On June 26th the influential Bristol figurehead Rob Ellis AKA Pinch will release his first solo album 13 years, via his own label, Tectonic.

'Reality Tunnels' is a concept that was originally introduced by Robert Anton Wilson in his 1983 book 'Prometheus Ris-ing'. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective - the subjec-tive filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills - but unconventionally so - knowing well that safe predictability and rounded polish don't get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener 'Entangled Particles', before planet-hopping onto the spiky insidious grimestep of 'All Man Got', featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, 'Accelerated Culture' offers the album's most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler 'Returnity', before 'Finding Space' reaches to the cosmos' far-flung, glowing outlands.
Back to an urban reality is 'Party', where a subtly menacing sense of dread is ignited by Killa P's incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, 'Back To Beyond' is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre's masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual 'Change Is A Must', and on 'Non-Terrestrial Forms' an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack's 'Mezzanine' and Tricky's 'Maxinquaye' - found here in 'The Last One's scorched, smoky rocker.


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On June 26th the influential Bristol figurehead Rob Ellis AKA Pinch will release his first solo album 13 years, via his own label, Tectonic.

'Reality Tunnels' is a concept that was originally introduced by Robert Anton Wilson in his 1983 book 'Prometheus Ris-ing'. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective - the subjec-tive filter that we each apply to the world around us; the things we perceive and what our consciousness deems worthy of attention, IE what we see and hear is entirely relative to what we do not.

At points angular and uncompromising with levels in the red, frequencies pushed out and EQ curves stretched into strange new shapes, Pinch mixes both low and hi fi on this boldly distinct sonic statement. It sees him flexing years of production skills - but unconventionally so - knowing well that safe predictability and rounded polish don't get the most interesting results.
Dark trip hop Bristolia segues into blistering jungle on album opener 'Entangled Particles', before planet-hopping onto the spiky insidious grimestep of 'All Man Got', featuring the rugged rasp of OG warhorse Trim.
Beginning a triptych of future techno, 'Accelerated Culture' offers the album's most relatively straightforward moment, albeit one of scorching, anthemic dancefloor heat. Delving deeper into the vortex is the synapse sparking wobbler 'Returnity', before 'Finding Space' reaches to the cosmos' far-flung, glowing outlands.
Back to an urban reality is 'Party', where a subtly menacing sense of dread is ignited by Killa P's incremental flow, which ramps-up and pairs-back the intensity in unexpected ways. Still moving freely between different realities, 'Back To Beyond' is beautiful gloaming ambience, executed with equal fine-tuned grace as the genre's masters.


Jamaican vocalist Inezi lends sweet tones to the slow burning, roots-meets-modern-bass spiritual 'Change Is A Must', and on 'Non-Terrestrial Forms' an atmospheric, misty steppers intro segues stealthily into fiercely dystopian, amen-fuelled jungle tekno; marking one of several surprise attacks on the album, where a subtle-slight-of hand shoots the intensity level dynamically up.Closing as it begins, the album is bookended by a piece that recalls the dark, intricate soundscapes of Massive Attack's 'Mezzanine' and Tricky's 'Maxinquaye' - found here in 'The Last One's scorched, smoky rocker.

Hit the vinyl double pack for an exclusive and quite unique sounding 120bpm glitchy techno roller featuring man like Trim once again and live cello recordings.



Vinyl Tracklist:
A1. Entangled Particles Feat. Emika
A2. All Man Got Feat. Trim
A3. Accelerated Culture

B1. Returnity
B2. Making Space
B3. What Am I Waiting For? Feat. Trim **vinyl exclusive bonus track**

C1. Party Feat. Killa P
C2. Back To Beyond

D1. Change Is A Must Feat. Inezi
D2. Non-Terrestrial Forms
D3. The Last One Feat. Nive Nielsen
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Swamp kicks the new year off with a heavy return from Pinch... last seen on the label in 2010!
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Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. Asian instrumentation meets directly head to head with the cutting edge sounds of a UK grime-techno axis to great effect.
'Praying Mantis' captures all the charm of a fine Japanese watercolour painting by means of some spectacular midi-harp programming. Hi-hats and detailed percussion set a shuffling pace, building the mood up before a beautiful harp section unfolds and takes over, expertly programmed by Walton to sound as if a master harpist had stepped into the room! As drums and bass join the party we have all the makings of a low-slung grimey masterpiece, both soothing and energising in a perfect zen balance.
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* The production duo behind the rave-new world sounds of 'Turbo Mitzi' and 'Big Slug (Feat. Riko Dan)' have been busy in the studio recently and return to form with 2 killer cuts designed to shock out the dancefloor.

* 'Control' picks up the tempo from the duos previous cuts, rolling at 140 beats per minute, in it's apocalyptic form. Powerful pads create the tension before sub-heavy kicks and cybernetic snares come pounding and chopping in, building up the mood before a radioactively charged Reese-bassline emerges, rising to the surface, unleashing its terror. This is a stone-cold banger.

* 'Strobe Light' returns to the more familiar 128bpm tempo that the pair have previously worked with. Taking a quite unique approach, 'Strobe Light' builds evermore, moving into the light, layering percussion up as an intoxicating drone of swirling strings swells and swells - entrancing and empowering in equal measures. this is a highly versatile DJ tool that also makes for an engrossing listen from start to finish. Refined dancefloor ear candy.

* Tracklist: a) Control aa) Strobe Light
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Perc & Truss rework two key cuts, taken from Mumdance & Logos' debut album 'Proto' and deliver us a pair of hard-as-nails techno bangers 'Move Your Body' is mutated from the hardcore-referencing original into a searing industrial belter. Perc & Truss' version makes use of distorted 808 drums and rising machine noise to ramp up the tension before eventually dropping out to the 'move your body' vocal sample and unleashing a terrorising acid line. Dancefloor killer.
Flip for 'Hall Of Mirrors' which sees the pair re-route Mumdance & Logos' original into a 4/4 roller, peppered
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Following last year's dangerously good 'Depatterning' LP, Ipman returns to Tectonic to deliver his latest instalment in bass-driven technoid mutations. Constrict' jumps straight into the deep end at 140bpm, diving head first into pulsing waves of warping, dynamic synth layers; swimming back up to the surface for air. As the intro build peaks, the track effortlessly strikes when the bass drops in, charging the techno synth interplay with a sort of 3/4-step type rhythm shaping the movements. Impeccable dance floor music that sits in an undefined zone between the worlds of techno, dubstep and somewhere yet defined. Flip then for 'Running Man', which sees a sharp drop in tempo, bringing the speed down to 120bpm but maintaining the energetic build of Constrict. Starting from an almost empty space, 'Running Man' takes an upward momentum, building and layering percussion and sonic textures as the heat of the chase takes full effect. Dark and deadly, this is one for fans of sci-fi sonics and dread vibrations.
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Manchester's Walton returns to Tectonic following last year's explorations in grime flavoured house/techno offshoots on the killer "Bulldoze EP". This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, "Gunman" sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight! Flip for a slower, more gentle mood with "Caught In A Trip". Rolling at 126bpm, "Caught In A Trip" builds around a developing melody played on a glockenspiel-esque instrument, backed with tribal percussion and a driving kick pattern. Ethereal in mood throughout, this one provides a lighter moment for the dance floor.


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Established Berlin based producer Carsten Aermes, aka PHON.O, delivers his latest EP 'Afterglow', bringing the Vorsprung Durch (to) Tectonic. Having dropped a number of acclaimed releases on Modeselektor's dynamic imprint 50 Weapons over the last several years, PHON.O has also had a variety of singles and EPs for the likes of Kompact, Bpitch Control, Shitkatapult and Detroit Underground, as well as remixes galore. Mercurial' kick starts the EP at 137bpm, melting the boundaries between techno, dubstep and footwork with effortless grace. The track sets a mood with an initial sense of ominous tension, before embarking on a strange, cosmic journey, narrated by polyrhythmic layers of percussive interplay. Kick drums bounce, snares crack, hats and the melody builds with mysterious intent. Flip over then for the first of two further tales in dubwise beat science. First up is 'U8 Phunk', taking it's name in part from a Berlin underground metro line, it represents a tougher, harder edge to the EP. Recalling echo's of jungle music alongside techno sensibilities, 'U8 Phunk' follows on again at 137bpm with a series of hyperactive drum hits and twisting percussive manoeuvres, charged with a reese-like bassline and grimy bass stabs. 'Bell Blender' closes off the EP, further developing themes of broken breakbeats and grimy sci-fi atmospherics, this time at a tempo more accessible to techno dancefloors. Dubbed and spacious, smattered with crashing remnants of breakbeats and scorching synth sonics - it's a fine way to round things off!

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'Better Strangers' is the debut album by Manchester based producer Acre, set for release by Tectonic Recordings on 6th November 2015. The album follows EPs on both Tectonic and sister label Cold Recordings and Visionist's PAN collaboration label Codes. As influenced by rave & jungle, grime and techno as electronica, ambient and drone; his EP releases have been rhythm driven snapshots of other-worldliness spliced with dancefloor sensibilities. Acre has sought to explore a wider variety of textures on 'Better Strangers'; to re-contextualise elements from UK bass music, bring them away from the dancefloor and open up new possibilities.
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'Better Strangers' is the debut album by Manchester based producer Acre, set for release by Tectonic Recordings on 6th November 2015. The album follows EPs on both Tectonic and sister label Cold Recordings and Visionist's PAN collaboration label Codes. As influenced by rave & jungle, grime and techno as electronica, ambient and drone; his EP releases have been rhythm driven snapshots of other-worldliness spliced with dancefloor sensibilities. Acre has sought to explore a wider variety of textures on 'Better Strangers'; to re-contextualise elements from UK bass music, bring them away from the dancefloor and open up new possibilities.


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* Following releases on Osiris, Tempa and Cold Recordings, 'Depatterning' is the debut album by Ipman, set for release by Tectonic Recordings on 25th September.
* Jack Gibbons aka Ipman hails from the rural Herefordshire, a world away from the city-born influences that form his sound. Embracing the luxury of isolation, 'Depatterning' is compiled from two years of recording, realising a vision of Gibbon's passion for soundsystem music, rave culture and technology. A self confessed tech nerd, Gibbons built the record experimenting with granular and modular synths, rewiring drum machines and mangling sounds with hardware.
* "I like to create music by experimenting with new ideas and mechanics and letting tracks evolve, and this was no different. I had a pretty free reign and just tried new things and looked at the results."
* Lead track and recent 12" 'Regicide' repackages the mid-1990s jungle experience into 140bpm breakbeat science, 'IPA' gives a sly nod to the Hereford pub staple through jamming techno synths, while the trinity of '¥, Ø, Ü' sandwiches atmospheric ambience between Gibbon's takes on dark 2-step and crushing rave.
* The restless 'Last One In The In The' pays tribute to the all-night dancer "It's like that bloke who is there from start to finish, eyeballs popping out of his head, just dancing like a maniac all through the dance (we've all been there). I had an idea for a video for it about him but never got round to it. It'd be like the Inspector Norse video. But in England so gritty and depressing."
* 'Depatterning' demonstrates Gibbons' individual ability to seamlessly fuse sounds, textures and moods - from jungle to techno and everything in between.
"Most of the inspiration for the album came from purely wanting to make something my own. The challenge for me was to pin down a sonic and craft an entire album's worth of material out of it, which for me was difficult as I tend to get bored and move on quickly. It feels good to finally be able to share this."
Tracklist:
1) Regicide, 2) Technicolour, 3) Gravity Dub, 4) IPA, 5) Last One In the In The, 6) ¥, 7) Ø, 8) Ü, 9) Strong Ones.
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* Following releases on Osiris, Tempa and Cold Recordings, 'Depatterning' is the debut album by Ipman, set for release by Tectonic Recordings on 25th September.
* Jack Gibbons aka Ipman hails from the rural Herefordshire, a world away from the city-born influences that form his sound. Embracing the luxury of isolation, 'Depatterning' is compiled from two years of recording, realising a vision of Gibbon's passion for soundsystem music, rave culture and technology. A self confessed tech nerd, Gibbons built the record experimenting with granular and modular synths, rewiring drum machines and mangling sounds with hardware.
* "I like to create music by experimenting with new ideas and mechanics and letting tracks evolve, and this was no different. I had a pretty free reign and just tried new things and looked at the results."
* Lead track and recent 12" 'Regicide' repackages the mid-1990s jungle experience into 140bpm breakbeat science, 'IPA' gives a sly nod to the Hereford pub staple through jamming techno synths, while the trinity of '¥, Ø, Ü' sandwiches atmospheric ambience between Gibbon's takes on dark 2-step and crushing rave.
* The restless 'Last One In The In The' pays tribute to the all-night dancer "It's like that bloke who is there from start to finish, eyeballs popping out of his head, just dancing like a maniac all through the dance (we've all been there). I had an idea for a video for it about him but never got round to it. It'd be like the Inspector Norse video. But in England so gritty and depressing."
* 'Depatterning' demonstrates Gibbons' individual ability to seamlessly fuse sounds, textures and moods - from jungle to techno and everything in between.
"Most of the inspiration for the album came from purely wanting to make something my own. The challenge for me was to pin down a sonic and craft an entire album's worth of material out of it, which for me was difficult as I tend to get bored and move on quickly. It feels good to finally be able to share this."
Tracklist:
1) Regicide, 2) Technicolour, 3) Gravity Dub, 4) IPA, 5) Last One In the In The, 6) ¥, 7) Ø, 8) Ü, 9) Strong Ones.
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Tectonic is proud to announce this double header of a plate, featuring 2 big rhythms that have been tearing up dances across the globe - in heavy rotation by the few DJs holding the tracks. Pinch & Mumdance caught ears and attention with last year's "Turbo Mitzi" and now too with the VIP version, titled the "Double Barrelled Mitzi". Referencing both the late 90s E of choice and it's even rushier counterpart, this full-throttle version, guaranteed to get your heart racing and your palms clammy. Big reactions on every play. Flip for the colder, darker Pinch version of Mumdance & Logos' anthem 'Legion' which sees the reese-laced beast move into harder, even heavier territory. Pounding kicks drive the rhythm, occasionally breaking up to near collapse before reforming and pushing forward with even more momentum. Claps circle and reverse around that reese bass, fully charged with dark energy. Tracklist: a1) Pinch & Mumdance - Double Barrelled Mitzi (Turbo Mitzi VIP) a2) Mumdance & Logos - Legion (VIPinch Mix)

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Ipman's debut release for Tectonic steps in hard with two excellent cuts for the dancefloor, "Regicide" hitting in at 140bpm, while "Ghostrunner" takes it's pace at 128bpm. Following on from releases on imprints including Osiris and Tectonic's sister label Cold Recordings, Ipman demonstrates his ability to seamlessly fuse sounds, textures and moods - from jungle to techno and everything in between. The results are clear - high impact dancefloor energy delivered in a well-measured fashion: intricate rhythms and textures dance around thunderous subs and powerful sonic rushes. 'Regicide' repackages the mid-1990s jungle experience into 140bpm breakbeat science for 2015. Atmospherics and pads build in tension throughout the intro, a distorted reese bass being summoned from the depths emerges over crashing breaks, chopped and rearranged, effected and dynamic. An irresistible energy is delivered on the drop that will get any raver on their feet - and moving hard! "That's why we killed the king". Wheel and come again - long live the king! 'Ghostrunner' originally featured, in an earlier incarnation, on the Pinch B2B Mumdance mix of last Summer and now appears here in full, refined glory! Building from a murky swamp of moodiness, hissing fx and buzzing anxiety - an intoxicating swirl of arpeggios drift into consciousness, leading up to the drop. Rolling snares prime you for a sonic pounding, delivered with a rasping bass throb - technoid in its form, organic in its movement. Dubby, techno-y, broken beats swirl around your head - soothing and dementing in balanced measure.
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* Having previously released with the likes of Hyperdub, Manchester's Walton makes his Tectonic debut with 4 killer dancefloor cuts, that combine to form the 'Bulldoze EP'. Drawing influence from grime, house, techno, dubstep, hip hop and beyond, Walton has crafted a unique sonic that will ignite dancefloors everywhere. 'Wrench' opens the EP up with a sense of spaciousness and anticipation, building percussive layers meticulously before serving up warped bass and machinated drum patterns. Grime-techno crossover in action - rolling rhythms and icy moods all the way. Following on with the grime flavours, 'Flute Riddim' builds broken poly-rhythms before unleashing devastating bass and a twisted flute sample to great effect. Metallic bongos bounce around rolling claps and agitating bass with the flute motif returning to bring it all together again. Flip then for the title track, 'Bulldoze'. Distorted drums and snatches of rowdy pirate radio build the mood before slamming into some sweeping squarewave bass action - guaranteed to get heads nodding furiously. Rhythmical elements build and develop, eventually taking the track into 4/4 territory, ramping up the energy along the way. Last up is 'L.E.A.N' which closes the EP with its fizzing percussive hits and mysterious vocal hits, and a melodic line that could easily have featured in The Exorcist! Once again Walton shows us his taste for percussive movement laden with echoes of grime-past splashing here and there effortlessly.
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