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viewing 1 To 25 of 113 items
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12"
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TEC 115EP
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Introducing Pruvan to Tectonic and to the world, with this debut EP of soundsystem smashing beats! Think -- expertly crafted productions that effortlessly bring together some of the best elements from techno, D&B and dubstep. The US-born, Czech-based producer has carved a fresh space, bringing next level sounds together with finely tuned production skills. Lead track "Pozor" sets the pace, just simple and effective, followed by a pick-up in tempo with "Beastwoman"; fiddly fun with "Buckets" and a vinyl exclusive tech-workout with "All My Mites".
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12"
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TEC 114EP
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Introducing USA-based artist Jon Linskey, aka Sectra, to Tectonic. With a truly unique sound, Sectra's music sits among the crushing, claustrophobic weight of Shapednoise drone spaces, the percussive dexterity of a Detroit techno wizard and summoning the power of DMZ with sub bass sonics designed to hug your ankles. "A Demon In My View" runs at a dangerous 90bpm, a total night stalker of a beat riddled with menace and the deep stench of fear. You will be scared, but that's OK, you'll get through this. "Counter Culture" runs at 126bpm and projects you far out into distance space for a sci-fi adventure to a distant galaxy with a techno shaped rocket to propel us you there (well, there's a 4/4 kick in there at least.) Flip for "Ashes" where you get a hint of dubstep influence melded with mangling technology and more perfectly placed sounds. Lastly, "Bedlam" takes the pace down a few notches and you find ourselves hypnotized in a half-step, rocking gently, wrapped in a blanket, slowly shaking off the trauma.
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12"
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TEC 113EP
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Dance music during lockdown? Wh?t's the point? Don't lose faith... We will be back dancing together and when we do, you will want to hear this EP blasted out on a massive sound system, in good company. Berlin-based Aaron and Felix, aka Fjaak, have found themselves on a rapid uphill trajectory this last few years, tearing up the techno scene with their broken rhythms and massive floor fillers. With WH?T EP Fjaak take things back underground, keeping in check with a darkside-sonic familiar to Tectonic. Lead track "WH?T" is a brutal dancefloor track, weighted by a thundering distorted bass and skittering broken breakbeats and meticulous drum programming. Title based sample "Whaaaaaaaaaaaat" chimes in now and then to remind you what you're listening to. Label boss Pinch is first up on remix duties, taking the "WH?T" original and deeply upsetting it. Hard bang with some 4/4 bits and loads of distortion. Flip then for a rare collaboration between Fjaak and Felix's brother J. Manuel (originally a founding member of Fjaak and brother of Felix), taking things into scribbly-acid territory, while keeping the mood low-slung and rolling. Dangerous beat manipulator Eric Baldwin aka Cocktail Party Effect finishes up the plate with a synapse-sizzling version backed by heavy drum programming and ankle hugging subs.
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2LP
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TEC 024LP
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Having made initial waves on Cold Recordings and Osiris, Eric Baldwin returns now to Tectonic to release his eponymous album Cocktail Party Effect, bringing his South London roots to Berlin for an all-weekender, under strobe lights. Drawn by his appetite for powerful rhythmical forms and inspired by the likes of Daphne Oram, The Residents, and Captain Beefheart -- Eric takes uses background in sound design, knowledge of hacking VST software and adapted spring reverbs and other hardware, to create a truly unique vision of contemporary electronic music. It sits somewhere between Jeff Mills, Aphex Twin, and Squarepusher -- held together by a connective UK bass music spinal cord. A weird but intriguing beast. The album opens with a track of Japanese cocktail recipes, before moving into the only vocal track of the album, "Talking To Bricks" featuring Bristol vocalist Redders on fine form -- charged with disjointed energy and run ragged across a technologically charged dancehall style beat. The album progresses through the rolling breaks and bleeps of "For The Memory Exchange", into an IDM side-step in the shape of "Brutalism", moving into the gentle, beautiful flickering glitches of "PDA", before the hyperactive twitching alien charge of "War On Codex". Taking a leap in another direction, you reach "Cause For Bad Shelving", which sounds a bit like Squarepusher when he was on late '90s, immaculate form -- taking the tempo up a few notches, while building melancholy. "Lack Of Wrong Format" then gives you a moment to breathe, before diving into "Deerhorn" which brings us right back to the dancefloor. Things are then turned inside out with the jittery wonder of "I Get It (Lost Banknote)", redirected via the industrial clangs of "Low_Rise", before rounding off our sonic adventure with the ponderous tones of "Loner" -- which leave you glowing and drifting off into space. A bold album that's just brim with a strong sense of originality, direction, and grand narrative. From international dancefloors to post-clubbing ear-worms, Cocktail Party Effect is just getting started and you'll be hearing his name more and more now.
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12"
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TEC 112EP
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René Pawlowitz presents himself in many different forms; whether it's as Head High, EQD, Wax, WK7, The Traveller, or more recently as Hoover -- he consistently, and without any fuss or hype -- produces some of the most effective, quality techno you can find on the planet. The Shed alias is usually reserved for his best work. With this in mind, Tectonic announce the amazing EP from Shed, showcasing three distinctive and highly effective techno cuts. "Try" takes a broken-beat techno rhythm for its spine -- reminiscent a little of the 2008/9 dubstep/techno crossover period. Tension is set with dissonant elements pulsing around swooping subs until we are saved by the heroic pads that ease in, building ever upwards to a lush finale. Close your eyes and be transported back to the rave. "Box" is a darker, more percussive affair -- claustrophobic and industrial. 130bpm 4/4 distorted kicks set the stage as frantic drum machine hats and claps crash about heavily reverb'ed ghostly samples. Lastly, you come to "Sweep", a hypnotic bleep-y roller with a bass heavy presence. As the riff loops up and over, drums build and a dissonant synth part creeps in. The not-quite 4/4 kick drives you ever forward with a gentle stumble as rattling hi-hats flair about overhead. Great finish to a great EP.
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12"
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TEC 111EP
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Tectonic welcome Lamont to the team! Bristol's bendy-beats whizz kid is mainly known for dropping jaws with his releases on Swamp 81 and its various offshoots. This time, he's been chipping away at four fine-cut gems, especially for Tectonic -- bringing some darkside vibrations in addition to his usual bounce. "Hold Dat" runs at 135bpm, sitting in-between grime, dubstep, and housey/techno/whatever that thing Lamont usually does. Charged with a disgusting, totally greasy bassline, this one drops hard and keeps going -- quality moves for (now, mostly imaginary) dancefloors. "Push" takes it down a notch, to 130 for a more heads-y work out, laden with crackling, fizzing sonics -- and heavily punctuated by sub-bass hits. The energy levels step back a touch, while building intensity. "Brain" sees Lamont working more familiar territories -- sending a pounding 4/4 kick drum out to hold together a series of collapsing percussive hits and warping melodies -- as a "brain" sample, simply haunts your brain. The EP closes off with "Open Letter", taking things into a dread-space; dub-wise, deep, and dangerous. The lurching bass hits take charge and push you through layers of echoed hits and micro-melodramas, to round off this great EP in fine style.
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2LP
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TEC 025LP
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Repressed; double LP version. Include one vinyl-only track. Influential Bristol figurehead Rob Ellis, AKA Pinch, releases his first solo album in 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 Rising. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective -- the subjective 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 grime-step 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-fueled 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 (1998) and Tricky's Maxinquaye (1995) -- found here in the scorched, smoky rocker "The Last One". Also features Emika and Nive Nielsen.
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TEC 025CD
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Influential Bristol figurehead Rob Ellis, AKA Pinch, releases his first solo album in 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 Rising. In essence, the concept of a reality tunnel relates to an idea on how we create our own perspective -- the subjective 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 grime-step 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-fueled 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 (1998) and Tricky's Maxinquaye (1995) -- found here in the scorched, smoky rocker "The Last One". Also features Emika and Nive Nielsen.
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12"
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TEC 109EP
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This is a big release for Tectonic as label boss Pinch combines forces with Kahn to produce two killer rhythm tracks that meld deepness with futuristic dancehall powers. Normally this would be plenty to get excited about anyway -- but if you then add the vocal talents of Killa P, Irah, and Long Range -- aka "Killa's Army" -- there is even more reason! Dubstep meets grime meets dancehall, while Bristol meets Brixton. All three MCs in Killa's Army have their own, very distinctive but complimentary styles, bringing a hard, uncompromising vocal delivery to match Pinch & Kahn's tough beats. Long Range opens the track and sets pace, his rapid, agile lyrical flow bouncing off the distorted thumping of a darkside 142bpm dancehall-flavored rhythm. Killa P unleashes the chorus with full force, then setting up the next verse. Irah drops it an octave and holds the mood with his unique tone and delivery. The track pulls back then for a moment, like a filmic interlude, before the General himself, Killa P comes in to finish off anyone who might try test, like an end of level boss. "Crossing The Line" will be rattling out of speakers for many years to come, no doubt! Flip the vinyl over and you'll find another, instrumental track, from Pinch & Kahn. "Send Out" is a dubstep banger that holds a deep mood whilst pushing the energy levels through the roof. A rhythm track that has been pulled up, wheeled; set dance floors ablaze with it's almost heavy-metal levels of energy. An early version of "Send Out" originally appeared as an exclusive track on Kahn & Neek's Fabriclive mix (FABRIC 180CD, 2016) but is now available properly for the first time.
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TEC 108EP
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Hailing from Cardiff, Elmono has previously released on Cold Recordings. His debut on Tectonic combines all the classic elements of old school UK rave music and gives them a fresh twist. "Cooper's Dream" filters upward from a muted position, dropping into a jungle-tech format. "For The Future" begins with a short, gentle intro before dropping wildly into a tearing bass drop. "Endorfiend" runs with the theme of jungle/hardcore ingredients, reworked for 2019. "Shermi Paradox" closes up the EP with splashing drum breaks, dissonant chords, and synths.
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12"
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TEC 107EP
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Having released two killer and totally unique EPs on Cold Recordings, the British-born, Berlin-based Eric Baldwin, aka Cocktail Party Effect, lines up his first for Tectonic. Across these four dynamic 130bpm cuts, CPE demonstrates his sharp ear for creating tracks full of energizing percussive twists, melding hard-charging, dynamic techno textures and while running wild with a UK sense of bass-heavy and percussive maneuvers.
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TEC 106EP
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The sound of sheet metal, ripping slowly, suspended in low gravity. Screaming in slow motion, claustrophobic and encapsulated. This is the result of Nino Pedone's reworking of Mumdance & Logos' dancefloor deep heaters "Chaos Engine" and "Cold", taken from the 2015 LP Proto, also released on Tectonic (TEC 082LP). No beats, pure drama. Each of Shapednoise's versions pull the original tracks deep into a chasm of crushing reverbs and grinding atmospherics.
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TEC 105EP
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Walton kicks off 2019 for Tectonic with four cuts of pirate radio-infused, dancefloor-orientated DJ tools following the exceptional Black Lotus LP (TEC 023LP, 2018). Four tracks that sit around the 130bpm mark, providing grime sonics to a techno compatible form. "Bullet #2" kicks off with a radio style wheel up before dropping into rolling 4/4 square wave power moves. "Inside" builds towards a more rolling tech-noid construct. "More Cowbell" bangs out like an old 4/4 grime anthem with a contemporary production sonic while "Gunshot Clap" closes out with its swooping square wave stabs and background shouts from behind the mic.
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TEC 104EP
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Boofy hails from Bristol's fine heritage of progressive bass music producers. He's made a name for himself as part of the Bandulu crew and his own Sector 7 Sounds imprint. "Back In The Box" sets the pace with swinging hats, thumping kicks, and a bass line that sounds like an earthquake. "Herbie" takes things in dissonant direction, before dropping hard and with authority. The title track is an exploration around the paranoid edges of a creative mind, stretched to capacity. "Perfunktion" has a rolling rhythm with a lighter mood, somewhat reminiscent of Mala circa 2006.
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12"
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TEC 103EP
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Two of Pinch's biggest dancefloor bangers, remixed by one of UK dubstep's hardest hitters, Kromestar. "The Boxer" first appeared on Tectonic back in 2010, fusing grime and dubstep with tribal drums and tearing square-wave bass. Kromestar stays true to the original but switches his stance to swing hard with a left hook, "Southpaw" style. An equally dangerous remix of Pinch's Deep Medi release "Swish" from 2011 is on the other side. Simple, effective and deadly, Kromestar gives this classic an update, setting it up for another few years of wheel-ups.
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2LP
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TEC 023LP
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Tectonic present the game-changing second album by 26-year-old Mancunian Sam Walton, better known as simply Walton. Black Lotus follows his inclusion on Tectonic's landmark 100th release, Riko Dan's Hard Food EP (TEC 100EP, 2018). Abstract electronics, grime, dubstep, and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed, or Tectonic catalogs for pure futurism and new-terrain-traversing brilliance. Spacious and modern sounding, with just the right amount of grit, on Black Lotus Walton has taken things the next level -- setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal Ni - Ten - Ichi - Ryu (1995) and The Water Margin (1995). Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes. The album kicks off with "Black Lotus", which makes it quickly evident that this isn't just another generic long-player; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass. "Point Blank" offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying "Koto Riddim". The Yakuza crime riff of "No Mercy" is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a gutural and unsettling, demon-like wretch. "Mad Zapper" is abstract, comprised of simple yet challenging beats, tones, and stutters, whilst the taiko/kumi-daiko style percussion of "Angry Drummer" has a rousing, heavy thump. "Pan" sounds equally enthralling whether sound-tracking a dark movie scene of impending danger, or carrying enraptured ravers on a dancefloor journey, especially one suited to the synapse-prodding drama of a high production, laser-heavy festival set. Choppy drums and bouncy bass tones are laced with the gorgeous melody of "Ehru", and "Vectors" is sleek 'n' deep breakbeat-garage-meets-IDM, featuring Wen. Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track "White Lotus", which has a wow factor akin to hearing Aphex Twin's "Jynweythek Ylow" (2002) for the first time.
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TEC 102EP
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Hugo Massien brings together elements from house, techno, dubstep, and hardcore to produce this killer four-track EP. "Advanced Aerial Threat" kicks things off with a fractured half-step rhythm that nods to the early UK dubstep movement. The delightful melancholy of "Ursa Minor" which takes a rolling breakbeat as its backbone before a Reese-like bassline emerges from beneath. "Candy Flip" takes things into a more electro direction as tightly tuned drums and bass hold down the spooky synth stabs. "Divisions From The Start" creates a kaleidoscope of moods, all strung together with precision drum programming and heavyweight sub work.
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12"
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TEC 101EP
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Following the 100th release on Tectonic, Ishan Sound collaborates on two killer tracks with Bristol-based Hodge and Alex Hughes, aka Muttley. "C5" refers to cold explosives and makes for a perfect title for this stark, cold rhythm. A circling melodic synth line sets a moody context before the floor drops out and an industrial-strength sub drives things forward at 130bpm. Flip for a 140bpm excursion from Ishan Sound and Muttley, melding elements of trap, grime, and dubstep meticulously to form an engaging sonic that is both fuel for the dancefloor as well as providing introspective qualities for bass weight meditation.
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TEC 099EP
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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. "Praying Mantis" captures all the charm of a fine Japanese watercolor painting by means of some spectacular midi-harp programming -- a low-slung grime-y masterpiece, both soothing and energizing. "Koto Riddim'" brings Japanese influences to the forefront. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.
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12"
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TEC 098EP
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Two killer cuts from Pinch and Mumdance designed to shock out the dancefloor. "Control" picks up the tempo from the duos previous cuts, rolling at 140 beats per minute, in its apocalyptic form. Powerful pads create the tension before sub-heavy kicks and cybernetic snares come pounding and chopping in. "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.
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12"
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TEC 097EP
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Perc & Truss rework two key cuts from Mumdance & Logos' debut album Proto (TEC 019CD/TEC 082LP, 2015) and deliver 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 vocal sample and unleashing a terrorizing acid line. "Hall Of Mirrors" sees the pair re-route Mumdance & Logos' original into a 4/4 roller, peppered with metallic percussive hits and a robotic bass riff.
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12"
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TEC 096EP
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Following Depatterning (TEC 020CD/088LP, 2015), Ipman returns to Tectonic. "Constrict" jumps straight into the deep end at 140bpm, diving head first into pulsing waves of warping, dynamic synth layers. 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. "Running Man" brings the speed down to 120bpm but maintains the energetic build of "Constrict". "Running Man" takes an upward momentum, building and layering percussion and sonic textures as the heat of the chase takes full effect.
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2LP
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TEC 095LP
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Double LP version. Electronic music producer and DJ Greg Sanders, AKA Distance, presents his third album Dynamis. Alongside recording Dynamis over the past four years, Distance has been writing and producing for other artists which veered him away from his 140bpm roots. The productions of A$AP Ferg, Drake, Schoolboy Q and earlier Arca and FKA Twigs were a big influence, alongside the soundtracks of Hans Zimmer and Cliff Martinez. "I get inspiration from everywhere and deliberately try to ignore what is happening in the scene I'm most involved in. Dynamis is influenced a lot by film scores. I have geeked out massively to create great dynamics in all of the tracks, sounds are heavily automated and processed to really give the music life." Even the structure of the tracks ditches the typical DJ friendly layouts and is programmed in an order that best helps to deliver the story. As producer, DJ and label owner of Chestplate Records, Distance has been instigating change in music since emerging in 2003. His first two albums My Demons (2007) and Repercussions (2008) were released through Planet Mu. "I feel very privileged to have released two albums on Planet Mu and they are still referenced by many as key albums in dubstep's history. Tectonic has been releasing my music for almost a decade, so it felt right for me to produce an album for the label. Pinch is a good friend and one of the few people whose opinion I trust." Dynamis is the first Distance album to feature vocalists; helping to portray emotions, tell a story and aid the overall narrative of the album. "When recording 'Badman' with Killa P I got him to stand as far away from the mic as possible and shout the lyric across the studio, as though he was shouting at someone across the street. We were cracking up at the time. I then used these recordings to create multiple layers and textures to his vocals. This gave the impression of there being a huge crowd of people chanting the chorus. Beezy was also a great artist to work with. We were done recording in about 20 minutes, he's so professional and knows exactly how to deliver the vocals the way I need them."
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CD
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TEC 022CD
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Electronic music producer and DJ Greg Sanders, AKA Distance, presents his third album Dynamis. Alongside recording Dynamis over the past four years, Distance has been writing and producing for other artists which veered him away from his 140bpm roots. The productions of A$AP Ferg, Drake, Schoolboy Q and earlier Arca and FKA Twigs were a big influence, alongside the soundtracks of Hans Zimmer and Cliff Martinez. "I get inspiration from everywhere and deliberately try to ignore what is happening in the scene I'm most involved in. Dynamis is influenced a lot by film scores. I have geeked out massively to create great dynamics in all of the tracks, sounds are heavily automated and processed to really give the music life." Even the structure of the tracks ditches the typical DJ friendly layouts and is programmed in an order that best helps to deliver the story. As producer, DJ and label owner of Chestplate Records, Distance has been instigating change in music since emerging in 2003. His first two albums My Demons (2007) and Repercussions (2008) were released through Planet Mu. "I feel very privileged to have released two albums on Planet Mu and they are still referenced by many as key albums in dubstep's history. Tectonic has been releasing my music for almost a decade, so it felt right for me to produce an album for the label. Pinch is a good friend and one of the few people whose opinion I trust." Dynamis is the first Distance album to feature vocalists; helping to portray emotions, tell a story and aid the overall narrative of the album. "When recording 'Badman' with Killa P I got him to stand as far away from the mic as possible and shout the lyric across the studio, as though he was shouting at someone across the street. We were cracking up at the time. I then used these recordings to create multiple layers and textures to his vocals. This gave the impression of there being a huge crowd of people chanting the chorus. Beezy was also a great artist to work with. We were done recording in about 20 minutes, he's so professional and knows exactly how to deliver the vocals the way I need them."
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12"
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TEC 094EP
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Manchester's 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 flavored melody cuts in preparing for the drop. "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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