Yoshimitsu (Send for Neana)

Gracias a toda la gente que participo del compilado!! 
Espero que les guste, se los compartimos con mucho amor <3

Remiseria Temperley - Renatinho En Microcentro

Here is the final version of Undulae's winning entry for COMPO_3 beat battle/producer competition that took place on February 18th 2024.

Participants of COMPO_3 were asked to make a song with a focus on sound design in any genre or tempo in less than 2 hours using a very small pack of samples curated by Machinedrum. Youtube recap coming soon!

The next COMPO is on Sunday, April 28 at noon PST. Join us on Discord to find out more info and how to enter the next one discord.gg/GS4dWQ2GzV

Follow Undulae: linktr.ee/undulaemusic

Undulae - Limon (COMPO_3 WINNER) [FULL TRACK]

Pre-order

Harlem Odyssey - DJ BLIK x DJ POLKOMTEL [PS031]

Listen to "Lost Keen" by Insignio taken from "Lost keen" out on March 25th via Yanked Beats

Pre-order: https://yankedbeatsrec.bandcamp.com/album/lost-keen

"After his acclaimed single ‘Everytime’ last January, Insignio's long-awaited debut album, Lost Keen, is now out!
As well as his role as label manager of Yanked Beats, Portuguese artist Afonso Silva is also a seasoned producer with many years' experiences working on a variety of projects and under a variety of pseudonyms, including Insignio, who has been with the label for 6 years now.
Already signed to a number of EPs, tracks and remixes for other labels, this album is only his second release on his own label. And this second production clearly expresses his desire to push the boundaries of genres to the limit.
Eight tracks that allow him to hybridize his influences, as diverse and varied as they are, and demonstrate his ease in composing any kind of atmosphere or emotion."

Links:
Insignio
https://soundcloud.com/insignio
https://www.instagram.com/insigniodnb
Yanked Beats
https://soundcloud.com/yankedbeats
https://yankedbeatsrec.bandcamp.com
https://www.instagram.com/yanked_beats

Lost keen

pre-order / bandcamp

Insignio - Lost Keen (Yanked Beats)

<3 
this night meant so much to me, thank you.



Concrete - Dunes 20250419

07. TSIKULATA

dru-1’s “preshuh” was composed in the artist’s home of Trinidad during Carnival of 2024. Reflecting on the experiences and influences that shaped the record, UK-based artist Drew Lovett recalls inviting friends to stay with their family during the festivities, experiencing overproof rum, pan bands, card games, and doubles. Community and a celebration of sociality seem to shimmer through the EP’s bass-ridden tracks, evident not-least in the prominent sound bites and vocals recorded on-site from those close to the artist during the Carnival.

The project unfolds across six tracks, each composition draped in FM synthesis and layered over gritty basslines. “preshuh” builds upon the
vision realized in the artist’s debut project, a 4-track EP released on Why Be’s Yegorka in 2024. This record punches with more technical precision, making a mature statement that feels cohesive and intentional, while retaining its playful essence. Lovett collaborates with Marta Rosa on percussion for the final three tracks—“maco queen,” “palance,” and “a4s.”

Despite its moody basslines and clear roots in the UK club scene and Hard Drum, Lovett’s EP is infused with a spirit of optimism and revelry. The EP opens with echoes of “toma!” and other indistinct cries, as timbale taps gradually build alongside jerky basslines in “diastema.” The subsequent track “corbeaux,” takes a more atmospheric approach, leaning further into lush melody progressions. Breath-like chirps fade in and out of the mix, allowing different melodic and percussive elements to shine at various moments. “Libido” calls the listeners to commune on the dancefloor, led by a steady four-on-the- floor rhythm. The hypnotic chant, “We come together,” repeats with quiet assurance, woven through a backdrop of filtered basslines and dissonance. Crunchy, sputtering synths wind in and out of the soundscape, teasing a sense of chaos and rapture, grounded by the steady rhythm beneath. In “maco queen,” the record seems to reach a point of climax; jittering bass sounds overtake the atmosphere immediately. “Hey!” and “Ha!” shout over the flurries, punctuating the frenzy, while intricate low-end patterns and hand drums introduce moments of organic warmth. Percussive taps and clinks imagine an impromptu gathering of people jamming together. Here, Lovett seems to call us to let loose, to shout, to dance, to revel in excitement. The fifth track, “palance” unfolds over a steady four-on-the-floor rhythm, with intertwining synth lines that emerge and recede unpredictably, engaging in a dynamic interplay akin to an animated conversation among close friends. The EP concludes with “a4s,” a vibrant, infused with Soca and Dembow breaks track that brings key elements from earlier songs—vocals, claps, and heavy basslines—crafting a dynamic yet cohesive finale.

Experienced in full, Lovett’s EP is a call to togetherness—a sonic invitation to gather, move, and celebrate without restraint. Infused with the frenetic energy of the carnival where it was conceived, the project unapologetically embraces the dancefloor, urging bodies into motion, and spirits into communion. Beneath its pulsating rhythms lies
a deeper longing—not just for revelry, but for connection. In a world still relearning the rhythms of closeness, it asks: How do we rebuild the spaces where joy and community once thrived? 

Artwork by Lucas Owen
Mastering by TB-Mastering
Words by Manolis Elijah Sueuga

one year of brat: party mix

Bella Hex