Following support from the likes of Ben UFO, Pearson Sound, Tessela, Laurel Halo, Mumdance and more, electronic producer Airhead has returned to the 1-800 DINOSAUR imprint for a brand new 12” double single of highly sought after music, purpose built for the club.
Named ‘Clatter’ and ‘Droplit’ respectively, both tracks hold the hallmarks of a classic Airhead sound, while simultaneously pushing the envelope of his previous work. ‘Clatter’, employs chiming synths and cascading rhythmic elements coupled to create its own steady tempo. Demandingly robust yet simultaneously instilling a sense of fun, ‘Clatter’ remains unpredictable throughout and consistently pushing the envelope of what defines club music. A disarming blend of whirring breaks, pitch shifted sirens, and guttural water-drop bass notes, ‘Droplit’ is the perfect counterpart to ‘Clatter’. Sparse yet still frantic and inherently danceable, ‘Droplit’ harks back to the rave era while keeping its vision firmly set in the future, transcending time and convention to embody a completely fresh approach to contemporary club sounds.
Already a lynchpin for progressive sonics both in and out of the club, Airhead’s newest release on 1-800 DINOSAUR is a staggering blend of unconventional melodics, impactful percussion and devastating low end. Proving to be a duo of hugely in demand tracks of the year thanks to support from some of the world’s most respect selectors, with ‘Clatter/Droplit’, Airhead has pushed the sounds shaking the foundations of clubs forward dramatically, and as a result, created music that will inspire incendiary reactions worldwide for years to come.

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Airhead has put out some great music this year. Kicking off with the radiophonic ice of 'Kazzt' for Mumdance's Different Circles and just recently the low slung 'Cristobal' on PS Records his production chops get bolder by the minute. It's no surprise seeing as he spent much of the previous year producing key tracks for the incredible

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1-800 Dinosaur and Airhead announce a new 4 track EP 'Believe' released July 2014. Airhead, (aka Rob McAndrews) a resident, founding member and spiritual ocelot of the 1-800 Dinosaur crew, will be releasing a four track EP 'Believe', the first of a series of releases from Dan Foat's emerging artist collective. This Believe EP is a turning point for Airhead; equivalent to the moment in the film 'Witness' when Harrison Ford, as John Book, realises that the hitmen (witnessed by the Amish kid in the toilets) are actually policemen. The inward has been exchanged for the outward. Where Airhead's critically acclaimed debut album 'For Years' was all about tip-toeing barefoot into thick carpeted darkened rooms, this new EP, inspired by two years of 1-800 DINOSAUR parties, is all about the boom-boom oscillation and hands-in-the-air machine gun parties. The controls are set straight for the heart of the dancefloor where Rob has erected a Buffalo hide tipi and intends to live for the next 7 months. The lead track 'Believe' has already caused a stir on the 1-800 DINOSAUR affiliated BBC R1 show, reminiscent of a suddenly conscious anthropomorphic car alarm hurtling down a water slide with Leroy Burrell on Gary's. Both 'Shirin' and the Coki summoning 'Shekure' evolve out of the London-centric vapour trails of Grime and UK Garage, unsurprisingly causing the most damage at the 1-800 residency at Plastic People. The eery atmospherics of Hundred Years built around nascent chords and a vocal sample round off the EP perfectly.

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Airhead continues to impress and confound with his run of releases on R&S. His last release ‘Wait/South Congress’ found itself gaining praise right across the board. It showcased his atmospheric guitar styles as well as his deft programming skills, resulting in some trying to pigeon-hole his sound in a post rock/electronica direction. This EP proves it not that easy to pin him down with two new tracks of fresh club music.
Pyramid Lake again showcases his expert manipulation of samples, but this time weaves them into a drunken dance groove, full of whirring percussion and heavy bass. Black Ink is a bubbling, percussive roller that in the hands of a lesser producer would sound like a traincrash. It bounces along almost out of control and sucks you into its charms until it hits you with some uplifting, haunted chords, at which point it's impossible to resist.
Tracklist
A. Pyramid Lake
B. Black Ink


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Airhead first appeared on R&S with the wonderful ‘Lightmeters’ track on the IOTDXI compilation, and now steps up with this stunning debut single for the label.
With only two previous singles to his name he is already a master of building breathtaking music, full of tension, space and originality that can't fail to move you. The two tracks on this single utilise his skills as both instrumentalist and producer. They don’t conform to sit comfortably in just one genre, but mix his love of atmospheric guitar and classic electronica which overflows into the trademark Airhead sound.
Tracklist
A. Wait
B. South Congress





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After a triumphant return to Batu's Timedance label with 'Intrigued By The Drum' Ploy keeps the pressure high on his new EP for Hemlock.
Unruly exposes further light on the workings of his now signature style. Waves of metallic percussion tessellate around a thumping central bassline. Pneumatic flashes of noise seal a dense atmosphere full of equal parts euphoria and dread. Garys is Ploy's most stripped back and potent club tool yet, striding into 'proper techno' territory, equipped and optimised for the highest yield. Lost Hours drops the beats and pumps out a thick fog of hazy chords and bellowing subs. Perfect for after hours listening.

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Airhead has put out some great music this year. Kicking off with the radiophonic ice of 'Kazzt' for Mumdance's Different Circles and just recently the low slung 'Cristobal' on PS Records his production chops get bolder by the minute. It's no surprise seeing as he spent much of the previous year producing key tracks for the incredible

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Since his last appearance on Hemlock (2015's double EP HEK025) Hodge has produced a seemingly effortless sequence of celebrated EPs and collaborations for Livity Sound, Berceuse Heroique and No Corner. Equally comfortable squaring up with heavyweights such as Randomer and Peder Mannerfelt as he is maintaining a prolific solo production output; Hodge has cemented himself as a leading voice in UK dance music and a champion of the elusive sweet spot where functional techno resonates with soundsystem culture. A quick listen through his recent RA mix is a great way to keep up to speed with his recent output: https://www.residentadvisor.net/podcast-episode.aspx?id=581

One for the Hemlock fans who have been patiently tolerating this year's more experimental cuts. 'Swing for the Fences' is straight down to business getting the kicks in below one of those ear-wormer percussive atonal toplines Hodge does so well… the drop is one of the heaviest we've heard this year and tipped to raise some fingers, open mouths and spill drinks across dancefloors and TV studios worldwide.

Less pool cue more pool party 'Aomame' is a breezy melodic (patio) heater powered by tough drums and intricate percussive work. Arranged for both the dancers and the heads it freely refreshes and translates the main theme with a precision and playfulness that few producers can match.

'Medway' will warm up or cool out the dance with big room sirens and some rude detuned drum work. Still no messing about on the B2: It's a Hodge thing all the way.

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One sweaty hot week in July 2013, Untold ripped into creating his new album, Black Light Spiral, having discovered a land so full of jolts and thrills that the beats wrote themselves and the sounds just kept on coming. The final 40 minute, 8 track album, is as true to the furious and fiery journey Untold (aka Jack Dunning) personally went on as you could hope for. It’s unhindered, spontaneous and completely raw. As perfectly imperfect as a trip like this should be. And you’ll be left gasping for air. Wondering “what the fuck is this music I’ve just heard?” Which is classic Untold. We’ve come to expect the unexpected from him. From day one, with tracks like Kingdom, Anaconda and Stop What You’re Doing, Untold has been an inventor and tastemaker. Today with two iconic record labels to his name, Hemlock and Pennyroyal, his imagination and openness to the new strides on. And Black Light Spiral, Untold’s first album released on Hemlock, continues in the same spirit. It delivers on Untold’s mission to keep
the people up and at it with rough tough music while confounding them with brilliantly executed improbabilities. Untold was raised on Jungle and Hardcore, has travelled through Dubstep and leftfield Techno and now he’s arrived here where he’s playing with sub bass, sirens, reggae samples and broken rhythms. But this isn’t token rave revivalism. Because while Untold may be experienced in the best raw genres dance music has to offer, he has no desire to defer back ad infinitum. He’s in it for pushing boundaries. So Black Light Spiral is entirely new.

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Back to throw you right off balance, the ever enigmatic Joe returns to Hemlock with two highly spirited but deceptively strong sonic cocktails. We'll drink to that. Punters Step Out: Muddle 1 part dub techno with 2 parts drunken hammond and shake hard with some driving dancehall. Serve with a smile // Club Scared: Smash a volatile vocal into a high-proof riddim and drop on an unsuspecting floor. Please dance responsibly.

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Part 1 of the 3 part vinyl series.
2012 sees Hemlock's 20th release after four years at the frontline of forwardlooking bass music and dark electronica.
To mark the occasion Hemlock boss Untold has curated a 65-minute mix joining the dots between the label's past, present and
future. ‘Chapter One’ weaves his favourite moments from the back catalogue with a series of exclusive material from FaltyDL,
Randomer, Joe, Sei A, Guy Andrews and Untold himself. The beautifully packaged CD will be released alongside three 12" vinyls
containing exclusive music.From modest beginnings in the heady days of dubstep's conception, Hemlock - founded by producer Jack Dunning (AKA Untold) and designer Andy Spencer in 2008 - quickly became a force to be reckoned with in the sprawling, and often confused, world of UK bass
music. Since then, the label has steadily forged its own curious path, building an enviable back catalogue and garnering a reputation along
the way for zeitgeistdefining releases. It also has a reputation for discovering incredible new talent. It was Hemlock that introduced the world to the James Blake, whose debut release ‘Air & Lack Thereof’ saw the light in 2009, and was followed by his seminal 'Stop What You're Doing' remix later that year.As well as some phenomenal new talent, Hemlock has also been a place where established producers can find a home for their more
surprising, spontaneous or downright deranged music. Key moments include Untold's game-changing 'Gonna Work Out Fine' EP in
2010, Pangaea's jungle-inspired ‘Hex’ and ‘Fatalist’, and Ramadanman (AKA Pearson Sound's) seminal 808 anthem, ‘Glut’. With the
likes of Cosmin TRG, LV, Mount Kimbie, Girl Unit and Funkineven also passing through their halls, the roster now reads like a who's
who of bass music talent.
‘Chaper One’, as you'd expect from Untold by now, is anything but your average mix. It takes as many twists and turns as Hemlock's
back catalogue and reflects the story of not just the label's evolution, but also the evolution of the music scene it spawned from.
Starting briskly, it jumps through percussive workouts from Fantastic Mr. Fox and Mount Kimbie, soon blunted with the bassweight of
the half-step anthems ‘Air & Lack Thereof’ and ‘Discipline’. The section climaxes into the psychedelic organ studies from James
Blake’s ‘Stop What You’re Doing’ remix before gradually fading into an icy noise speckled mid-section.
Cosmin TRG’s brutally sparse ‘Béton Brut’ crumbles into the muzzled chimes of ‘Under’ – one of Untold’s most ambiguous cuts to
date. The panic reigns through FaltyDL’s ‘Artemis’, picking up momentum into the metallic jacking 4/4 kicks of Sei A’s ‘Hyphen’. Guy
Andrews cements the groove with the epic ‘Resistivity’, morphing into a broken tribal drum workout towards the end. Randomer then
picks up the funk with ‘This Train’, before getting nasty with ‘We Laugh, We Scream’.
The final section explores the label’s fascination with reconfiguring the hallmarks of jungle and drum ‘n’ bass, with the rowdy MC
chatter on ‘Fatalist’ sparring with the rugged bleeps and bass of ‘Studio Power On’, and the sinister Reece synths of ‘Motion the
Dance’. After the last onslaught the mix fades out to the calming neon glow of Nautiluss & Lord Skywave’s ‘Ultraviolet’.
With ‘Chapter One’ documenting their past and earmarking possibilities for future exploration, Hemlock looks set to fearlessly guide
brave listeners into the next chapter of uncharted frequencies.

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Part 2 of the 3 part vinyl series.
With ‘Chapter One’ documenting their past and earmarking possibilities for future exploration, Hemlock looks set to fearlessly guide
brave listeners into the next chapter of uncharted frequencies.

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Randomer's a dirty boy. And this is one of his dirtiest yet. Proprietary EDM trend-forecasting software has predicted year on year growth of deranged acid breakbeat music. We give you We Laugh We Scream. Nar: A timely response to the proliferation of industry . “Yes men” Freak dub: If Dillinja made House?

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n a short time, North Londoner Randomer has built up a small but heavy hitting catalogue of work ? releasing ?Brunk? (on Hessle Audio?s 116 & Rising compilation), the acid tinged ?Obtuse? and most recently his dance mania-on-steroids EP for Numbers, 'Real Talk'." His debut for Hemlock Recordings see's him taking things even further back to basics, dropping two heavyweight trax of pure beats and bassline indulgence. a. Scruff Box's beats roll heavy but with a crafty, garage skip in their step, giving no clues to the obese bass riff that soon rudely exposes itself, tearing through the track roll by roll. aa. Get Yourself Together More of those trademark, overweight beats with one giant, elasticated bassline. For those who like them large and lovely.

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Hemlock are proud to introduce the debut for Brighton boy Guy Andrews. Two tracks of brilliantly unpredictable, percussive wizardry with more twists than a season of the Killing 'Shades' combines of precision drum edits, killer 808 booms and woodblock percussion that will bring a tear of nostalgia to the eye of the Blue Note & Metalheadz vets and a smile to the face of the most discerning new dancefloors. 'Textures' on the flip kills it with an arrangement that just keeps you guessing. Perfectly poised between light & dark, delicate & heavy, and taking you seamlessly from locked 4/4 to dubbed out techno via all-out percussive funk and back before you

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Canadian producer ‘Nautiluss’ aka Graham Douglas Bertie of Thunderheist (of underground dance hit ‘Jerk It’ on Big Dada) and UK singer/songwriter Simon Lord (Simian/Black Ghosts) under his Lord Skywave alter ego, joined forces after meeting on a high-spirited liquor-sodden North American tour. Lauded by their peers Mistajam, Giles Peterson, Mary Anne Hobbs, and Sinden, their hyped sound, exploring fresh sonic territory has already had national airplay. Their first collaboration ‘Ultraviolet’ is a finely tuned piece of dark, tense and spectral noise - classic, cavernous after-hours club music, backed with the instrumental ‘Bleu Monday’.


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Girl Unit and Funkin even roll out the lino and prepare for battle with two top-rocking 808 variations on Bretons originals. A. Breton – RDI (Girl Unit Remix) – First in the circle, ‘Girl Unit’ cranks up the boom-box and makes it all look too easy with a straight-illin’ beats and bass bomb. AA. Breton – December (Funkineven Remix) – Next up, Funkineven falls in like a drunk Bambaata with some brilliantly deranged electro boogie.

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James Blake returns to the label that gave him his debut release with two brand new sub heavy club tracks. Hemlock were responsible for his Air And The Lack Thereof single back in 2009. Neither ‘Order’ or ‘Pan’ have appeared on Blake’s soulful, electronic self-titled album from this year; the new material sees the return of Blake into the more sparse, experimental and wobbling bass heavy sound of his earlier work.


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With incendiary debuts from James Blake and Fantastic Mr Fox, Hemlock has built a reputation for discovering and curatins incredible new talent. For their tenth release they are proud to welcome Breton to the roster. Following two critically acclaimed limited-run EPs, the bands’ unique genre-splicing sound is firmly established on their five track “Counter Balance” EP. Breton fuse brooding hip-hop, rock and electronica into an unmistakable signature sound, Expect anthemic vocals, driving synth hooks, heavy guitars and tough beats. With insane hype from blogs and radio, features in Dazed and The Fly, remixes for Remixes for Local Natives and Tricky, - Breton will be charging up the ranks of ‘Bands to Watch in 2011’ lists.

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