Back catalogue: Breakbeat

Review: This plate is an essential purchase if you have any aspirations to tear up the dancefloor with a belter.

Review: Waveshape presents 'Control', dark, techy breakz from Anti Science et al.

Review: This is a limited edition vinyl pressing featuring selected tracks from the forthcoming Rephlex albums by Florian Hecker of Mego and Jeremy Simmonds (aka Voafose of Vibert Simmonds notoriety), who has previously released on Rephlex, Sony Music Entertainment, Lo Recordings, Rising High Records, Blanco Y Negro, Cooking Vinyl, Law & Auder. Simmonds says, "The aim.. is to provide a mixture of atmosphericals, reflectionaural psychosis and comedy". It's also a chance for Rephlex to showcase someone they consider to be a master of timbre and sonic wit. 500 only.

Review: ** Repress for the breaks dons ** The long awaited new Visioneers Limited Edition 45 produced by Marc Mac of 4hero is here at last on BBE offshoot Omniverse. No messin' here as Visioneers go straight for the funk jugular with two dope versions. On the A-Side a version of The Shadows classic ''Apache'' gets flipped by Visioneers remake of Johnny Pate's B-Boy bomb "Shaft In Africa". Heavy horns and bongos aplenty - this is just wanted the doctor ordered. It's limited, it's hot, go get it!

Review: Indie guitar-fused breaks with female vocal - Dexter remix.

Review: Indie guitar-fused breaks with female vocal - Dexter remix.

Review: Plymouth's self-proclaimed "number one digger" and one-time maker of high quality bootleg remixes returns to the world of original production with an expansive EP for the ever-reliable Jalepeno stable. There's plenty to enjoy, not least the parping horns and low-slung funk guitars that pepper the EP's two vocal cuts, "You're All Show" (featuring Tru Thoughts regular Kylie Audist) and "Take Me To A Party" (with Brit rap funkateers ASM). The fun doesn't stop there, though. There's some twinkling hip-hop-funk deepness in the shape of the bluesy "What Happened?", and a stroll into funk-laden classic soul territory (the excellent "Alone"). It all adds up to his best release to date, we reckon.

Review: Westway showcase their punk roots with this all-out, electro-punk, guitar-fuelled pogo-grappler aptly named "Punk Rock".

Review: Vent are the filthiest tear-out Hardcore have had the pleasure of signing in a long time. Bucket loads of energy,
thick atmospheric intros and ridiculous drops can all be found on 'Encoded'. It's got us all salivating, check it and see.

Review: The second sampler to the Sokolov mix album continues the groove set by Vlad on Pt.1. First up the Diverted boys deliver a no-nonsense grinder that is sure to send a dirty buzz across the nations dancefloors. On the flip they team up with label boss Vlad to drop a techy groover that rounds off this package nicely.

Review: The product of a clash of the titans some might say, the original versions of "Highscore" and "Cruiser" were both recorded by Svin and von Hofsten in the same sessions in Stockholm in 1999. Although accomplished producers in their own right, these collaborations showed different sonic sparks flying. "Highscore" was originally released on Loi (alongside the von Hofsten classic "I love my 808") - already punchy, here it is presented in a slightly different, beefed-up version, complete with all its original glorious squawking and tweaking. "Cruiser" is previously unreleased, and is a throbbing, bassy beast of a track which manages to be deep but seriously heavy at the same time, with washing ride cymbals and squealing synths to offset the weighty underbelly... Tube Jerk and Lief Ryan might be considered the perfect duo for the task of remixing these two stormers. Tim Wright (aka Tube Jerk) already has a very serious body of work behind him, with his own releases on Novamute, and remixes for as diverse a bunch of artists as Goldfrapp, Snog, and Radioactive Man! Here he strips "Cruiser" back to create a bass-blurping minimal anthem with his trademark funk and abstract electronic elements. Lief Ryan is becoming well known in wonky circles for the quality of his releases, with two killer 12"s on his own Growth label, and singles for Iron Oxide and an upcoming split release on Feinwerk. His remix of "Highscore" is a typically energetic affair, with a solid electro-steppers breakbeat driving the track along, with a broken bassline, cut up vocals, and tasty edits filling in the gaps.

Review: "The Phantom", by The Voodoo Trombone Quartet, is a kicking ska/breakbeat instrumental that will be shaking dancefloors everywhere this summer.

Review: Genre spammers and breaks pioneers, Stanton Warriors (aka Dominic B and Mark Yardley) met while working at the seminal garage label 51st Recordings. Natives of the Southwest UK and increasingly sick of contributing great work to other artists, they knocked heads, pooled resources and fashioned a pair of renegade tunes fusing the random playful hustle of nu-breaks with the sweeping good looks of early garage. It was to be the birth of breakbeat intelligence. They emerged the darlings of the remix set, serving fixings for acts like Basement Jaxx, Missy Elliot, Artful Dodger, Busta Rhymes, Fatboy Slim, Chicken Lips, Azzido Da Bass, Mylo, Freeform Five & Apollo 440. XL pricked their ears up in 2001, signing the duo for the release of their full-length debut mix "The Stanton Session" later that year. It wasn't long before their own brand of massive beats rolled clubs the world over harder than any sound heard before. "The Stanton Session" knocked off competition from Fatboy Slim & Deep Dish to win best album at the Dancestar Awards, and incredibly again at the Muzik Magazine Awards, where they beat the likes of Dave Clarke & Danny Tenaglia. "FABRICLIVE 30" delivers what the Stanton Warriors do best: some of the best seamless boompity boomp boomp booty-shaking grooves ever cut to plastic. Slide Spank Rock up against Booka Shade, throw old skool Junx next to Deekline & Edd Solo, shimmy Freeform Five alongside King Unique, and create a genre-bending club ready mix of exclusive up-front breaks mashing special re-edits against a hiphopcumMiamibootyelectropunk landscape. It's a line up of unusual suspects, yet still manages to echo pure Stanton Warriors, with the duo producing exclusive cuts, blends and re-imaginings, all with that special breakbeat work down.

Review: Sonia Akow, once of breaks crew SOTO, was a familiar face on the breaks scene throughout the '90s and 2000s, and an integral part of the Botchit & Scarper family. Sadly she passed away last year from leukaemia. Push Play pays tribute to her via two discs of new and exclusive material from the "beats and bass" community, with proceeds going to the Afro Caribbean Leukaemia Trust. Putting aside the compilation's charity credentials, it's a strong collection, with superb contribiutions from Pyramid and Jay Cunning (the garage-breaks bounce of "Call Me"), Sasha Simone & Gal (the sunshine soul of "Move"), The Moody Boys (the bleep-heavy early breaks revivalism of "This is Automatic") and, of course, SOTO (the touching "Sayonara").

Review: ***B-STOCK: Record ever so slightly warped with very light surface marks/smudges, but otherwise in perfect working order***


19 years ago, DJ Technics oversaw the production of Queens of Baltimore Club, a double album of weighty B-More club tracks built around female vocals and vocal samples. Originally copies are now extremely hard to find, so the newly launched Butter Notes label has decided to press up a single slab of wax featuring some of the album's most potent jams. Highlights include the cheeky B-more-does-classic-hip-house hedonism of Kotton the Cutie's 'I Just Wanna', the heat and heavy intensity of Mz Thang's 'Shake Ya Dick', the stab-sporting sweatiness of Ms Mocha's 'Not The Boss' and the heavily-edited, build-heavy hype of Lady Shanuda's 'Stuck', which packs insane levels of excitement into four action-packed minutes.