’, the new album adheres to a specific sound palette whilst still displaying eclecticism across its eight tracks. Opening with the beat-less droning ambience of ‘Beton Theme’, the album takes in a variety of themes from across the house music spectrum, from the deep and dubby meditation of ‘Instrument Of Thought’ to the body jerking rhythms and retro bass stabs of ‘Tough Love’, the introspective mood of ‘The Matrix’, to the soulful New Jersey styled House grooves with a contemporary twist of ‘Sunset’, building through the optimistic joyousness of ‘Hope In Our Hearts’ before closing with Lidell’s heartfelt and passionate emotional overload on ‘We Should Be Free’.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018 on fabric’s in-house label Houndstooth (home to Call Super, Aïsha Devi, Special Request and more). Ahead of this, Hawkes will also release a new single featuring acclaimed UK soul singer Jamie Lidell. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album.

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Marquis Hawkes returns with a new EP for Houndstooth, ‘Sweet’. Pairing up a sugary R&B sample with his signature swinging but slamming beats, opening cut ‘When I Get Home’ is a return to the flavour of last year's summer smash ‘Can't Find A Reason’, although this time around, it's more tracky and introspective. Next up, a different facet of Hawkes’ production talents is reprised with ‘At The Witness Stand’, a trippy take on classic NY freestyle. Opening the B-side, title track ‘Sweet’ furthers Hawkes’ trademark rough and ready house sound with distinctive vocal hooks and a hip-twitching rhythm, whilst bringing up the rear, ‘What A Relief’ is a raw but inescapably funky drum workout that would make the likes of Traxmen & Eric Martin proud.


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The Homesick team have broken into Marquis Hawkes secret vault and dug up four great edits that have had great responses from his public during the past few months. Now available on a solid 180g records meticulously mastered to sound as awesome and modern as they were when they first got released.



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The aptly-titled 'Raw Materials' sees Marquis Hawkes making a welcome return to the primitive house rhythms for which he became known via his early work for Dixon Avenue Basement Jams. Highly influenced by house originators Ron Hardy, Gene Hunt and Roy Davis Jr, 'Raw Materials' updates the form with modern production techniques whilst preserving its authenticity. The title track eases us in, with dreamy vocals, dusty pads and deep 808 beats. The flip, however, takes no prisoners with two cuts of raw drum machine clatter and strained vocal cuts on ''Ave That' and primal analogue tones on 'Jerk U Later': deadly dancefloor destroyers designed to drill straight to your core. Cut to 140g vinyl by Matt Colton at Alchemy Mastering with Houndstooth printed inners.

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The Berlin based producer and DJ Marquis Hawkes is next to take the baton for Creme Organization with another of his searing EPs. Before now Hawkes, about whom little is known, has released a diverse array of rough and ready, raw and ripping tracks that range from deep house to jacking acid, weird techno to freaky electro on labels like Dixon Avenue Basement Jams and Clone Jack For Daze. First up here is 'Tunnel', a slow and lazy house cut with rubbery bass drums and sharp edged hi hats making for an inviting groove. Starry melodies unfold up top like a classic night sky and deep, spacious synths flesh out the simple but effective track. Next cut 'Prince Among Men' is a much more prickly and synapse firing affair with random hits, stuttering drums and chopped up vocal samples all chucked together into one fierce brew of soulful analogue noise. On the flip, 'Sofa Acid' is riddled with hiccupping 303 lines and proceeds at an inviting mid tempo pace, whilst closer 'October Blues' is a deconstructed house jam with rave whistles, cow bell pings, wooden hits and tinny drums all loosely glued together into a slow and sombre track that oozes a freaky late night moodiness. Overall, then, an EP that fits in perfectly with Creme and is another fine release from the man they call Marquis Hawkes.

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We had an inkling that it wouldn't be long before Marquis Hawkes reared his mysterious ass again. Even after the success of his last drop for DABJ we're no closer to finding out the real identity of this cheeky funkmonger. He's probably holed up in his caravan right now, taking massive bong hits, fingering his 808 and having a good old laugh at us all. And if he isn't doing that then he's most certainly at the club, double-fisted with two fine single malts and draped in wimmin, while the DJ drops his shit. "Higher Forces at Work" is a solid entry in what is rapidly becoming a signature sound: raw ghetto elements mixed with deep and melodic arrangements. The rolling funk of "Automatic" is the most minimal Hawkes production yet but we're not talking no Teutonic functionalism here, just a stripped-back deep-bass bliss teetering on the brink of a disco meltdown that never quite happens. Title track "Higher Forces" and "Divine Intervention" are the best examples of Hawkes Ghetto inclinations here. Both have that ripping, flanged percussion that cuts dancefloors to ribbons, with "Divine Intervention" acting as a sort of acid-driven counterpart to the electronic soul of "Higher Forces". "I Want You" is almost this E.P's answer to the righteous thunder of "Sealion Woman" from the last cut. Although, the tracky punishment of the latter isn't quite present on here, Mr. Hawkes certainly knows how to wield an old-time sample in a deft fashion and the surging bass and jungle percussion of this track will take the heads to elevated levels. To cut a long story short: Marquis Hawkes delivers another hit of real, rockin' raw shit mainlined straight to tha jugular and every ounce of hype he's been graced with recently is utterly deserved.

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Like a phoenix rising from the molten vinyl ashes of European pressing plants that are being overrun by Taylor Swift represses, DABJ are back with their first release in what seems like an eternity.

For this one they welcome Modman to the family, who some of you may have heard before on Jerome Hill's Don't Recordings. Four cold as ice Techno and Electro modular jams aimed squarely at the more discerning dancefloors, on which they have already been causing quite a stir over the past few months.

Strictly limited numbers on this one so don't hang around.

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Long time friend of Dixon Avenue Basement Jams and collaborator (going back 20 years) makes his debut on the label with four helpings of weird and wonky machine funk jackers. This ep perfectly encapsulates the sound of Monox where we all met many years ago. If you close your eyes whilst listening you could be there - minus the damp smells and farting subwoofers!

Presented on lurid pink marbled vinyl and hand stamped labels with insert art from the talented Matt Consume!
Enjoy!

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Straight out of Glasgow's southside, DABJ welcome back Big Miz for the first release on the label in what has been a very difficult year for everyone. Four tracks of robotic future-disco oddities guaranteed to bring some fun back into our lives.

Hand stamped emerald green vinyl with inlay card brought to you with love from the DABJ family. Stay safe everyone and hopefully see you on the dancefloor again very soon.

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Here it is! The first fruits of labour from the new DABJ HQ studio space. Kenny Wasp and Dan Monox (DABJ) team up with Big Miz for four tracks of serial killin' dance floor bombs. The guys have been road testing them worldwide for the past year and it's now time to unleash them to all discerning music buyers. This is also the first release on the label that the DABJ guys have actually been involved in when it comes to writing the music, not bad going for 30 releases in!
Look out for more from DABJ over the next few months as the newly tweaked studio space grinds into action...
Enjoy and lets JAIL THE LOT!

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DABJ have taken flight with their first drop of 2019. And it's another fine selection of sonic warheads from Advanced Helicopter Commander Fear-E.
Anyone who has heard the DABJ crew play out over the last year will bound to have heard some of the fire from this. "Jump On The House Train" has been a staple in our club sets and mixes, and has to be one of the most asked about tracks we've had on rotation. All four tracks encapsulate the vibe of late night / early morn' Glasgow warehouse parties perfectly. Highly limited vinyl [with hand stamped labels and cool insert] release plus digital release.
Don't let this one evade your capture...


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Next up on DABJ, Hissman aka Fabio Monesi is an artist we have been massive fans of since we started playing "Nobody's Talking" [which featured on our 2014 DABJ BBC Radio 1 Essential Mix] a few years back... Through his labels Hardmoon and Wilson Records, he has brought some of the freshest jams to our ears in quite some time. For his first outing on DABJ, shit gets real. Masterfully crafted mechanized, rough, tough techno belters in that inimitable Hissmanstyle... don't sleep on this.

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Dixon Avenue Basement Jams feel extremely honoured and stupidly excited to finally be able to announce this!
After his first three EPs on the label, the much talked about debut album from Glasgows Big Miz is ready to drop on Dixon Avenue Basement Jams!
From start to finish Build/Destroy really showcases his effortless feel for the weird funk. From the tweaked out organ solos on "Hammond Groove" and the live bass jam of "Straight Thru Cru" to the straight up brain rattler of "Gear Tension". This is Big Miz at his undiluted best and cements the fact that he is one of the UKs most exciting raw talents. 2018 move aside, the big man has already owned ya.


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O.D.D., Modini and Casio Royale team up to wreck clubs across the galaxy! I glanced at the wrinkles on my hands as they worked the controls on landing pod. I’d aged considerably since we left Earth to track the alien. Taking an extremely dangerous short cut via the rim of a black hole allowed me to get to the outer regions of the universe before I turned geriatric and was too decrepit to navigate the ship. Now, as we approached Planet Simila, excitement burned within me. It wasn’t just about meeting an extra-terrestrial, I was lonely. It had been many years since I’d spoken to anyone other than the ship’s computer and here I was about to meet the first known life form outside our planet. I bumped the pod down on the terra firma as gracefully as I could. Intel confirmed Simila had an almost identical atmosphere to earth and that I’d be able to breathe on it unaided. However, precautious as always, I put the large dome shaped breathing apparatus over my head and pulled on the silver safety suit. I took my first step out of a spaceship in 14 years and there it was only yards away from me; a small green creature with large white goggle eyes on the end of two spindly antennas. If you’d asked a 5-year-old earthling to draw a spaceman it would have looked exactly like the thing stood before me. I had no idea whether it could comprehend English or not but nerves made me blurt out: “Greetings from Planet Earth, I have travelled many light years to meet you, I…
“Here, never mind that pish, ya space helmet, you got the new DABJ Allstars Vol 3 on ya, it’s got new stoaters fae O.D.D, Modini and Casio Royale. I’ve heard it’s oot o’ this world.” If you need anything else then let us know.




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MODINI IS BACK! They come correct with their follow up to their DABJ debut "Turk" from last year, This one is an even deeper bass laden, warehouse affair that won't hang around long either. So do not sleep! Strictly limited with another cool Inlay designed by Dan Axon... see if you can guess what this one represents...


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The Man from Marseille VernoN dropping his second E.P for DABJ here, building on the groove of his debut "Chicken Dance" but adding an extended palette of sound and taking things in a slightly tougher direction. "How To Travel The Universe (Without a Flying Saucer)" kicks of with "Ignition", an eerie Ghost Train cut ripe for an LSD-fuelled danse macabre through the town after the witching hour. "One Night In Tanzania" rolls out into a rugged, clave-led jacker: a perfect mix between the deep and the tough that VernoN can deftly muster, seemingly with ease. Flip the white wax for a run of jagged, acidic noise on "How To Build A Pyramid", a perfect soundtrack to getting "The Acid Life" tattooed on yer forehead Tebori-style by a crippled ex-Yakusa in a back-alley whorehouse. The straight dancefloor demolition approach of the b-side culminates in "Nightmares", possibly VernoN's best and most fierce work to date, and an absolute shocker that's about as intense as coming up on a £10 ecto whilst being kidnapped by Somalian pirates. We're still non the wiser as how to navigate the cosmos without the aid of a space vessel though. Must be a mental thing, innit.



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"IT'S TIME TO KICK OUT THE JAMS MOTHERFUCKAAAAZ!!!" Hollered McCoy Tyner at the MC5's infamous 1968 Detroit Grande Ballroom gig. What's changed this then apart from the fact that the powers that be are even more adept at stopping you from doing the good timez? Thankfully we can all still get on to the Nouveau Shamanic powerbeat to shake of the drudgery and oppression of modern existence. And what better way to do that than with a fresh slice of hot motherfucking Jams delivered straight from the DABJ? This time it's a compilation affair, but still with a focus on more hot yet little-known box jam alchemists tinkering in clandestine basements. CT Trax and TX Connect are taking care of proceedings with a track each, on each side. TX kicks off with "TX Acid", a no-nonsense 303 run that hammers home why a lot of modern producers trying to capture an elusive golden-age sound have missed the mark entirely by making the musical equivalent of talcum powder. Tuff! CT Trax closes the A-Side with a powerful rhythmic workout layered with driving chords and phased, jagged synths: say goodbye to those tits baby, because they're about to get rushed the fuck off. Flip to B, and back to CT Trax with some stonking derangement that words probably won't do justice. But we'll settle for Black Magic True-Trance that serves to aid and abet Hedonistic Rituals. Closing out the B-Side and therefore the E.P, TX Connect is back to bring a futuro Ron Hardy edit vibe replete with a 4 Dimensional bassline and field recordings from Sirius B. In fact, this is exactly the kind of thing the great man himself would be riffing on for 45 minutes at peak time, with two copies on the wheels, if he were alive today.

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Another day, another motherfuckin DAB-J! Well, their release roster might not be that prolific, but we'll not let reason interfere with rhyme. And you guessed it: it's another shadowy figure lifted from obscurity like a golden pearl plucked from the deepest depths of the ocean. Could it be the work of an infamous producer, or the product of a hobo wizard who's borrowed a few machines from a home-owning friend? Only the DABJ Illuminati know this. And the fact that they also have a sense of humor means that we can keep getting away with writing these increasingly ridiculous press releases. It also gives us reason to assume that the entire DABJ back catalogue is the work of an 85 year old woman. O.D.D: Ol' Dirty Debra working that danceflo heat. But more than likely it's not on a geriatric junt tip. "Bumbling Muppet" is a stripped-back militant jacker with a big, bad and rubbery Abe Duque "It Moved Me" style bassline. The only thing that's missing is drill instructor Srt. Hartman from Full Metal Jacket screaming dancefloor orders down the mic. An intense gut-rupturing workout. "Foam Suit" is something like a bizarre demon seed birthed from the unholy loins of Willie Burns, and those of the Dance Mania crew who were smoking some other shit. What a nightmarish union. Rich and redeeming chords keep us from going fully mental though. Half way disclaimer: Trying to actually describe what any of this actually sounds like would leave us sounding a bit silly really, so these half-baked references are the best option, for your sake! The bleepfunk of "Pols" rolls out like a thoroughly refreshed take on the surreal groove of Sweet Exorcist and Unit Moebius at their downright freakiest. The tougher rhythm of "Trigger's Drum" reveals the Techno roots of this E.P. You might want to keep this one away from your parents though. Just in case you come home to find that they've dug out the vintage ecstasy collection, have ingested the entire contents and are melting into pool of druggy syrup while this track booms throughout the house. Maybe you are that parent.


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We had an inkling that it wouldn't be long before Marquis Hawkes reared his mysterious ass again. Even after the success of his last drop for DABJ we're no closer to finding out the real identity of this cheeky funkmonger. He's probably holed up in his caravan right now, taking massive bong hits, fingering his 808 and having a good old laugh at us all. And if he isn't doing that then he's most certainly at the club, double-fisted with two fine single malts and draped in wimmin, while the DJ drops his shit. "Higher Forces at Work" is a solid entry in what is rapidly becoming a signature sound: raw ghetto elements mixed with deep and melodic arrangements. The rolling funk of "Automatic" is the most minimal Hawkes production yet but we're not talking no Teutonic functionalism here, just a stripped-back deep-bass bliss teetering on the brink of a disco meltdown that never quite happens. Title track "Higher Forces" and "Divine Intervention" are the best examples of Hawkes Ghetto inclinations here. Both have that ripping, flanged percussion that cuts dancefloors to ribbons, with "Divine Intervention" acting as a sort of acid-driven counterpart to the electronic soul of "Higher Forces". "I Want You" is almost this E.P's answer to the righteous thunder of "Sealion Woman" from the last cut. Although, the tracky punishment of the latter isn't quite present on here, Mr. Hawkes certainly knows how to wield an old-time sample in a deft fashion and the surging bass and jungle percussion of this track will take the heads to elevated levels. To cut a long story short: Marquis Hawkes delivers another hit of real, rockin' raw shit mainlined straight to tha jugular and every ounce of hype he's been graced with recently is utterly deserved.

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Remember when that Swedish guy at RBMA called Theo Parrish the saviour of house music? Although Theo be the man, he was obviously talking complete shite. But he may have had a small point. In the past year we've been swamped by generic Chi-town carbon copies, none of it bad, but a lot of it rather pointless. Thankfully there are more than a few labels doing there bit to present fresh-as-fuck and interesting machine music, and DABJ are riding shotgun with the best of them, just two releases deep! After the first face-melting, sell-out cuts from Jared Wilson and the mysterious Marquis Hawkes, DABJ are showcasing another shadowy newcomer in the form of VernoN for their third slab of wax. Frenchman VernoN has certainly slowed down the pace a touch on"Chicken Dance", but nobody ever said that was a bad thing. The E.P kicks off with "She Can Dance", a slow burning acid number that has elements of deep, grooving House from the Detroit school. In fact, the second cut "Low Control" bares the influence of Detroit too, with it's murky, dubbed-out chords ala Luke Hess moving into a punchy bassline with minimal but functional drum patterns. Proceedings get a bit more bouncy on "The Smoking Hat", a quirky acid romp on the less daft side of Ceephax, and the perfect soundtrack to accompany a feature-length documentary about.... a smoking hat. Finishing up the E.P is Fudge Fingas remix of "Low Control", the only man qualified to make an already deep as fuck track even deeper. There's been some on-point criticisms about a lot recent deep stuff getting lost in noodly Jazz territory, but we're in no danger of that nonsense with Fudge Fingas at the controls: accomplished a musician he may be, he's never been one to lose the way, and this mix proves his deft and subtle remix talents. DABJ done done it again, and hopefully this is the first in a long line of productions from VernoN.


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