dBridge, is well known for his excellent hybrid, genre bending, fusion between advanced drum&bass, dubstep, electronica and beyond. A true game changer and again he shows this on his new EP Violence of positivity on Candy Mountain with 3 fast paced modern steppers and a dark driving electro bombs!!!

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To have this release on R&S feels like the most natural thing in the world. This is the label that put out Lemon D and Jacob's Optical Stairway (aka 4 Hero) in the 1990s, placing drum'n'bass firmly within the continuum of international electronic music - and there is nobody better placed to draw the links between the current d'n'b scene and the wider world of techno, electronica and bass music than dBridge. The record opens with a sample of simultaneously hilarious and deadly serious Jamaican dread wisdom, that leads into the Skeptical collaboration 'Move Way'. This is track is a perfect example of the half-tempo rhythms that dBridge helped pioneer, a kind of d'n'b parallel to the deepest dubstep yet which still maintains the momentum of 170bpm parent genre through subliminal flickers of percussion. 'Death of a Drum Machine' is a more standard d'n'b roller rhythmically but is embellished by filmic piano chords and absolutely exquisite production. Finally 'Plain to See' steps outside genre completely. Again with the half-step/double time thing going on, it's simply a piece of awesome electronica: a love letter to vintage electronic drum sounds yet utterly modern, rich in slowly unfolding layers of synth melody and harmony, and the perfect counterpart to the other two tracks on this perfectly structured EP.


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Warehouse Find from 2019!

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dBridge - "So here we have it: the final plate of the Exit 100 series. I’ve been immensely proud of this project, and I believe this release is a fitting way to conclude it. We’ve curated a collection full of great music from artists I love, and I’m pleased that we’ve created a project that represents Exit’s future rather than its past."

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Fixate, a core artist of Exit Records, is proud to present Conundrum, a dynamic mini LP. Spanning a variety of tempos, this collection showcases Fixate’s love for house and techno, blending loop-driven beats with dancefloor energy. In his own words, “I made these tracks to fit into my own DJ sets, bridging the gap between tempos when playing out."

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“After releasing my album 'ÖÐRUVÍSI,' which was a very personal and emotionally challenging project, I felt the need to make something weird and energetic for the club. I’m really into tunes that feel both slow and fast simultaneously. The first track on the EP, 'Let’s be Havin u,' was initially hard to place genre-wise, i ended up sending it to Darren, who loved it and wanted to sign it. Releasing on Exit kinda feels like earning a black belt as a producer hah. I never imagined that a decade after buying Exit 12”s in 2014, I’d be releasing my own music on the label. When I started making the EP, I had just begun performing again. I often saw people on the dance floor, too out of it to enjoy the music and often some of them having to be carried by their friends to backstage. This made me wanna make tunes for the dance floor as a bit of a statement on this. I first tested 'Let’s be Havin u' at Prikið in Reykjavik, sounded mad on the little old funktion one. The moment I knew that I was onto something with the EP was when I was Performing in Bristol at Thekla for my friend Boofy. It was wild, the ceiling started leaking during the show. I Love Bristol, feels like home to me. Most of the percussion and hats on the EP are made with an Elektron Model Cycles, and the synths and pads are from a 80s Yamaha hybrid FM/sample synth I found at a thrift store. It doesn’t have MIDI, so I have to record perfect takes for chords and melodies. I often use pedals afterwards or resample the sounds for more tonal control. I enjoy digging for records with unique breaks to sample, as I feel this is lacking nowadays. I usually make all my drums from scratch but when I use breaks I like it to be something I haven’t heard before. The alien percussion sound in the last track is actually me biting my teeth together, resampled repeatedly and ran through pedals and interfaces. I also recorded myself chewing gum for the second track to give it that hand on the hip feel. Most of the EP is made with hardware, outboard gear, or real-life recordings. I’m not concerned about the EP fitting a specific genre or playlist. Too many artists play it safe by focusing on their Spotify stats and abandoning projects that don’t work instantly. I think also Obsessive nostalgia stifles innovation, keeping things stuck in a loop by replicating to the tee, tunes from 2 decades ago. I get it, but there has to be a middle ground sometimes.

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dBridge & Forest Drive West, doing what they do, together

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Exit 100.3 Part 3 is a return to our DnB roots, with artists who have and will shape the Exit sound

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Leftlow’s ‘Distractions’ is a thought-provoking Mini LP which is the London-based duo's largest body of work to date and sees them welcomed to dBridge's iconic label, Exit Records.

Designed to be experienced in a club setting with a focus on low end and intricate percussion, the fluidity of these tracks and underlying theme throughout make for an equally enjoyable and intimate "headphones on" experience.

From the industrial, dystopian hard-hitter "Piston's" to the dreamy, euphoric "Thoughtful," these tracks shine a light on a slightly different production style that Leftlow has not yet explored in previous releases. While staying true to their recognisable style, the drum-fueled "Green Eyes" and mind and body twisting "Queasy" push boundaries in the unexplored territories of their sound. This is a must-listen collection of tracks that will provoke the senses.

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Exit Records proudly heralds a monumental achievement in its legacy with the advent of EXIT 100 - a celebration of innovation and creativity. Following the success of Part 1, we are proud to present Part 2 of our 4-part album series. This instalment features a diverse array of tracks from both established and emerging artists. Their contributions not only redefine our sound but also embody the future trajectory of Exit Records. Thank you for being a part of our journe

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We are pleased to announce a momentous milestone in the history of Exit Records - EXIT 100. To mark this special occasion, we've curated a 4 part album featuring both new and seasoned artists which is a is a testament to Exit Records' commitment to pushing the boundaries of electronic music. It features tracks from emerging talents that showcase the future of Exit while paying homage to the pioneers who have defined our sound over the years. As we celebrate this incredible journey of music and creativity, we want to extend our heartfelt thanks to you, our dedicated supporters, for being part of the Exit Records family. Your passion for our take on electronic music has fuelled our 100 releases, and we're happy to share Part 1 of this compilation with you. We look forward to embarking on the next chapter with you and continue pushing the boundaries whilst keeping it True To The Craft!

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Almost a year ago, dBridge reached out after hearing a self released album I made in the summer of 2020. I’ve been a fan of his work since I started listening to electronic music ten years ago, and still stand by a comment I posted stating that Inhibited LP is the best album of 2020. Naturally, I accepted the offer to work together. Over the following three months we exchanged text messages, often, sending music back and forth in an effortless work flow. He challenged the way I thought about music, questioned what the meaning was behind the music, showed me how to develop a small idea into an evolving track, and most of all, treated me with kindness and generosity throughout. There was no sense of ego, we just wanted to create something new. Our styles couldn’t be more different, I’m a film composer who makes ambient/orchestral soundscapes, while his enigmatic ‘talking drums’ are mechanical, dislocated, groovy and continuously mutating. While we compliment each other through our difference, it felt like we shared a similar musical sensibility. And it was completely unspoken; the entirety of our relationship carried out through text messages, the entirety of the album being made in silence.

The benefit of this silent messaging was that the music felt incredibly personal. I revealed that I was going through a break up which left me feeling liberated and free, after a toxic relationship had shattered my confidence. You Set Me Free began with the dark, heavy beat dBridge had sent to me, which inspired me to vocalize how I felt. The vocal sample is an honest voice memo recording of how I felt at the time. dBridge responded by adding a beat at the end of the track after the break, “to represent you moving on.” The chords are hopeful because I was grateful I had my life back. Sometimes the person you think you’ll spend your life with turns out to be the worst thing for you. It was incredibly empowering to realize that I was grateful that this person in my life had said goodbye.

One Note began with a piano part, a whole track constructed from one repeated note. After sending it to dBridge, he gradually built up this evolving distorted break, as if it was revolving around the note. Similarly with Pulse, the strings have this onward moving journey while the metal bowl sample has a lightness that compliments dBridge’s polyrhythmic percussion and bass. Words I would use to describe Pulse are aspirational, progressive and spiritual.

The music video for One Note is apocalyptic. It was filmed just after lockdown, using places of travel as an indicator for our dystopian ‘new normal.’ The video tells the story of someone going on a journey, to a place she remembers and feels nostalgic for, but is gone when she arrives. It’s that feeling of striving toward a goal in life, only to realize when you get there, the destination is not as expected. The filmmaker likes to remain anonymous but goes under the alias name Ruma, and uses old super 8 family videos to create the feeling of nostalgia and memory, combined with the character’s realtime journey.

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7 track EP of Chicago house music from DJ SLUGO. Bangin' acid tinged "ghetto" house beats. Full pic sleeve. Originally released in 2019.

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R.A.J.S. i.e. 'Rivers Area Juke Squad', though this one's this time not really from Chicago, but from The Hague/La Haia. Bouncin' and droppin' 'Juke'-style ghetto-tech bass music with some really authentic 'Latino' edge, surrounded by the sounds of the city streets...'The Squad' contains 2 Mc's: Mc Ravelo & Mc Electronic B, while their producer Kipkillah takes care of both the 'man-beating' and the 'beating-tracks'.

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“After releasing my album 'ÖÐRUVÍSI,' which was a very personal and emotionally challenging project, I felt the need to make something weird and energetic for the club. I’m really into tunes that feel both slow and fast simultaneously. The first track on the EP, 'Let’s be Havin u,' was initially hard to place genre-wise, i ended up sending it to Darren, who loved it and wanted to sign it. Releasing on Exit kinda feels like earning a black belt as a producer hah. I never imagined that a decade after buying Exit 12”s in 2014, I’d be releasing my own music on the label. When I started making the EP, I had just begun performing again. I often saw people on the dance floor, too out of it to enjoy the music and often some of them having to be carried by their friends to backstage. This made me wanna make tunes for the dance floor as a bit of a statement on this. I first tested 'Let’s be Havin u' at Prikið in Reykjavik, sounded mad on the little old funktion one. The moment I knew that I was onto something with the EP was when I was Performing in Bristol at Thekla for my friend Boofy. It was wild, the ceiling started leaking during the show. I Love Bristol, feels like home to me. Most of the percussion and hats on the EP are made with an Elektron Model Cycles, and the synths and pads are from a 80s Yamaha hybrid FM/sample synth I found at a thrift store. It doesn’t have MIDI, so I have to record perfect takes for chords and melodies. I often use pedals afterwards or resample the sounds for more tonal control. I enjoy digging for records with unique breaks to sample, as I feel this is lacking nowadays. I usually make all my drums from scratch but when I use breaks I like it to be something I haven’t heard before. The alien percussion sound in the last track is actually me biting my teeth together, resampled repeatedly and ran through pedals and interfaces. I also recorded myself chewing gum for the second track to give it that hand on the hip feel. Most of the EP is made with hardware, outboard gear, or real-life recordings. I’m not concerned about the EP fitting a specific genre or playlist. Too many artists play it safe by focusing on their Spotify stats and abandoning projects that don’t work instantly. I think also Obsessive nostalgia stifles innovation, keeping things stuck in a loop by replicating to the tee, tunes from 2 decades ago. I get it, but there has to be a middle ground sometimes.

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RAWAX proudly presents Jammin' Unit on the RX series!
Flower Swing was originally released in 1994 on DJ.ungle Fever!
Don't feed the Discogs Sharks!

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Gorje Hewek releases four track “Home” 12”, yellow vinyl for initial pressing

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Repress!

Radio Slave reissues 2000 and One’s noughties house bomb ‘Wan Poku Moro’ with an extended version and a remix by Riva Starr. A real dance ?oor anthem, 2000 and One’s vocal house hit ‘Wan Poku Moro’ was initially released as part of his 2009 ‘Heritage’ album on 100% Pure. The track is now getting a reissue as a single, with two new versions pressed on wax via Rekids, an edit from label boss Radio Slave and a remix from Riva Starr. On the A-side, Radio Slave extends ‘Wan Poku Moro’’s original eight minutes of hyped-up hands-in-the-air house music to the ten-minute mark with Snatch! Records’ Riva Starr remixing the track on the B-side. He returns to Rekids for the ?rst time since his EP with Mark Broom as Star B and reimagines 2000 and One’s track into a late-night warehouse groover, trading its organic percussion for tight, techy drums but maintaining the original’s infectious energy and earworm vocals.

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A Declaration of Pure Sound

At Nervous, we believe in keeping our music authentic. We don't add any fancy extras or hidden meanings. What you hear is exactly what the artist intended—pure, unfiltered sound, straight from them to you - and our goal remains unchanged with the launching of our new sub-label, _NRV

We're all about minimalism, our music speaks for itself without any unnecessary embellishments. It's a celebration of simplicity and purity

We're a label that blends tradition with innovation, creating music that's both familiar and cutting-edge — "what you hear is what you hear." We're all about focusing on the pure essence of sound and the genuine experience it brings.

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Quiet Village announces new label, The Quiet Village, and new single, ‘Reunion'. Matt 'Radio Slave' Edwards and Joel Martin's critically acclaimed project's first official single under the Quiet Village name in seventeen years!

Beginning life as a 'heady 6/8-time urban jazz odyssey, 'Reunion is a stunning piece of modern, Hi-Tech Jazz that draws influences from Pat Metheny, Timeline, Innerzone Orchestra, and Clyde Stubbelfield's drumming.

While previous Quiet Village material was hewn from a myriad of samples extracted from Edwards' and Martin's notorious digging, 'Reunion' and its follow-ups are drawn from a tight-knit crew of session musicians, including the likes of Jon Hester and Thomas Gandey, adding further depth and feel to the QV sound. Already a firm favourite with Gilles Peterson and Luke Una, the latter of which leaked a clip of the release via his inimitable Instagram presence and called it 'something so fucking beautiful. Tony Allen, Sun Ra meets Carl Craig, Underground Resistance, house, tech, funk, everything rolled into one'.

'Reunion’ is the first single on The Quiet Village, Quiet Village's new imprint. Despite continually producing new music and a slew of remixes, most recently for Running Back and Isle of Jura, the long-term friends and collaborators have been unable to release under their Quiet Village moniker since their LP 'Silent Movie' in 2008. While a few releases under QV and their sometime DJ aliases of Maxxi (Edwards) and Zeus (Martin) have emerged, 'Reunion' is the beginning of a new and re-energised Quiet Village that will see more original material and remixes, DJ and live touring that began in Japan in May and curated compilations of treasures, old and new, in the coming months and years.

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Oliver Dollar debuts on Rekids with disco-fuelled three tracker, ‘Strings for Life’ EP. Initially appearing on Rekids as a remixer in 2012, Berlin-based Oliver Dollar returns to Radio Slave’s imprint with the Spring-time funk of his ‘Strings for Life’ EP this April. The rich, stirring strings of the title track open ‘Strings for Life’ with real soul. Warm, euphoric and built atop a rocksteady discoid groove, it’s a track that’s familiar, new and classic all at the same time. ‘School Daze’ follows with rhythmic shakers, funk-infused chopped guitar and bass licks while nifty vocal samples and cosseting chords provide the hooks. Closing out is ‘Sophisticated Funk’ which sees Dollar double down on the disco with an epic, emotive beatdown.

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