- Westwood X - 

Sub label of @westwoodrecordings

======================
TO SUBMIT DEMOS:
bit.ly/WestwoodDemoSubmission
(do NOT email demos)

LICENSING & LABEL INQUIRIES:
email: label [at] westwoodrecordings.com

T E C H ⅄  F U T U R Ǝ  S H I ꓕ

NEW LINKED OUT @neosignal
"FUEGO" OUT @neosignal
"EVERYDAY" OUT  @deadbeatsrecords

NEWS: http://lnk.bio/phace
PATREON: https://www.patreon.com/phace
MANAGEMENT: management@phace.space
BOOKING: 
francesco@primarytalent.com [EU | UK | ROW]
phace@decibel.life [NA | SA]

http://phace.space
https://offg-rid.com/ 
http://neosignal.de 
http://neu.wtf

Upcoming gigs:

15th February: Summer Saturnalia presents Author Live. Dubstep set B2B with Ecluse - Zetland Basement, Huddersfield

April - House set @ Parlez Vous - The Mill, Bradford

Stephanie is a DJ, cellist, and aspiring producer from Leeds. 

She is resident for Basement in Leeds and is owner and editor at foxgotbass.com. Get in touch if you'd like more information on us writing a piece about you.

DJ wise, she mixes dubstep, UK bass, garage and  house. 

As a cellist, she has played for over eight years. She has recorded on ten albums for various bands.  

Contact: steph@foxgotbass.com

Bruv & Sis playing bass-happy slappy-facey.

BOOKINGS: alba@earth-agency.com
MANAGEMENT: si@submotion.co.uk

Dustytonez has been described as a connoisseur of funky beats. His bootlegs  and remixes have been played by djs worldwide. he pays a regular appearance on many of the breakbeat blogs with his freebies  and has been featured countless times on spinforths infamous scour and free breaks blog to name a few.. he describes his music as fun music to get the party started. go have a listen and grab many of the free tracks he has on his soundcloud page.  

Grab some of his eps here
:: http://www.junodownload.com/products/dusty-tonez-funky-monkey-ep/2284506-02/

http://www.junodownload.com/products/dusty-tonez-click-click-boo-ya/2174734-02/?wf=oba

DARKMTTR Records | Bookings: ESP Agency
T: +44 20 8740 0533 
http://esp-agency.co.uk/artist/spy

Moving to London from São Paulo eleven years ago, S.P.Y was quick to establish himself within the UK drum+bass scene. After six months of working with only basic equipment, S.P.Y’s natural talent for production saw his first ever release signed to Metalheadz in 2005, with a release on Hospital’s Medschool imprint soon following in 2006.  S.P.Y began collaborating with artists such as Marcus Intalex, Total Science, Kasra and DJ Marky. In 2009 S.P.Y released his first solo EP on Marcus Intalex’s label Soul:R and had releases on many other labels including Digital Soundboy and Innerground. 

The following years were immensely successful for S.P.Y, with Friction including five S.P.Y tracks on his MoS compilation and Andy C featuring four tracks on ‘Nightlife’. Proving his production quality and consistency in 2010 / 2011, S.P.Y delivered standout releases on Ram, Metalheadz, Critical, Shogun and Spearhead – Most notably the anthemic ‘By Your Side’. S.P.Y also took on high-profile remixes for the likes of Deadmau5, Claude von Stroke, LTJ Bukem, Chase & Status, Delilah and Zinc ft. Miss Dynamite, with S.P.Y’s own personal re-lick of Zero 7’s ‘In The Waiting Line’ becoming a signature in his live sets.

Signing to Hospital in 2012, his debut LP, ‘What The Future Holds’ was released to critical acclaim. The LP not only received significant support from fellow artists and topped online sales charts, but was also awarded the coveted ‘Best Album’ at the annual 2012 Drum & Bass Arena awards. S.P.Y backed up this release with a relentless tour schedule of Australia, the United States, Canada, Russia, Asia, New Zealand and Europe. 

S.P.Y’s skills behind the decks rival his studio talents and he delights fans with an educated blend of old school classics and fresh new beats. Always one to stay true to his roots, S.P.Y has a unique ability to bring his trademark underground sound to a worldwide audience. Alternating between beautiful, orchestral, musical sets and dark, rolling mixes, S.P.Y captures the emotions of the crowd. Whether he is playing at a high-profile festival or an intimate club show, S.P.Y always delivers.

In 2013 S.P.Y was again busy touring the world, playing at major festivals such as Tomorrowland, Global Gathering and Electric Daisy Carnival. He delivered successful remixes of James Zabiela’s ‘Perseverance’, Chris Malinchak’s ‘So Good To Me’ and Five Knives’s ‘All Fall Down’ on Red Bull Records. In addition to these achievements, S.P.Y was also selected to write, in collaboration with London Elektricity and Diane Charlemagne, the theme song for the 2014 Street Child World Cup. The track ‘I Am Somebody’ has helped to generate awareness and bring a new interest to Street Child World Cup, advocating for street children’s rights worldwide.

Moving into 2014 and S.P.Y is taking us ‘Back to Basics’ with his second LP. Released in two parts over the coming months, ‘Back to Basics’ draws inspiration from the deeper, darker sounds of drum+bass, and features collaborations with Total Science, Rene La Vice, and vocalists Diane Charlemagne, Grimm and DRS MC.

If any D+B artist can truly claim to be the “producers producer” then Carlos S.P.Y surely has a good case. If the comments on this album by his luminaries are anything to go by: "One of my fave producers" says DJ Hype, "Carlos back to his filthy best!" say Total Science, "There's only one S.P.Y” says Doc Scott.

https://www.facebook.com/kanziband

Bookings: kanziband@gmail.com

Independent record label created by Mungo's Hi Fi.

Four years on since they dropped 2009’s blistering Tarot Sport, Fuck Buttons’ Benjamin John Power and Andrew Hung are back with their third LP Slow Focus.

When Hung and Power get together a unique chemistry emerges and nothing else is allowed to interfere. As Power puts it: “The one fundamental rule remains: we are in the same room when we write. The rest is all fair game.” Fuck Buttons have never really stopped writing together in the time between albums. “The actual writing for Slow Focus began fairly soon after we stopped touring,” says Hung, with Power adding “If we've had any time off, it's been a few months, so though both albums might seem like two isolated events to everyone else, it doesn't seem as much so to us. They’re more like snapshots of an ever evolving mess.”

Fuck Buttons latest opus is the first record they’ve produced themselves; it’s an album that attempts insular resonance. Using repetition to create hypnotic and suggestive states, Slow Focus veers ever more wildly between these parameters; a whole mood-shift taking place to darker, more turbulent evocations – something suggested as much in the album’s title.

“Slow Focus seemed like a very apt title when considering the sentiment of the music,” explains Power, “It almost feels like the moment your eyes take to readjust when waking, and realising that you're in a very unusual and not a particularly welcoming place. There’s a brooding and almost violent theme throughout.” The album gained shape at the pair’s own Space Mountain studio, a place that was once used as a dairy (“It's actually very isolated from the hustle and bustle of London. With the courtyard outside the front of it, it almost feels like you could be in rural France.”) However, it’s not their surroundings that guide them; rather their connection and imaginations that drive the unique sensory assault we've come to associate them with. “The music comes out of the relationship. We've always felt that our music doesn't have a particular sense of geographical location attached to it, they say. “We like to think that we create our own new landscapes, and with Slow Focus it's a very alien landscape.”

As Tarot Sport showed an increased boldness from predecessor Street Horrrsing, Fuck Buttons’ third is a confident stride forward again, signified in their decision to produce the record themselves. Quite apart from a duo whose music bristles with an often brazen menace, the production aspect of it was one of cautious learning and a humble desire to improve their skills. “The writing process revealed how production was intrinsic in that process but what we did lack was the knowledge of how to record and mix those productions properly” Hung admits. “This penultimate step - before mastering - was actually the step that took the longest time because we had to figure out how we could do it.” But persevere they did, and Slow Focus’ production fully recognises every textural change, from thunderous viscera to dark techno and slow oozing melancholia, allowing the dynamic nuances to achieve maximum impact. “To an extent, we've used producers as safety nets in the past and, whilst it is useful to have that filter,” says Hung, “we've always had a very specific idea of what our music should sound like and so it became the logical step to take that we should do it ourselves.”

Fuck Buttons were flung out into the perception of the global public in 2012 when Danny Boyle opted to use their music in his breath-taking Olympics Opening Ceremony in London, after a recommendation from techno veterans Underworld whom were working with Boyle at the time. Now they’re ready to face the limelight in full again in 2013, with a string of festival dates, including headline slots on The Park Stage at Glastonbury and at Green Man, then later in the year - a full UK and European tour.

Fuck Buttons may have been away for a while, but Slow Focus looks set to put them right back where they were: as one of the most arresting electronic acts in the world today.

Eyre_ is following