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viewing 1 To 22 of 22 items
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12"
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RWINA 028EP
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Kenrick Connor aka Anti-G presents his first release since his 2011 album Presents Kentje'sz Beatsz on Planet Mu. That record laid out the producer's "Dutch bubbling" sound, which pairs cheap-sounding synths with sped-up dembow tracks and earned comparisons to UK funk and reggaeton. With Kush in da Sound he offers up six tracks that further flesh out the Dutch bubbling sound.
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12"
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RWINA 027EP
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Twenty-year-old Amsterdam-born producer Ebbo Kraan presents his first EP proper. The Aletta EP is a nocturnal, eclectic meld of explorations in hip-hop sound and ambience. Like an enchanting siren, opener "Bag of Medicine" lulls the listener into its dark midst. It's a pretty intense rush, a screeching joyride of grating bass. "20" is a viscous onslaught of side-chained choppy abuse, while, "No Amount" is a distorted, ethereal mind-trip. Dreamy, refined "Pian808" slows things down -- a must for after-hours -- only to be potentially upstaged by "Thirst," the spatial and trippy closer with equal portions of low-end theory pulsating through.
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12"
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RWINA 026EP
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Rwina's latest release comes courtesy of the Netherlands' Joeri Woudstra, aka Torus, who has previously released on London-based label Sonic Router. On the opener "Ethereal," distant vocals, synth ostinati, drum patterns, and heavily 'verbed claps sit under a pulsing 808. "U R" teases a chordal motif before opening out into a sparse ballad, as slow-moving pads and infinite reverb harmonics provide a bed for thudding low end. "Creepin" and "2 Faced" bring things back to earth with thudding kick and snare combos in a woozy ode to purple drank fuelled by southern hip-hop.
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12"
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RWINA 025EP
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Percy Samidjono, better known by his stage name I.N.T. is a Dutch producer, DJ and performing artist originally from Amsterdam and Rwina's newest addition to its artist roster. "Percy La Rock" was the name given to I.N.T. by Charlie Ahearn, the director of Wildstyle. This seven-track EP is a diverse and unique record in the hip-hop/soul spectrum, with dreamy vocals from singers like Steve Hartley and Sasha Vee and some proper brag n' boast raps from the Detroit legend Guilty Simpson. Support comes from: Dilated Peoples, Jose James, LeFtO, Gilles Peterson and Machinedrum.
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2LP
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RWINA 005LP
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In the space of three years, Dutch producer Krampfhaft has established himself as one to watch with a small string of functional yet emotive dancefloor releases that have garnered support and acclaim from a broad range of contemporaries including The Gaslamp Killer, Om Unit, DJ Shadow and Kutmah. He returns to the Rwina label with Before We Leave, his debut album and most complete statement to date. Once more pulling from the twin roots of electronic/dance music and sound design that have defined his work to date, Krampfhaft sidesteps genre specific formulas on Before We Leave and instead rides a fine line between dancefloor and headspace. There are hard-hitting moments and ecstatic peaks, but these are carefully balanced with more introspective, melodic reflections designed to give the listener an experience that isn't limited to the club. Before We Leave is just as driven by atmospheres and imagined sonic places as it is by the desire to make people dance. This juxtaposition of the dancefloor and headspace is reflected in the album's tracklist and how the sixteen tracks flow across its length. "Superfluid" offers the first upbeat moment, solid drums against grinding synth melodies, but the accumulated energy of the track is instantly pulled back by "Frostbite," as Krampfhaft plays with imperfections and bright, distant melodies to paint a sonic picture of slow deterioration across a sparse rhythm. The imperfections and noise found lodged throughout the album bring to mind a digital rot, as if the music was slowly unravelling in the hard drive of its maker. Tracks like "Dormant Code," "Before We Leave," "Mostly Empty Space," "Unfold" and "Immensely Small" all sidestep any obvious genres, instead scraping away at imposed stylistic boundaries by subverting populist tropes and challenging the listener to embrace them for what they are. As a contrast to the album's more reflective moments there are rays of hope, such as "Veluwe" and "Extrasolar," with its low-slung drum pattern, uplifting melodies and manipulated sounds that evoke seagulls over washing waves. And there are also moments of darker contemplation, like "Clip Point," where the all-encompassing weight of the bass drums is cut by a lead melody that buries itself in your subconscious. The energy of the dancefloor is celebrated on "Spinner" and "Toekan," two tracks with clear intent that still manage to reference the album's underlying idea of rot and distance from any established genre or scene. There's a real magic to pulling off an album of dance/electronic music that isn't obsessed with the dancefloor or instantly recognizable tropes, and this is precisely what Krampfhaft achieves with Before We Leave. Keen to not find himself trapped in the corner of a specific sound, he instead opts to paint a broad picture that treats the listener as more than just a body in the dance. At times hopeful and introspective and at other times dark and obsessive, Before We Leave is the sound of a producer in full control.
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LP
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RWINA 004LP
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The third album from Rwina Records is unlike previous releases on the Dutch label: bleak, stripped-down techno for paranoid humans and robots. Across its 10 tracks Single Point Edge carefully balances the physicality of techno with a fine attention to sonic detail and melodic progression. There are clear reference points alongside which SPE pulls in more subtle influences and references to other genres. The result is an album that needs to be heard loud: booming kicks, piercing hats and oppressive melodies washing over you in the middle of a darkened dancefloor, surrounded by strangers each lost in their own universe. Tracks like "Carex," "Snap Gun," "Aporia" and "Lost Summer" are clearly made to be heard in the hallowed halls of techno, from Berlin to Detroit. Yet it's also an album that will work in a private setting, on headphones or at home, with enough detail, enough variation to provide an immersive experience that is every part as engaging as it is in a live context. Opening track "The Overview Effect" is the perfect soundtrack to a night time ride home, the city's darkened corners streaming past your eyesight as the snare's echo reverberates in your ears. "Surface Tension" comes across like the bastard child of techno and cloud rap, an almost beatless mood enhancer.
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LP
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RWINA 003LP
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West Coast producer and sound system-murderer Eprom is back on Rwina for a second album, Halflife, which continues the producer's mad scientist approach to what makes a dancefloor move: synthesizing the warmth of vintage computer sounds, the energy of African rhythmic traditions (including modern evolutions such as Kwaito and Shangaan electro), the swagger of southern rap and the intricacy of pioneering electronic music from the likes of Richard Devine or Curtis Roads. The result is a heady melting pot, a unique sound that has some of the best DJs in the world -- Gaslamp Killer, Kutmah, D-Styles -- and the crowds -- always wanting more. Wasting no time, Eprom opens the album with a volley of tracks built to blow up sound systems and take heads off. "Center of the Sun," "Beasts of Babylon" and "Hurricane" all display the sheer brilliance of Eprom's mad scientist streak: a minimalist blend of low-slung rhythmic alchemy, ten-ton heavy bass and dark melodies more powerful than the soulless, over-the-top showboating that characterizes much of today's dance music. On the bouncy "Vogel," he revisits some of the melodic elements from the first album while "Super FX" and "Lost Levels" come across like 2013 dancefloor versions of a Final Fantasy soundtrack, introducing a focus on brighter melodies and variations. "Screwface" opens the second half of the album with more in-your-face brilliance as drums pound the bass bins into submission before "Machine Skin" rolls in with its hypnotic arpeggio to lead dancers around like a demented Pied Piper. "Pentatonic Dust" then provides a brief and blurry interlude before another trio of short tracks -- "Moisture," "Turtle Ride" and "Subroc" -- deliver a perfect blend of what's come before: mesmerizing melodies, energetic rhythms and chest-pounding sub-frequencies. The album closes with "Cloud Leanmixx," bringing the journey to an end by stripping back some of the energy and enveloping the listener in a warm blanket of synths and rolling drums.
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10"
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RWINA 022EP
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Dutch producer Jameszoo returns to Rwina with the Jheronimus EP. Once more he delivers a selection of productions that seem custom-made to squeegee your third eye. Jheronimus continues Jameszoo's experimental work, fitting somewhere between broken hip-hop, electronics and folk -- a trip for the headphone listen that still has some, albeit strange, dancefloor potential.
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LP
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RWINA 002LP
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After five years of releasing EPs and singles across a raft of labels including Argon, Ramp, and his own Signal Life, Finnish producer Desto returns to Rwina to deliver his first full-length album, Emptier Streets. As with his previous releases on the Dutch label, Desto strips the music back to its bare-bones essentials, fulfilling the album's title with a sound that's spacious and eerie, bleak and punishing, yet still offers warmth in its apparent coldness. Stylistically, the album is most obviously aligned with the aesthetics of Dirty South hip-hop and the dubstep diaspora, deploying booming drums, rolling hats, cold synthetic melodies, and voices inside cavernous sonic landscapes. You can feel a cinematic quality on "Dislocated City," where a simple interplay between pitched kick drums and modulated melodies is all it takes to create a hypnotic vibe. The title-track features a rare use of vocals, stuttered and effected into something alien, set against icy melodies on a solid bed of bass kicks and syncopated snares. "Glottal Stops" plays with a slightly disturbing melody made of guttural sounds over a relentless kick assault while "4 A.M." starts old school before switching into one of the album's most anthemic productions. "Drainpipe" shows off Desto's ability to pull emotions from the listener even without any drums, winding things down before "Healing" closes the album with one last energetic run through the city. Emptier Streets takes the sound Desto has been building for the past few years to its logical conclusion.
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12"
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RWINA 021EP
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Rwina Records present the Synergy EP, a collaborative release from Taz & Akka. "Illusory" combines a trap-inspired beat with euphoric synths, a flair for hooks and hands-in-the-air escapism. "Mobius" takes its inspiration from video games, grime, cartoons, and hip-hop, throwing everything into a blender and pouring the results all over the dancefloor. "Paul Is Dead" switches up the tempo for a deeper take on the footwork sound, and "Trapped In '82" celebrates the musical excesses of the 1980s. Early support from DJ Shadow, Mary Anne Hobbs, and Starkey.
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12"
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RWINA 020EP
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First Threshold is Krampfhaft's statement of intent for 2012, uncompromising party music designed to make people move yet still hinting at something deeper. First Threshold continues Krampfhaft's exploration of what makes dancefloors move today. The high energy and varied moods found across its five tracks, inherited from his diverse background as a fan of electronic and dance music, are balanced with an attention to sonic detail and adventurous musical structure that's often taken for granted.
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12"
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RWINA 019EP
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Having spent most of 2012 so far further establishing itself as a global bastion of forward-thinking electronic dance music, the Rwina label is changing things up a little with an EP from young Dutch producer Jameszoo. On Faaveelaa, Jameszoo displays the kind of brazen ingenuity that youth affords by drawing inspiration from dancehall before finding its edge to craft an entirely new take on the genre.
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2LP
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RWINA 001LP
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The musical world of Eprom is as colorful and delirious as the imagined psychedelic science-fiction worlds created by the artist Moebius. Metahuman is Eprom's debut album, borne of futuristic ideals grounding its musical offerings in a space that is far removed from our current reality yet inevitably linked to it. William Burroughs said "if you cut open the present, the future bleeds out," and so the music on this album is inspired by a possible future, but is made and consumed today -- most appropriately in the dark corners of a club where a finely-tuned sound system will allow mind and body to fully appreciate Eprom's sonic subtleties and physical pressures. Twelve tracks long, Metahuman is a bold statement of intent that is aimed squarely at the dancefloor first, though it still functions in other spaces as Eprom balances more restrained moments alongside boisterous musical bravado. "Honey Badger" is one of Eprom's most popular dance numbers that has been a centerpiece of his live sets and received support from many fellow floor-wrecking luminaries. Tracks like "Prototype" and "Can Control," meanwhile, offer a more subdued but no less potent take on eyes-down groove meditation, using powerful mood-setting atmospheres and chopped-up vocal samples from hip-hop and Jamaican music. "Floating Palace" re-appropriates hip-hop's swing for space-hopping aliens in the year 3030 while "Transparency" is one of the album's mellower moments. "Variations" hints at pop friendliness in the saturated synth melodies and bouncy swing of its backing rhythms, a feeling subtly carried into "Love Number," fused with another rhythm that clearly tips its hat to hip-hop. The energy ramps up again on "Sun Death," "The Golden Planet" and "Needle Thrasher," heading towards the album's conclusion on a bed of delirious, floor-friendly melodies and rhythm. "Raytracing" quietly closes the book by flipping many of the elements Eprom uses throughout into a more delicate lullaby. As with previous releases, Metahuman has roots in hip-hop that bleeds effortlessly into electronic and dance music. Using a sort of condensed bass minimalism as the foundation, Eprom manipulates established concepts and expectations of tension and release in ways that are refreshing.
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12"
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RWINA 018EP
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Rwina Records presents Deft, a young producer from Croydon who joins the dots between that borough's bass-heavy history and dance music's future. The Masquerade EP offers five tracks that operate at various tempos and styles, showcasing Deft's knack for catchy rhythms, face-melting drops and carefully-crafted frequency work. Already a staple in the DJ sets of people like LV, Om Unit and even Maya Jane Coles, this EP will no doubt further cement Deft as one of London's brightest dance music hopes.
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12"
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RWINA 017EP
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From the ice-cold landscapes of his secret lair in Finland, Desto returns to Rwina for another EP of forward-thinking dancefloor music. The producer's work on No Sleep picks up where he left off previously on Rwina: deep sub-pressure in the finest south London tradition blended with sounds and patterns that take their cues from across the spectrum of bass-influenced music such as grime's colorful melodies or the rhythmic playfulness and sonic claustrophobia of the likes of Lex Luger.
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12"
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RWINA 011EP
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"London grime producer Swindle follows up his incredible Planet Mu EP with another slab of funked-up grime, this time for a rapidly expanding Rwina Records. Swindle's return marks a slightly stripped-down sound: the funk is meaner, heavier, and nastier. 'Playground' grooves on rainbow synths and leisurely, drawn-out melodies, as a boogie bassline carves memorable phrases in the ground below. All of this is shoved in an approachable half step template that means the track could just as easily slot into any dubstep set as the grime scene in which Swindle dominates. Did we mention there's a killer freestyling organ solo in the breakdown? On the b-side, we're treated to a monstrous remix of SRC's Rwina anthem 'Goin Out,' where that track's quick and vibrant skip is slowed right down to a trickling drawl. The brusque melodic motifs of the original are flattened out into irresistibly squiggling melodic tangents, and the whole thing is given a muscular makeover that turns the 8-bit funk into lifelike grime. The beats are beefed up -- Mario's emphatic 'ohs' hit with every beat like he's in pain -- and the track's bubble and boil over uncontrollably, a volatile concoction that recklessly sends out unforgettable melodic hooks in all directions."
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12"
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RWINA 007EP
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"Fresh from Birmingham comes young talent SRC delivering the Goin Out EP for the Rwina imprint. Stuffing old school 8-bit sensibilities and new school grime attitude into a blender and hitting puree, SRC slings sizzling synths and punchy basslines with devastating effect. From the casual g-funk of 'Goin Out' and 'Sort of a Start' to the skank-u-like shuffle of 'Facepalm' and the Danjah-esque 'Where's the Remote?', this EP contains grime riddims that will fill every dancefloor with hypercolors, power-ups and neon-lights, like Pacman dueling with Mario in the dark. With all this in mind, SRC makes the case that he's one to watch for the future, and with a work rate to match the hype, you can expect a lot more where this came from! DJ support comes from the distinguished likes of Starkey, Swindle, Elijah & Skilliam, Taz Buckfaster, Baobinga, Terror Danjah and many more."
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12"
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RWINA 005EP
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"Following on from massive releases like Half Man Half Trout (Taz Buckfaster) and Freeze Step (South Africa's Playdoe), Rwina welcomes Philly's illest, Starkey, back to the fold. 'Rain City' is one of those tunes that could only be the product of someone at the peak of their powers. How many big dancefloor tracks manage to completely do away with the snare and rely instead on intense synth work to hype the crowd? How many tracks get support from players such as Skream, DJ Oneman and Noah D, yet sound like Kraftwerk and Bach jamming on Jupiter before riding a magic rainbow to DMZ? Believe the hype, 'Rain City' is all that. On the flip, 'Beatingz' shows Starkey's complete grasp of dynamics and arrangement, building gradually and subtly until before you know it, what began as some kind of gully-crunk brain-melt riddim has got you rushing your proverbial tits off. Almost too much to take. Heavy support by: Skream, MAH, Plastician, DJ Oneman, Baobinga/Skinnz, Blackdown!"
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12"
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RWINA 004EP
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"The fourth Rwina sees the light of yet another Taz Buckfaster 12 inch that's going down in a true epic vein, one for the anthem horny jocks. So if you are into the grimy synth heavy side of things then better check this one out. Taz is on the case with the A side, 'Half Man Half Trout' has been tearing up various floors for a while now. Meaty synths, a sexy melody, smooth delicate bass stings and a sharp drumbeat to nod your head to. A sure shot production that'll leave and left tons of people wonder what that just was. It seems there ain't no stopping the Taz because again he pulls it off on the flip with his other dancefloor smasher called '20 Red.' 8 bit bleeps and again a brutal squeezy synthline that'll make your mouth water. It's like Snoop Dogg is floating on this orange cloud on his way to Jamaica to fill up his stash. A tune that finishes of this 12 inch in style and cements Taz as one to watch in the future!"
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12"
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RWINA 003EP
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"The ever cult label Rwina hits up the new season with a release schedule that will blow your mind away! First up is the South African formation, Playdoe. Now this isn't just some run on da mill stuff, their tracks 'Front Seat' and 'Freeze Step' are a combination of neo-hiphop/breaks/booty/electro and everything in between to form a sandwich of sheer quality. And if that isn't enough, you should check out how Starkey blesses this release with a remix on the A side. Starkey infuses the ever so addictive Stark-vibe with a G'ed out sound that'll bring some ghetto in da club."
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12"
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RWINA 002EP
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"Straight outta the grimey pits of Glasgow comes Taz Buckfaster. Don Rwina Akkachar has picked up this young Moroccan producer after hearing a few of his astonishing productions. By having the same background it was clear that these guys needed to work together, and this 12 inch is what hard work and sweat can deliver. The A-side, 'Inside Job,' is what the Don describes as pure hardcore Rwina business; murky, deadly stabs with murderous wobbles is what keeps this release hyped up to the end, this is straight-up, pull-up business for experienced users The B-side puts Taz on a more dubby level, yet still keeping everything slick like jerry curls, 'Kingston Bridge' is what they call some dub-infused G funk dealy. Get ready to be blown away by this young talent cause Rwina isnt done yet. With some highly destructive releases in the pipeline its obvious that Rwina is here to stay! Play support by: Mary Anne Hobbs, Rustie, Hud Mo, Skream & many others."
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12"
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RWINA 001EP
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"The first release on Rwina Records is a massive one. It comes in the form of 'Just A Million' from Philadelphia's Starkey. Both tunes pull from hip-hop, grime & dubstep to create Starkey's signature street bass sound. 'Just A' on the A-side mixes an infectious, whiney synth with a singalong chorus, while 'Million' on the flip is an 808 workout if there ever was one, pitch-shifting various kicks into a dancefloor basher. Get down to the Rwina sound!"
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