Reclaim Your Cities next frequency-jammer comes in the form of a heavyweight split 4-tracker, courtesy of two true techno pioneering figures: Mike Parker and Steve Bicknell. The continued influence of these two artists on both our early raving days and now as a team working on providing you the most exciting, boundary-pushing tech wares is second to none. As you'll experience from the four jams constitutive of this unparalleled mindtrip of an EP, 'In The Years Ahead' is the living evidence the steadfastness of Parker and Bicknell's vision remains absolutely untouched. Zeroed in on taking ravers on an entrancing ride across pulsating corridors of whirring machine funk, sizzling acid and shape-shifting waves of sound, both sides of this EP share the best lot of both producers' uniquely innovative approach to rhythm and production. Parker's opening cut, 'Solar Limb' is a textbook example of his complex, and heavily layered sound-design. An unflinching swing keeping time, brutal kicks punching holes in your head like giant steel hammers, the track may evolve slowly, repeating its post-industrial mantra over and over again, its flame doesn't flicker one iota. Switching onto red-level dance floor menace, 'Badlands' pulls out the heavy artillery: an overkill bombardment of puncturing 909 drums, vortical winds blowing in the back like some solar storm of sorts, and this ebb-and-flow of FX-drenched synth ripples branded on your cortex like odd signs of cult belonging. Bicknell's takeover starts with the rugged and wild 'Chaotic World', whose title is definitely not usurped. Enter a blazing maelstrom of frantic synth assault knocked askew, intense bass tectonic movements and smashing arpeggios on the path of war. The track develops a massive momentum, swelling from primordial raw matter into weirdly arranged modular constructions, like that of Kubrick's monolith emerging with ominous presence. 'In The Years Ahead' serves up a much distinctively elegant, glossy type of textural experience, synths playing pong in a hall of mirrors, interlacing and distorting as the percussive line unfolds its linear train-like groove. It dashes across landscapes of hypermodern glass and concrete with unrelenting horsepower, from techno's early sanctuary right up onto tomorrow's temple of unmapped potentialities. *This much special release, so dear to our heart, comes clad in a beautiful piece of design, and will be pressed to 180g audiophile quality vinyl for an enhanced listening experience. More

Following a first iteration which set the tone for our newly-minted Heimat series in explosive fashion, here comes the much anticipated second batch of our zeitgeistian take on today's scene's, its current potential and destination. Showcasing productions from artists keen to roll up their sleeves and sail into the impassible status quo, this new number packs the kind of red-hot hammering and cutting-edge punch we've been so adamant to push and defend over the past decade. Berlin-based French producer Arkan steps in first with a proper magnetic depth charge. Dwelling the darker layers of our ocean floor as its name suggests, 'Submarine' is pure hypnotic material geared up for heavy-duty boogie in the warehouse. Filling its ballast tanks with a hefty deluge of muscular bass onslaughts, sonar-like bleeps and untamed cascades of loopy arps, this one rolls and pitches like a haunted ship on predator mode. Adding his dynamic pulse and mind-bending spin to the A-side, Frameworks & Untertwegs bossman Decka cuts a path of straight mental obliteration as he smashes the doors of the club wide open and parades all guns blazing with the unapologetic crusher that is 'Circumvent'. A no-holds-barred workout for the strong stomachs, churning out fiery bars of kick-drum/squelchy bass contrast with in-your-face swagger. Switching on to the flip side, there's Manchester's Yant cruising with the ebulliently dynamic (no shit, Sherlock) tune, 'Moving'. A multidirectional concerto of pong-like modularity and racing synth arpeggios flying off like coloured bricks in a Tetris game gone absolute batshit. The kind of hi-intensity burner that'll awaken any lukewarm mid-set flow with its bouncy unpredictability and ruthless forward-pushing thrust. Rounding it off on a further minimal note, Amsterdam up-and-comer Hitam treats us to an inch-perfectly engineered finale with a stripped-back - yet, absolutely not hollow - bomb, 'Venusian Winds'. Gutsy that one sure is, with its metronomic step ticking at near-cyclonic speed and cleverly arranged, subtly FX-coated funk keeping things both suspenseful and focussed thru and thru. A sleek combo of pared-down brutalism and masterly executed analogue tailoring altogether. All dressed in clear purple marbled wax for the occasion, "Heimat II" shall please both the techno purist and visual aesthete in you with its velvet touch and effortless chic. More

Celebrating ten years of uncompromising devotion to techno and its bastard cousins from the fringes, Rotterdam's finest MORD and RYC team up to deliver a special four-vinyl / eight-sided kaleidoscope of a compilation, featuring some of the artists that have helped shape up both labels' identities over the years as they press on in their aim to set their very own techno utopia into stone. - Adriana Lopez, Amotik, Bas Mooy, Brendon Moeller, Dimi Angelis, Inigo Kennedy, Jeroen Search, Kaiser, Norbak, Orphx, Quelza, Rene Wise, Ritzi Lee, Stanislav Tolkachev, The Lady Machine, UVB are all present! Unfolding as a testimony to their unflaggingly resolute vision and aspirations, 'MORD x RYC' operates as an ode to their hometown of Rotterdam - the artwork itself being a direct nod to the city's iconic 'cube houses' from the 1970s, but also to the tentacular connection both MORD and RYC have developed throughout the past decade, bonding organically alongside like-minded artists and hubs from the techno internationals to expand their reach and impact. Local figure Ritzi Lee paves the way with 'Neutropia', a mind-bending, abstract-leaning head charge of frizzling electronics mixed with the unrelenting assault of a thousands bisons' pack fracturing their way into your system. Amotik follows up with the paced-up bleepy madness that is 'Laal', a proper deep and raging slice of clinical machine hoodoo, geared up for hi-velocity rumble on the dance floor and a ruthless hi-jack of your brain capacities for the duration of the track. Up with the punishing club destroyer 'Lucidez', Norbak treats us to a maelstrom of choppy hardware currents and head-spinning strong winds criss-crossing a brutalistic mindset. Dimi Angelis 'Optical Prism' is one to play some nasty tricks on the mind and alter your body functions through its evil-minded thunder of processed drum prog, noise-adjacent projections and gusty, Dantesque atmosphere. Breathing in further acid wonkiness in his typically spaced-out composition with 'Illustris', Jeroen Search has us jacking to a weirdo concert of chord dissonance and punchy percs, whereas French exponent UVB lets the hounds of rave loose on the epic-sized 'Mortifere' - a strikingly potent piece of 909-fuelled dementia that unfurls with the fierce soul of a 90s scene warrior, and future-facing bravura of newfangled classics. Taking over on the rough and unfazed 'Vedette', MORD boss Bas Mooy gives his own definition of a quality industrial chugger, club-efficient and trimmed down to its most essential palette. Kaiser goes full-on martial style on 'Disciplined Soldiers', giving us a taste of his ever surgically executed blends, flush with the usual tapestry of lysergic synth swashes and nonstop pounding drums. Canadian duo Orphx step in with the rugged and opaque 'Slipping Through My Fingers' - a much spitting glimpse of the sound they've come to advocate over the years, as raw as it proves oddly sensual, and as hypnotically entrancing as it remains mysterious to the bone. A riotous, pounding danse macabre that oozes tar fumes and heated steel, the Lady Machine's 'Concorde' is no-prisoner techno in its purest essence, tailored to whip up a frenzy in any context, any time of the day. Walking the tightrope between an elevated sense of melodicism and mastered 4x4 uproar, Inigo Kennedy here again exposes the width of his skills when it comes to carving out durably haunting, soulful techno that sure knows how to harness energy and power from the ravers' hearts, whereas Adriana Lopez 'Gradual Illusion' steers us back to a further exhausting state of sublimation, and then utter dissolution. Whiz kid Quelza pulls out a big one with 'La Choregraphie Du Soleil', a much ambitious slab of visionary techno, splattered with the kind of breathtaking arrangements and scope-breadth you'd expect from more seasoned producers. True to his high-flying standards, Ukrainian maestro Stanislav Tolkachev goes full mental style with 'Must Be Loud', a genetically modified treat that'll get your senses in a weird sense of alert, while Rene Wise dishes out a massive burner in 'Smashing Around', as ever laser-precise and textured out to impressive effect. Brooklyn's dub techno legend Brendon Moeller rounds off the package with the obsessively playful 'Hot Pursuit', sure to please all lovers of the US producer's mind-altering modular style and upstream relevancy. More

Fierce techno on this 4 artist release. Locked and loaded, here comes the next salvo in RYC's line of action. Going by the name "Heimat" - the German word for "homeland", this eighteenth number in our catalogue breaks in a new series that will set the focus on exciting new names with a vision. Zeitgeisty by nature, the approach chosen for these VAs is to document state-of-the-art productions from lesser known and emerging figures, whose skills and talent we firmly believe in. An extension of our creed that techno is there to push boundaries and not reiterate the same bland assertions over and over, ad nauseam, "Heimat" shall form a shelter for top-of-the-range material and that exclusively, regardless of the producer's fame, level of fashionability and/or market-friendliness. Summoned on that debut platter are names you may have heard through our channels already, and some you haven't. Drawing first blood, Brazilian talent Marcal gets the wrecking-ball swinging at fierce rate. Engineering an inch-perfect balance between Amazonian suavity and cutting-edge industrialism, the Goiania-based whiz treats us to a mind-altering maelstrom of rainforest techno, leaving no room for improvisation whether on the rhythmic side or in terms of sound design. An absolute crusher. Another Brazilian completes the A-side, in the person of Nicolas Vogler. His track "Lost in Paradiso" is everything a mental techno pumper should be: nose-diving drum assaults, pools of lavish textures to sink your brain within, spiralling synth motifs. Epic, truly. Mysterious on-the-rise producer Hurdslenk takes over the flip with a mammoth of a fast-paced churner, designed at nothing but sweeping legs by the dozen. True to the early 00s hi-NRG strain of techno, Hurdslenk fractures his way into the system with a proper bomb of a tune, hovering the cursor halfway Birmingham-style sonic aggression and made in Rotterdam warehouse-obliteration. Final word goes to mould.audio's Ruben Ganev, an artist who knows all too well how to fly you off to the zone with a mere kick and surgically processed machine hoodoo with a purpose. Laser-precise and full-bodied, "Scattered" is the paragon of a masterful hypnotic ride, steering us smack-dab the middle of a weirdly claustrophobic dream with the right amount of daze-inducing envelopes and fuel-efficient percussive power. "Heimat" comes pressed to a 100% orange transparent vinyl, and clad in a pristine, matt varnished package to please your eyes and ears in equal measure. More

For the next instalment in our split series, we handed the reins over to two producers whose work has kept us continually inspired over the last few years. At the helm of the A-side, Berlin big-room havoc-wreaker AMOTIK puts on the burners right away with two riotous jams that scream nothing but sonic aggression. On the flip, the mysterious, genre-unbound Janice sweeps us into his psychedelic, non-formulaic techno mindset. True to AMOTIK's minutely balanced, well-integrated blends of punishing kick drums and sunken harmonics, metronomic destroyer "Narangi" swings the pendulum sharp and clean, from deep down a thick sludge of reverb-soaked, FX-topped percussive armada to bleeps n' bloops barrage fire, whereas quake-inducing tides of 909 thunder hail down upon the dance floor with unrelenting frenzy. The dusty bone-bruiser "Hara" picks up the torch and it's in no calmer mood. A slowed-down, breaks-loaded churner, this one relies on a fine engineering of lo-freq moves and pure hardware-processed filth to establish a murky motel, cinematic narrative of sorts. Up with the fracturing wares, here's Janice rocking the flip upside down with the aptly-titled "Mass Formation Hypnosis". Doing what's written on the tin, the faceless producer rushes us headfirst into the boiler for a thorough, unfaltering brainwash. Smelling of leather, grease and coal, this one's bristling with a delectably rugged palette of unambiguous electronics: an ultimate shelling of chest-rattling drum work, in-your-face bass uppercuts, trumpeting stabs and menacingly altered vox. The final salvo, "Names and Excuses", tops it all off on an ominously droney tip, flinging us right away into the frothing mouth of a deadly machine giant, hurtling and tumbling down mazy bowels of washed-out ambient techno via rhyzomatic gutters of brooding abstract motifs and no-frills heavyweight pound. Hectic. ''XVII'' comes adorned with a duly outstanding frame to shine, and will be pressed on 180g audiophile quality vinyl. Once again a way for RYC to openly declare its aspirations and goals, in letting people know that quality, passion and love for the music is all that matters. More

Quality techno from this Dutch Techno Don! A stalwart of the Dutch techno scene since the mid nineties, Jeroen Schrijvershof has been ploughing his own furrow aside from the typical norms and standards of the techno scene with lasting integrity and unflinching dedication throughout the years. A coinage derived from the sharp, clinically designed blends he has come to be known for, that Search-sound has long established as a blueprint for DJs seeking laser-guided weaponry into their sets, and Jeroen's maiden effort for RYC follows that very guideline. Starting with the massive pound of the title-track, "Enigma", the EP knocks into your system with blunt force, ushering us into a no-frills corridor of hydraulic kicks and sizzling static. As per usual with Jeroen's compositions, minimalism serves a purpose of exponential effect. True to the fuel-efficient philosophy of the producer, "Modules" harnesses a controlled avalanche of modular signals and no-prisoner, big-room techno dynamics to forge a piece of exquisitely raw rave material that can move blocks of concrete with its nose. Letting the groove a little bit looser, "Object of Ridicule" spins at fierce tempo whilst relying on the same limited palette of chiselled drums and ominous strings to plunge the dance floor into a darker, neo-noir paradox of rhythmic straightforwardness and mystery-shrouded ambiguity. Topping the release off is "Circle Park", a cut that further exposes Jeroen's constant juggling between atmospheric opacity and a surgical, technicist approach towards production. A matter of thoroughly finessed textures and obsession for the faintest detail that shines through "Enigma" with unrelenting ebullience. More than anything the fruit of an endless search for fresh, unheard forms of transcending techno expression. In reflection to the release's outstanding character, we decided to have it pressed to 180g audiophile vinyl so y'all purists can revel in Enigma's heavily detailed sound spectrum. More

More hot techno tracks on the fifteenth iteration of Reclaim Your City. The trip goes to Paris via Vienna with complimentary pair Eric Fetcher and Arthur Robert taking over for a round of cold-blooded club-busting blends. A full-on hypnotic affair leafing through the darker districts of dubbed-out deep techno, "RYCL.015" eases us in a sunken realm of unquiet oneiric folds and further afield, obscure crannies. Fetcher strikes first with "Arrival" - a pulsating meshwork of distressing signals going pong on the reverbs, as sturdy kick drums and skittish percussions guide the groove onto proper club-ready rails via a clinical 4x4 frame. Then comes Arthur Robert's "Petrichor", an enslaving roller tailored to catch you in its intricate web of sonar-like bleeping and wild, homing hats let loose like hounds on their prey, whilst you progressively lose track of your actual environment to enter a new world of multisensory stimulation and blurred-out abstraction. Flip the record and here is Robert's "Centipede" taking over with an uptempo cascade of heavily delayed machine talk, dust-clogged kicks and surgical 4x4 swing bound to have everyone losing their shit in the basement with shadow-knightly swagger and in-your-face attitude. Fetcher's closing number "Balter" adds a further hip-swaying, breaks-laden, rowdy spin to the overall forward-moving ride, but also some more warmth sound design-wise, which will most certainly find a positive echo in DJs looking for true-school hybrid weaponry - capable to keep the dancing clock ticking in full-swing, without jeopardising the after's chiller vibes. As per usual, RYCL.015 comes adorned with a bespoke piece of artwork, this time courtesy of talented Dutch photographer Joris Graaf, and will be pressed on 180-gram audiophile orange gold vinyl for the discerning heads. More

Ukrainian don Stanislav Tolkachev resurfaces with his debut solo four-tracker for RYC. Not quite swerving from the sonic pathway his name has become synonymous with over the years, ever so alien and transporting, Tolkachev's latest boasts the very exact qualities that have made his sound stand out from others, earning him a constantly growing crowd of heirs and imitators along the way. Breaking the trip in, 'Up The Steel Stairway' sets the tone for the EP without further ado. Sniping hails of steadily frantic, arpeggiated synth chords and puncturing kick drums that'll have you dancing like one rolls with the punches, Tolkachev sails into the eye of the cyclone all guns blazing. Lacking no pounding heft either, 'The Less You Know' slits a way open into your head through a carefully dissonant symbiosis of corrosive synth lines and octave-shifting bass gone astray. On-the-edge techno at its rowdiest, most mentally challenging. Flip the coin and here comes the deranged, trouble-brewing 'One More To Go'. Cranking the mind-bogglingness a notch further, this one bulldozers its way past all sanity thresholds without blinking. Final number 'The Way To The After' tops it off in more straightforward but equally immersive fashion. Plunging us in a submerged chamber of sorts, where heavily verbed-out synth flexions entangle along tranquilly ascending pads, progressively dissolving in inert pools of FX-charged bleach and slo-dripping dub venom. Pressed on 180 gram audiophile quality vinyl! More

Some proper straight forward techno on Reclaim Your City. Their first 2020 release 'Liquid Shards' - a split 12" epic courtesy of Den Haag's TAPE co-founder Deniro and Brighton's new sensation Rene Wise. No-bullshit techno that moves in between plural states of consciousness, the two producers harness a double pair of laser-accurate rollers that pack some serious punch, trimmed, shaped and polished for optimum impact on the dance floor. Deniro steps up with a duo of streamlined techno bullets that delve smack dab the cream of '90s atmospheric and dubbed-out tech territories. Whilst zoned out opener 'Shards' cracks the mirror into an infinity of glassy textured synth splinters and solar-powered sub-bass moves, sure to lift off any crowd through some intensive, stamina-testing deus-ex-machina, pared-down banger 'Static' lets out the playful bassy bounce and bleep-laden engineering do the talk for a straight out bone-crushing workout that quietly engulfs everything in its wake. Flip it over and here's Rene Wise running the hoodoo down in truly massive 4x4 sensei fashion. Pulling out a nasty cavalcade of intestinally disquieting 909 kicks out the deepest blue, alongside mazy networks of verbed-out drums and heavily altered synthetic samples, 'Liquid Dancer' sets the boiler to eleven from the Baltic to Hawaii, which is no good news say the oceanographers. Bringing up the rear to this quartet of steady shooting havoc wreakers, 'Juggler' is no ancillary DJ tool but a much apt and functional floor squasher in its own right. Just let the pressure rise, people lose their shit a bit and throw these into the melee as a memo of how good techno is when done with such sentient genius. Record comes pressed to a trichromatic marbled vinyl, folded in some neat cover art. More

FIRST OFFICIAL REISSUE OF ONE OF THE MOST SAMPLED TURKISH RECORDS IN 45 YEARS! SAMPLED BY RAP LEGENDS LIKE SCARFACE OF THE GETO BOYS. TURKISH PSYCHEDELIC MASTERPIECE FROM 1980

Licensed from "Warner Records Sweden" and remastered from original material in Warner Record's vaults by Shawn Joseph at Optimum Mastering Bristol. 180 gr heavyweight vinyl Manufactured in Optimal Berlin.
Recorded between Istanbul and Stockholm, it captures the era between Okay Temiz's Don Cherry Trio touring and his own band Oriental Wind's sensational debut.
Mentioned distinctive elements have elevated the record to 'cult' status among record collectors, sample enthusiasts, and diggers around the world.
By 1980, Okay Temiz had already embarked on a series of dynamic collaborations and sound experiences with Don Cherry as a member of the Don Cherry Trio. This period included a noteworthy summer in the early '70s at Dartmouth College in New Hampshire, hosted by Jon Appleton, a notable American composer and visionary in electro-acoustic music.
"During that summer, Jon asked me, 'What kind of sound do you have in mind?' I had already given this considerable thought, using a tape recorder to capture sound frequencies influenced by the moon's position. Jon Appleton's question made me think about the extension of 'Organic Music Theory,' which we were exploring with Don Cherry at the time."
In 1982, Okay Temiz recorded the most comprehensive answer to 'What is Turkish Jazz?' at the Montreux Jazz Festival (CAZLP 004) with his band Oriental Wind, featuring Bobo Stenson (of the Jan Garbarek - Bobo Stenson Quartet), Palle Danielsson (of the Peter Erskine European Trio), and Lennart Åberg (of the Scandinavia New Jazz Group).
In 1980, without fully realizing he was navigating between these two worlds, Okay Temiz entered Stockholm's renowned Metronome studios to record the 'sound in his mind' as a solo artist.

`Drummer of Two Worlds` is a star map of Okay Temiz's musical worlds. Blending elements from the grand piano to his handmade drums, and from the amplified Berimbau to his cowbell array, weaving Turkish rhythms like 9/8 and 7/8 with the universality of 4/4, it presents a unique sound narrative that resonates with the dimensions of a well-traveled mind."

Haluk Damar

A1 - Eastern Breeze
A2 - Penguin
A3 - Galaxy Nine
A4 - Savsat Bari
A5 - Repercussions
B1 - Drummer Of The Two Worlds
B2 - Sipsi
B3 - Ocean Rolelr
B4 - Fantasia Drive More

Repress!

Following the success of his last RS release, 'Ripples,' the enigmatic Wallace returns to Rhythm Section after a series of stellar releases with a highly anticipated follow-up - ‘Papertrip’ that is destined to once again set the dance music community ablaze.

Wallace's impact on the scene has been nothing short of extraordinary, since Ripples he has gone on to play in the iconic Panorama bar, tour Japan and release a double LP on Mule musiq.Wallace continues to cultivate a dedicated following among discerning listeners and industry tastemakers alike. Now, with the forthcoming release, Wallace is poised to ascend to new heights, continuing the undeniable Wallace-maina. More

Second Pressing, Fanzine is now printed on the innersleeve.

With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.

At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.

The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.

“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production."

“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.

“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.” More

He's as consistent as he is prolific so it's no surprise that Omar-S is back yet again with yet another EP well worth copping. This latest 12" direct from the Motor City features two different versions of the same tune and what a tune it is: first up is 'Can't Get' (vocal mix) which is signature stuff from Smith - dusty beats from an old analogue machine, slowly evolving synth leads that convey plenty of emotion and raw hi-hats. The mood is late night and sultry with a hint of menace and a gorgeous vocal hook is the icing on the cake. Flip it over and you'll get the Sub Mix with more stark synths and melodic edginess. More

F-BOMBS RECORDS has landed! A spin-off of the Foundations Series events that have been running across London the past 2+ years. Similarly to the Foundations Series events, the label will be a home of multi-genre artist releases with a nod to all the classic eras of UK dance music brought firmly up-to-date.

SWANKOUT has been moving at paces, riding the charts the last couple of years with releases for the likes of Hardcore Energy, Top Drawer Digital and Pete Cannon’s N4 Records - which saw his Swankout EP sell out of vinyl in just 24 hours! He’s also notably just remixed Shadow Child & Mark Archer’s “I know You” on UTTU’s sub-label Dancetrax and his forthcoming The Criminal Minds collab is gaining much hype.

Here Swankout demonstrates his diversity in taste and production style by lending his hand to UKG with the aptly named “The Speed Garage EP”. A 4-tracker that imbues classic speed garage, with rumbling basslines, weighty breakdowns, gunshots and a hint of jungle. Heads will note the reference of lead track Rude Bwoy Monty to the original jungle don R.B. Monty.


F-BOMBS001 - SWANKOUT - THE SPEED GARAGE EP

A1. RUDEBWOY MONTY - Moody build-up into an unforgettable breakdown of police sirens and rising tension, conjures up memories of early morning raves and raids across London and the greater M25 perimeter.

A2. LOVE COMMANDS - A steppy dancefloor bouncer, pure summer vibes for the love dove generation.

AA1. GUNSHOT - All the elements of a classic speed garage stomper. Warped bassline, pitched/chopped vocals, gunshots and a lot of attitude.

AA2. APPROACH PHASE - Fasten your seatbelts and assume approach positions. A track that invokes a sense of nostalgia for dancefloors long gone. More

EP with 90s and 00s UKG, Tech House and Speed Garage influences and samples. Support includes plays on BBC Radio 1 by Moxie, 1xtra by Conducta and NTS by Bradley Zero. More