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viewing 1 To 8 of 8 items
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7"
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FRJ 016EP
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Atki2 has long been performing his unique strain of dancehall, bashment, dubstep, and jungle. Having co-promoted the Ruffneck Diskotek club night for nearly a decade with Dub Boy and other local cohorts, he is deservedly a respected member of Bristol's music scene. These tracks have support from DJs and labels such as Cardopusher, Ekoplekz, Oslek, Murderbot, Mr. Gasparov, Idle Hands, and Iberian Records, to name a few. This Atki2 release is purely focused on his own style of dancehall, which is loads of fun on the floor. Strictly limited to 300 copies inna murderation formation.
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12"
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FRJ 015EP
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DJ Oslek continues his mission compiling Frijsfo's special vinyl series, equipping you with the most vinyl-deserving of their substantial two-step arsenal. Artists include: Buzzin 10, Sully, Point B, and Warlock.
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CD
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FRJ 001CD
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Black Screen is Geiom's third album, and also the very first long form release on Frijsfo Beats. Average producers take rhythms straight off the shelf. Geiom takes his prefabricated units apart and builds improbable machines with them, capable of transforming, interlocking and changing speed. The second striking feature of Geiom's music is his signature melodic style: a strange, sweet and sour tonality that can't be mistaken for the work of anyone else. He has already released nearly 20 12" records with unique strains of dubstep, UK garage, house, funky, and drum 'n' bass running through them, interwoven with a fabric of microtones and strange harmonics. 2007's Island Noise was his ticket into the dubstep scene. His tracks appeared on the Skull Disco and Deep Medi labels and the Dubstep Allstars mix CDs. But before that was 2001's Sellotape Flowers, a freeform collection of electronica for Neo Ouija (a label which Metamatics, Xela, and Apparat have also called home). On Black Screen this whole history comes together -- but the album certainly doesn't showcase Geiom's repertoire in a museum-like sense. Instead it's a fertile cross-pollination of his work's many different facets, fully combining for the first time. This is just an outsider's interpretation, however. Geiom himself says the title came out of the dying moments of a mobile phone, when he imagined its "digital life flashing before its eyes" and lost conversations leaking into the ether. It also relates to "ancient studio technology" which he uses despite its unreliability. "One of my sampling keyboards will sometimes play ghost versions of sounds that were deleted years ago," he says. This kind of crosstalk runs through the album, which buzzes with hordes of chattering sonics, while the haunted keyboard appears on interludes credited to Geiom's alias Hem. The Hem tracks form interferences in the flow of the album, enabling it to switch between tempos of 130, 140 and 170 beats per minute. The longer sections in between are coherently mixed together, making the whole thing into a seamless network of music. In 2007 it was unusual to hear an album at the forefront of UK dance music like Island Noise. Lately the pendulum has swung the other way, arguably, with consistent and inventive full length releases counting for more than 12"s and EPs. Nonetheless Black Screen stands out in a crowded field. If its predecessor was judged on its quality and individuality, then Geiom's latest is due even more attention.
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12"
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FRJ 013EP
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Martin Kemp is an under-recognized pioneer and his German Salad EP puts him back at the center of the map. So far, DJ support has come from Brackles, Geiom, Oslek, Robn & Beneath, Dusk & Blackdown, Shy One and Scratcha DVA. Martin's sound is still distinctive, avoiding superficial references in favor of its own constants: gritty, broken-up drums, penetrating bass for sound-systems, and contrasting qualities of warmth and iciness, sweet and sour.
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12"
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FRJ 012EP
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Frijsfo Beats can't tell you much about this young producer from East London, a publicity-shy individual whose music the label first heard thanks to his older brother. But we do know he pieces together rhythms by sampling fragments from old tape packs, mainly Garage Nation's late '90s recordings of some of the best DJs of all time, including DJ EZ, Karl "Tuff Enuff" Brown, DJ Luck & MC Neat, and Ray Hurley. This record's grooves come reinforced with cast iron beats.
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10"
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FRJ 009EP
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This single from UK bass badman Sully finds the versatile producer taking purple synths and twisting them into dizzying contortions. A rude drop roots the track firmly in UK soundsystem culture while a tough stepper's beat drives it forward. Locating a space between 2step's swing, dubstep's edge and breakstep's drums, Sully's productions perfected styles and vibes four or five years before the "future garage" movement. "Toffee Apple" is the perfect sweetener. Super-limited pressing with artwork etching on the flipside.
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12"
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FRJ 010EP
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Frijsfo Beats present the biggest yet in their series of vinyl EPs, compiling new work from Cardopusher, Desto, Kuoyah, Geiom and Submerse, assembled with the label's distinctive ear, tuned to wilder mutations of garage, techno soul, footwork, and dubstep.
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12"
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FRJ 004EP
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"After his excellent remix for Sully's Phonebox EP last summer, Frijsfo Beats is delighted to provide a home for Point B's latest and best experiments on the fringes of dubstep and UK garage. Point B previously enjoyed a swell of grass-roots appreciation for his material on leading UK electro label SCSI-AV -- a sharp, intricately produced dancefloor twelve and an extremely thoughtful full-length. 2007's EP for Stormfield's Combat Recordings fused his techniques and sound palette with the rhythmic genius of two-step, an idea expanded and developed to its full potential on his first full Frijsfo release. Opening track 'Detritus' is built around an unbreakable backbone of kicks, woodblocks and dense sub-bass growls. Tweaked techno stabs sustain the pressure until Point B drops a mean (but tastefully executed) snippet of Distance- style bass guitar and an atmospheric post-Skream melody. 'No Smokes' is a tense meeting between two-stepping beat patterns and stiff electro-funk, illustrating Point B's distinctiveness. Graceful soundtrack synths smooth things over somewhat, only to get re-jigged for mashed-up dancefloors by fragments of a caustic acid line. 'Isocity Meter' boasts an even brisker, more invigorating arrangement, dominated by huge, metallic bass tones that sound as if they're being collided and yanked apart by an elastic sense of rhythm. Finally, Italian Frijsfo discovery Kuoyàh contributes an unbelievable remix of 'Someone Else's Past.' His trademark loose, unevenly oscillating beat constructions are fascinating in their own right, but take away nothing from the rolling, dark two-step vibe. Any DJ who feels a connection to dubstep's more creative eras should be playing this."
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