Drew Lustman, also known as FaltyDL, is a New York-based record producer and American electronic musician originally from New Haven, This is his fourth album so far and its to be released on the label Ninja Tune.
‘In the wild’ will be released on August 11th, here is a clip of one of the tracks below titled ‘Do me’
Track list for the album :
01. Aquí, Port Lligat
02. New Haven
04. Do Me
05. Greater Antilles Part 1
08. Untitled 12
09. Ahead The Ship Sleeps
11. Dos Gardenias
12. Heart & Soul
14. In The Shit
Speculations of the new turntable from Pioneer have been confirmed this week with the unveiling of the new PLX-1000 to the delight of turntablists worldwide. The iconic Technics 1210 turntable has been a key part in tuntablism since its production began in 1972. Fears were confirmed in 2010 when Panasonic announced they would stop production of the Technics 1210 due to a lack of demand.
Fear not, as Pioneer are set to lead the way with the new PLX-1000 turntable. The direct-drive PLX-1000 is a fully analogue bit of kit with a back-to-basics set of knobs – start/stop and tempo controls on one side, tempo fader on the other.
The tempo controls are the only unusual bits, as RA reports, allowing you to switch from plus/minus 8 all the way up to 50. There’s also a tempo reset button, removable power, ground and phono cables and some clever stuff about damping, isolation and feedback.
It’s that time again… 2 weeks to go and we’ll be getting ready for the third instalment of Eastern Electrics Festival!
On Saturday the 2nd of August, the finest of underground electronic music will be brought to revellers, over 7 stages, at the exquisite grounds of former stately home, Hatfield House (Hertfordshire).
Eastern Electrics have put together a line-up that is quite frankly difficult to top. Featuring the likes of Maxxi Soundsystem, Art Department, Kerri Chandler, Loefah, T.Williams, Mumdance and any many, many more… It’s bound to be an event to remember. Not forgetting also the Electric City stage which will be hosting pillow fights, paint fights and cabaret – I couldn’t think of anything better whilst pleasantly intoxicated after a few too many festival ciders!
If you snooze you loose, final release tickets are selling out quickly so get yourself sorted now
The mighty Break is back once again with more of what he does best; yet another tantalising 12” to add to the ever growing list of finely produced tracks from this man. Break’s unforgiving and powerful style is something that has cemented his place as one of the scenes most prolific producers over the last decade. With a plethora of releases on most of the biggest labels in drum and bass and the constant stream of fresh material on his label Symmetry Recordings, it’s easy to see how he has become such a figure head in today’s scene.
This time around it’s Sigma’s Life Recordings that plays host to the Symmetry boss’ hard hitting beats. With the recent chart success of Sigma’s ‘Nobody To Love’ and releases from themselves and Bladerunner, the future looks very bright indeed for the duo and their label.
Kicking things off we have ‘Groove With It’; a certified stomper that holds the power to tear up any dance floor it comes into contact with. No time is wasted on this one as the thumping drums come straight in and set the tone for some rolling goodness. In comes the audacious vocal sample, which continues throughout the track, instructing “groove with it”, perfectly complementing the short pauses in the drums that come every sixteen bars. We only get a short breather before the bouncy second drop; the bass line steps along with the drums, finished off with that omnipresent growl. This is definitely one that everyone’s going to need in their locker.
The flip side ‘Soldier’ is in keeping with the hard style of ‘Groove With It’, possessing a slightly more choppy drum pattern and a dense twisting bass line. The vocal cries out amidst the siege undertaken by the surrounding bass kicks and piercing snares, with next to no let up from the relentless sonic assault (which is definitely a good thing) as we roll through the roughness.
This is classic Break for sure, so don’t slouch, check the links below to pre-order your copy A.S.A.P.
The new anonymous label, Blind Music, turns 3 months old this month and dropped their third EP on our news feeds on Wednesday. EP.3 takes you on a four track journey of dancehall, jungle, 170BPM vibes. There’s some fresh tunes in there that have been supported by Storm, Dub Phizix, Digital and Fracture.
After nearly a decade in dance music purgatory, drum & bass and jungle have gradually worked their way back into the spotlight. Throughout this process, few labels have proven more reliable than dBridge‘s Exit Records, and the imprint’s latest offering, the Loving Touch EP, comes from Fracture (a.k.a. Charlie Fieber), a veteran UK producer who also heads up a quality imprint of his own, Astrophonica, with partner and frequent collaborator Neptune. On the record’s title track, Fracture flips Ralphi Rosario’s and Xavier Gold’s house classic “You Used to Hold Me” into a hyperkinetic piece of drum & bass, while the remainder of the EP finds him working bits of footwork, grime, hip-hop, and dubstep into a jungle template. On a basic level, this sort of hybridization and creativity is at least partially responsible for the revitalization of drum & bass, and hearing these tunes left us curious about how the approach would work in an elongated format. As such, we invited Fracture to put together an exclusive mix for the XLR8R podcast series.
Right off the bat, the mix is brimming with energy. Drum & bass is a naturally hyperactive sound to begin with, but when infused with low-end-heavy blasts and frequent rhythmic change-ups, the music takes on a whole new vibrance. Over the course of nearly an hour, Fracture employs many of his own tracks—although many of these numbers are collaborative—but he also enlists the talents of like-minded jungle experimenters like Om Unit, DJ Spinn, and Addison Groove. It’s not a session for the faint of heart.
Since it’s conception in 2011 the guys at Flexout Audio have been working tirelessly to bring us the very best the underground drum and bass scene has to offer and as a result, have quickly gained recognition for being one of the most forward thinking labels in the business.
With an extensive and impressive back catalogue, it’s hard to fault the label that recognised the early talent the major labels are now cottoning on to. With artists such as Hyroglifics, Bredren, Shiver, Philth, Ed:it and dRamatic & dbAudio all having extremely strong and successful releases on Flexout it goes to show that it’s not just a label, but a platform for young and talented artists to get their music heard and receive the recognition they deserve.
That being said, the latest instalment from the Flexout camp comes from a guy that certainly needs no introduction, previously one half of Need For Mirrors, the mighty HLZ. And true to form Tom and Steve from Flexout have picked one hell of a gem.
The A side entitled “Blue Sand” begins with a wonderfully warming summery intro, the kind of track you’d expect to hear whilst chilling poolside at Bal Harbour (those lucky enough to have experienced the magic of Sun and Bass will know exactly what I mean) but don’t get it twisted, this isn’t your standard “all soul, no goal” track as Blue Sand quickly transforms itself into a cheeky little roller with amazing use of percussion (because everyone knows I just love the percussion) and a bit of a bongo feel in the background, absolutely superb and a must have for the summer.
The B side continues on the summery liquid vibe with a track entitled “Secret Diva”. HLZ’s use of pianos and soulful vocal samples compliment each other perfectly in this progressive roller and reminds me of old Calibre tracks when liquid was at it’s peak.
For me, it’s incredibly rare to find a release comprising of two equally strong tracks so this one’s not to be missed! Head over to the Flexout Audio Beatport page to download your copy. And if, after all this you still haven’t had your Flexout fix you’ll be happy to hear that on August 1st they will be teaming up with Peer Pressure Records to showcase some of the labels …read more
Dub Phizix is more passionate about crisps and maize based snacks than anyone else I know. Just take a look at his Instagram (@dubphizix) and you will start to understand the extent of the situation. Everyone has asked him whether or not Skeptical sat back with him after putting the final touches to “Marka”, silently high fived and smiled at the certain knowledge they had written a massive banger. The answer is they didn’t. I thought it was time to ask him about something that really mattered. Crisps!
You’ve been obsessed with crisps for as long as I’ve known you. Where did your passion begin? What crisps were with you through those initial crunchy mouthfuls?
I think the obsession started at primary school. My mum wouldn’t really let me have crisps. I had to go school with little boxes of raisins and apples and shite like that. My mates had crisps and I’d try and lift them when they weren’t looking.
Whenever I got the chance to get a proper bag of my own I’d go sick. We had a little tuck shop there which sold 5p bags of Space Raiders and that so they would have been one of the first. Transform-a-Snack too, but they didn’t have as many flavours as they have now. The new purple ones are mega, they also had these ones that came in fish and chip flavour and burger flavour, they were top. Can’t remember the name now though.
I didn’t think Transform-a-Snack went back as far as that. They didn’t have them in Yorkshire when I was growing up. Where do you stand when it comes to a maize based snack compared to a traditional crisp? Transform-a-Snack and Space Raider were your gateway into the crisp world, but how long was it before you moved onto crinkle cut and more minimal crisps like Seabrook?
Oh I’m not fussy me. I love them all the same. I couldn’t tell you what actually came first, the 5p ones were just what I bought first. I’d steal all different kinds of crisps off my mates, it was like pic’n'mix in them days. At some point down the line tho, I realised that crinkle cut crisps held a lot more flavour than one with a smoother finish and that was a great day.
So nowadays you would rather go for a crinkle cut crisp like a McCoys than a …read more
Rupture had the pleasure of getting DJ Fierce down to the last event where he absolutely tore it up with his 96-97 selection. If you weren’t lucky enough to make it, fear not, you can hear it right here…
Need For Mirrors have been busy boys lately with recent releases on 117 records, Philly Blunt, Dispatch and of course Horizons, as well as championing the new mid week club night Soul in Motion alongside Bailey. Monday July 14th marks the release of their ‘Food’ EP on Horizons Music, who have been a busy bunch themselves, hosting some top notch releases from the likes of Dabs, the legendary Digital, Nitri and forthcoming music from recently formed duo SCAR and Cern & Overlook.
After listening to Need For Mirrors’ ‘Food’, I couldn’t wait to get my thoughts up on the site, so lets get to it.
A side ‘She’ feels very much like the product of the organic and the electronic; opening with a steppy late 90′s vibe intro with some robotic bass stabs as it breaks down into the funky wobble that runs through the track. The deep deadly bass line comes in with a very gritty analogue feel to it, somewhat reminiscent of early virus material, resulting in something that will have heads bouncing up and down on the dance floor with ease.
It is definitely a tough choice but I think I have to say the title track ‘Food’ is my pick of the release; it is the definition of a roller! The fairly ambient intro doesn’t allude much to the absolute largeness of what’s to follow. This one will have everyone and their Nan throwing shapes when it makes its abrupt entrance; a seriously mighty weapon to have in the arsenal.
You better watch out for the next one or your sub may just give you a smack right in the side of the head. The furious bass line on ‘Oscillator 3′ should definitely come with a warning label because it is straight up dangerous. An apocalyptic ‘rise of the machines’ feeling has been created on the intro via some clever sampling and sound editing. This slowly drifts into a few seconds of silence before the track totally breaks loose with a heavy weight drop that holds no punches. Although I have no idea what he’s saying, the vocal fits the tune perfectly and really is the cherry on top.
‘Pedestrian’ rounds of the vinyl release in style, staying true to the tech vibe on show throughout the EP with some really exquisite drums to start us …read more