Aphex Twin is playing Printworks

Aphex Twin has been announced to play Printworks this year as part of Red Bull Music Festival London.

September 14th marks the first time the Warp legend plays a club in London in a decade, the last time being at the now-defunct Matter in Greenwich in 2009.

The cult artist will be performing on a custom-built set made up of more than 306 LED panels and lasers, with visuals coming from long-term Aphex collaborators Weirdcore.

Support comes from handpicked DJs Afrodeutsche, Caterina Barbieri and Nihiloxica.

Red Bull Music Festival London is also putting on a range of other acts across the capital, including Blawan, Saoirse, Bruce, Special Request, Sherelle, L U C Y and Danielle playing at Refractions, a three-room takeover at Fabric, as well as a special celebration of UKG on September 8th with Todd Edwards, So Solid Crew, Ms Dynamite and more.

This year, Warp Records is celebrating its 30th anniversary with a three-day “online festival” on NTS – WXAXRXP starts midday UK time on Friday, June 21st.

Tickets go on sale at 9am on Thursday June 20th here

The 10 Best Warp Albums, according to Plaid.

Krept & Konan urge police to stop targeting drill artists with new petition

London-based rappers Krept & Konan have started a petition calling on UK police forces to stop criminalising young black artists.

The petition comes off the back of drill artists Skengdo x AM receiving a nine-month suspended sentence for performing their controversial song ‘Attemped 1.0’ at a show earlier in the year, stating it was “the first time in British legal history that a prison sentence has been issued for performing a song,” with many believing this is the start of a wider objective to clamp down on free speech for rappers.

The appeal, titled ‘Stop silencing musicians‘, criticises the police for “using laws made for terrorists and sex offenders to criminalise musicians who sing violent lyrics” and raises the issue of a drill ban depriving “already disenfranchised young people of a voice”.

“This is a threat to freedom of speech. Nobody in a free society should be imprisoned for words,” the petition reads.

Alongside the petition, the two rappers released a short film titled ‘Ban Drill’ to their YouTube channel. The video, directed by Rapman – known for creating the viral sensation ‘Shiro’s Story’ – uses a refreshing combination of song and speech, to paint a vivid picture of life on an impoverished estate.

The story highlights the importance of music on young people in the community – offering a means of escape – and plays out two scenarios in which an artist is subjugated to a drill ban, forcing him to revert to old ways, or, his music is allowed to flourish, along with the artist himself.

Krept and Konan are bringing attention to a “long history of suffering in black music” and remind people that “before the police spotlight was turned on Drill, it was on road rap, grime, and garage”.

Sign the petition here.

Watch the duo’s short film below:

Behind Bars: After years of the UK banning music, attempts to censor drill break alarming new ground

Five acts to catch at Telekom Electric Beats Bucharest 2019

With summer now officially upon us (despite the awful weather right now), this time of the year is set aside for holidays, spending time with friends and, for the music lovers out there – festivals.

Telekom Electric Beats festival in Bucharest, Romania, offers the possibility of all three of these summer essentials, so you can make sure that this festival season starts off with a bang. Hosting the festival is the Expirat Club, a venue existing in the urban landscape of Romania, synonymous with underground culture and producing an intense atmosphere – it acts as the perfect location to cater for the roster of artists that the line-up boasts.

Over 20 artists will be gracing the stage over the course of the festival, which runs for three days from June 13 – 16, and whose styles span avant pop to rousing techno. Among the talent on show are HVOB, IDER, and Bucharest’s own Karpov not Kasparov, or, if you’re looking for something a bit more heavy, the menacing industrial techno sound of VTSS and New York’s ‘technofeminist’ collective Discwoman will have you covered.


Electronic pop duo IDER are in the business of crafting floaty, melodic pop. Having recently released single ‘Wu Baby’, their debut album is on the way, and to gear up for the milestone, the pair will be bringing their amorphous sounds to the Romanian festival.


The 10 Best Monster Techno Tracks, according to Volvox

A woman currently shaping the face of techno as it stands today, Brooklyn-based Volvox has been involved in DJing and production world since 2006, and the Discwoman affiliate will be bringing her brand of bag of mammoth techno tunes to the Romanian festival.

The 10 Best Monster Techno Tracks, according to Volvox

DJ Seinfeld

Headlining the festival is none other than DJ Seinfield. The Swedish producer has had no issue establishing himself as one of the most prominent figures in the lo-fi house scene, whose crunched drums and sounds of despondency have made him a strong fan favourite – with recent ‘Galazy EP’, with its intergalactic atmospherics and breakbeats, being one concrete example of this.


Discwoman co-founder Umfang is another of Telekom’s heavy-hitters – favouring minimal yet damage-causing beats, her big, bold brand of techno is one not to sleep on.

Donna Leake

All the way from Brilliant Corners, Donna Leake will be bringing her far-flung stylings to Bucharest – boasting an enviably versatile taste, her eclectic sets are highly coveted.

Buy tickets to Telekom Electronic Beats here: https://www.bilete.ro/electronic-beats/ 


MoStack releases enlightening ‘Stacko’ documentary

Rapper MoStack has dropped a mini documentary on his YouTube channel, following the release of his anthem-packed debut LP ‘Stacko’.

The video follows the artist throughout the production phase of the record, revisiting his old estate where the majority of his visuals were shot during his come-up, and opening up on a number of personal issues within the film, such as his close friendship with producer Steel Banglez.

As well as this, MoStack explains how his lifestyle changes have affected the sound and content of his music, claiming he doesn’t see the need in promoting violence anymore. The documentary also includes words from fellow rapper Fredo, showing behind-the-scenes footage of an unreleased music video including the two artists.

The film releases at a similar time to MoStack’s first ever full length interview on Tim Westwood TV, in which topics such as the artist’s experience with autism, girls, and getting robbed are explored.

Watch the Stacko documentary below:

Sky Ferreria, Yaeji, Kim Petras feature on Charli XCX’s new album ‘Charli’

Charli XCX has just announced her second album, ‘Charli’, on Twitter, writing: ‘I am so proud of this music and I cannot wait for the world to hear it.’

The upcoming release boasts an impressive tracklist of 15 songs with a wide array of features, including a host of big names such as Sky Ferreria, Clairo, HAIM and Yaeji, to name a few.

It’s clear the musician has put lots of passion and soul into this album, demonstrating her excitement on social media with a fun post, writing: “Omg I just listened to my new album in the car and cried. It’s so good. I’m so talented. Even just the tracklist written down is a piece of art.”

Charli XCX will start touring the new release shortly, having announced the dates of her tour and promising the likes of Tommy Genesis, Brooke Candy and Allie X to be supporting her on select dates.

Check out the full tracklist and tour details below.

07-21 Chicago, IL – Pitchfork Music Festival 2019
08-17 St. Pölten, Austria – Frequency Festival
08-18 Hasselt, Belgium – Pukklepop
08-21 Zurich, Switzerland – Zurich Openair
08-23 Reading, England – Reading Festival
08-24 Leeds, England – Leeds Festival
08-31 Stradbally, Ireland – Electric Picnic
09-20 Atlanta, GA – Buckhead Theatre ^
09-21 Nashville, TN – Marathon Music Works ^
09-23 Houston, TX – White Oak Music Hall ^
09-24 Austin, TX – Emo’s ^
09-25 Dallas, TX – House of Blues ^
09-27 Phoenix, AZ – The Marquee @
09-28 San Diego, CA – House of Blues @
10-01 Los Angeles, CA – The Wiltern @%
10-02 Oakland, CA – Fox Theatre @
10-04 Seattle, WA – Showbox Market @
10-05 Vancouver, British Columbia – Commodore @
10-06 Portland, OR – Roseland Ballroom @
10-08 Salt Lake City, UT – Union %
10-09 Denver, CO – Ogden Theatre %
10-11 Minneapolis, MN – First Avenue %
10-14 Toronto, Ontario – Rebel
10-15 Montreal, Quebec – Corona Theatre $
10-17 Boston, MA – House of Blues $
10-18 Washington, DC – 9:30 Club
10-19 Philadelphia, PA – Union Transfer %
10-22 New York, NY – Terminal 5 $
10-27 Glasgow, Scotland – SWG3 Galvanisers
10-28 Birmingham, England – O2 Institute
10-30 Manchester, England – Albert Hall
10-31 London, England – O2 Brixton Academy
11-04 Stockholm, Sweden – Berns
11-05 Oslo, Norway – Sentrum Scene
11-07 Copenhagen, Denmark – Vega
11-09 Berlin, Germany – Astra Kulturhaus
11-10 Hamburg, Germany – Docks
11-12 Warsaw, Poland – Stodola
11-14 Prague, Czech Republic – Roxy
11-15 Cologne, Germany – Live Music Hall
11-17 Lyon, France – Transbordeur
11-18 Milan, Italy – Fabrique
11-20 Madrid, Spain – Sala La Riviera
11-22 Barcelona, Spain – Razzmatazz Room 2
11-24 Luxembourg, Luxembourg – Den Atelier
11-25 Amsterdam, Netherlands – Paradiso
11-26 Brussels, Belgium – AB Main Hall
11-28 Moscow, Russia – Izvestia Hall

Watch this new documentary on Australian grime

A new documentary called ‘Fully Gassed’ tells the story of how one event series managed to unite the whole Australian grime scene.

Showing archived clips of the Fully Gassed night across the years, the short film aims to tell the story of how a small, underground event turned into one of the biggest grime parties in Australia, capturing interviews with important faces in the scene including DJs, MCs and fans.

The documentary focuses largely around MC Fracture, who since starting the event, has been held responsible for building the whole scene and growing it into what it is today. Fracture dismisses the idea of money as an incentive in Australian grime; insisting that everyone is involved purely for the love of the culture.

Our DMY-signee Yizzy recently called on Australian grime MCs Shadow and Nerve for a remix of his single ‘Yeah’, with the high-energy tune bringing together two scenes with the same love.

It seems like the scene in the Southern Hemisphere is in a very healthy place right now…

Watch the documentary in full:


Novelist promises “100% grime” release ‘Reload King’ this month

Novelist has shared some news regarding an upcoming release, titled ‘Reload King’.

The 22-year-old MC from Lewisham has recently posted some details to his social media accounts, including the title of the body of work and the cover art featuring a cartoon Novelist donning an ‘mmm yeah’ shirt while clutching a microphone in one hand.

Novelist has cemented himself as a key player in the grime world over the last few years, with his LP ‘Novelist Guy’ being nominated for a Mercury award, after being released in April last year.

The MC recently featured on the remix for AJ Tracey’s ‘Ladbroke Grove’, alongside General Levy.

Fans will be pleased to hear that the new project is promised to be “100% grime” so we expect to hear the same tight-flowed, technical shelling that has set the MC apart in recent times.

‘Reload King’ is set for release on June 28 2019.


Slimzee wants to put Wiley’s unreleased beats on vinyl

DJ Slimzee has reached out to Wiley on Twitter, writing: ‘I would love to put some of Wiley’s old unreleased beats on slimzos/2002 vinyl, @wileyupdates what you saying mate for old times sake?’.

The pair are both heralded by many to be the founders of grime, having spent the early days of the genre’s inception on platforms like Rinse together.

Wiley has been active in the last six months with diss tracks ‘Flip the Table’ and ‘Don’t Bread Me’ aimed at Skepta, as well as dropping the chart-climbing hit ‘Boasty’ with Stefflon Don, Sean Paul and Idris Elba.

Having some of his unreleased beats on vinyl would be a sought-after release within the grime scene, and with the tweet receiving plenty of positive feedback, this might not be a pipe dream…

M.I.A. dedicates MBE to her mother who hand-sewed medals for the Queen

British rapper and pop icon M.I.A has been named as an MBE in the latest Queen’s Birthday Honours for her ‘services to music’.

“I’m honoured to have this honour, as it means a lot to my Mother,” M.I.A. wrote about the award on a recent Instagram post. “She spent her life in England hand sewing 1000’s of medals for the Queen. No matter how I feel or what I think, my Mother was extremely proud of the job she had”.

The Most Excellent Order of the British Empire is a British order of chivalry given to important contributors to the arts and sciences, as well as charitable and public service work. “I want to honour what my mum spent many hours of her life doing!”, the pop star added.

MIA’s illustrious career has produced five albums and two EPs, exploring life as a refugee in the UK through a plethora of  politically potent songs, as well as producing hits such as ‘Paper Planes’ and ‘Bad Girls’.

Related: Read the Dummy guide to M.I.A.

Skengdo x AM team up with Russian blood artist to protest artistic censorship

UK drill artists Skengdo x AM are collaborating with Andrei Molodkin, a Russian artist who works with blood, on a new installation at the Saatchi Gallery.

‘Young Blood’, Molodkin’s installation, urges audience members to donate blood to fill up three works in the gallery, in a bid to get young people to give their blood to art as opposed to the streets.

For the opening of the show, Skengdo x AM are releasing a brand new track and video with London mayor 2020 hopeful Drillminister – titled ‘Political Drills (The Media)’ – with all proceeds from ticket and vinyl sales going to Brixton Wings.

Molodkin’s work centres around protest music and, after being handed suspended custodial sentences for performing their own music, the drill duo have been consistently outspoken about the government’s censorship of their music.

The premiere of the track, with Skengdo x AM performing live, takes place tonight (June 7) at the London gallery – find tickets here.

The pair have also just announced a UK tour happening this October – find tickets via Live Nation or Ticketmaster.

Watch Skengdo x AM and Drillminister’s collaboration, ‘Political Drills (The Media)’:

‘Young Blood’ runs from June 5 to 10 at the Saatchi Gallery.

Yizzy plays the DMs stage at Field Day 2019

Our DMY Recordings signee Yizzy is playing the Dr Martens Boot Room stage at Field Day this year.

He’ll be tearing it up alongside Denzel Himself & Keyah/blu, Frankie Stew & Harvey Gunn, Emma-jean Thackray, Marika Hackman, Rimon, Crows, Brad Stank, Tirzah, Flohio and Rachel Chinouriri.

Field Day takes place this weekend (June 7th and 8th) in a brand new venue – The Drumsheds, Meridian Water.

Watch the video for Yizzy’s ‘Deh Suh’ featuring Scrufizzer:

Listen to Yizzy’s ‘Deh Suh’ via your preferred streaming service here.

Follow Yizzy on Twitter / Spotify / Instagram.

“I withdrew from life in general”: Jai Paul returns, breaking silence about seven-year hiatus

Secretive artist Jai Paul has just made his surprise return after seven years of silence, dropping two brand new tracks through XL along with a new website.

The British singer-songwriter has shared self-written, produced and mixed singles ‘Do You Love Her Now’ and ‘Her’, marking his first official release since the hugely influential ‘jasmine (demo)‘ from April 2012.

North West London-based Paul has remained elusive since the illegal leak of an album’s worth of music hosted by a fake Bandcamp in April 2013.

The album – ‘Leak 04-13 (Bait Ones)’ – has newly been uploaded to Spotify and is offered as a free download from his new site.

A long letter to fans from Paul accompanies the download, detailing the reasons behind his break in music and the Bandcamp leak – read it in full below.

A message for fans.

I wanted to use this opportunity to share a little information about what happened regarding my music in April 2013. As you may know, some of my unfinished demos were put up for sale illegally via Bandcamp. The leak consisted of a fairly random collection of tracks I had made over quite a long period of time (from roughly 2007 to 2013), in various stages of completion. Some are short skits and beats from my MySpace page back in the day before I signed a record deal. A large proportion of this music was to be completed and released officially in some format.

Regarding how this music got leaked, the short answer is that I don’t really know. I believe these particular versions of tracks may have come from a burned CD that got misplaced – a fair amount of people would have had access to my music in various forms between 2010 and 2013.

The first I knew about the leak was when I woke up to a phone call from my management at around 3 am on the night it happened. I contacted the City of London Police immediately. No-one in my team knew how best to deal with something like this and there was some confusion as to how we should react. I remember thinking if we could act fast we might be able to contain it somewhat and keep damage to a minimum. However, because it was 3 am on Saturday morning it was tough to get hold of anybody. Whoever was behind it likely planned it this way.

I understand that it might have seemed like a positive thing to a lot of people – the music they had been waiting to hear was finally out there – but for me, it was very difficult to deal with. As things unfolded I went through a number of phases, but the immediate, overriding feeling was one of complete shock. I felt numb, I couldn’t take it all in at first. I felt pretty alone with everything, like no-one else seemed to view the situation in the same way I did: as a catastrophe. There was a lot going through my mind, but the hardest thing to grasp was that I’d been denied the opportunity to finish my work and share it in its best possible form. I believe it’s important for artists as creators to have some control over the way in which their work is presented, at a time that they consider it complete and ready.

I was also frustrated by how all this was being framed online, leading to the widespread belief that I had decided to leak my own music, despite my record label and I saying otherwise. It didn’t fit at all with anything I had done previously in style or attitude, and especially not in presentation. To make matters worse I was advised at the time to keep quiet and leave things ambiguous, but this didn’t really fit with my vibe and there was disagreement among us. I soon felt unable to engage with it at all.

I suppose the music was special to me in a way, stuff that I began writing as a teenager in my room just for fun, eventually signing my record deal with it at 21, and hoping that I could put it towards a debut album with XL. I guess having that dream torn up in front of me hit me pretty hard. Of course, I’m not the only person who was affected, it was disappointing to all who worked on the music and to the wider team working on my project at my management, label and publisher etc.

A police investigation started during the Summer. Email addresses from the Bandcamp page and a linked PayPal account led to two suspects who were eventually arrested, their property raided and computers seized. Nothing was found, but by this time it was almost a year after the leak had taken place. The BPI kindly offered to step in and help towards the investigation so I’d like to thank them for their concern. I’m grateful to the City of London police for their efforts. Whoever was behind the leak collected a significant amount of money from sales, which was quickly frozen by the Police. Thanks to co-operation from PayPal and Bandcamp, everyone who paid money to download the music was refunded.

There were some long term effects for me following the leak. There was a significant loss of trust. For the next 3 years or so this one event was all anybody asked me about. Everyone was convinced that the story they had read online – that I’d leaked the music myself – was true, so I had to repeatedly explain the reality of the situation over and over again. It was frustrating and disorientating to find that I had no ownership over the story (or the music) and that people were choosing to believe a different truth. I guess this all made it feel like I had thousands of people not believing me, not trusting me, and also that in some strange way I was responsible for all of it. On a personal level, things gradually went south and I had a breakdown of sorts. I was in quite a bad place for some time. I was unable to work and withdrew from life in general.

Recently, I’ve been having therapy of various kinds, and this has helped me get to a place where I can begin to think about returning to music. I am thankful for that. It has allowed me to understand some of what happened in 2013 a little better – not through anybody else’s lens, but through my own, and through this, I’ve been able to acknowledge some of the trauma and grief. I’ve grown to appreciate that people have enjoyed that music and lived with it, and I accept that there is no way to put that shit back in the box. There was no way to fix what happened and continue down our original path. Looking back, it’s sad to think about what could have been, but it is what it is and I had to let go.

Founding the Paul Institute has also been an important step for me in terms of putting stuff out there again and getting back to what I love. I wanted to create a positive environment that artists could be supported in and stand together through some of the pressures that can make this industry difficult to navigate. I’m proud of what we’ve achieved so far, and I’m looking forward to seeing our artists develop.

We have decided now to make the April 2013 leaked music readily available so that those who want to hear it can access it via platforms they’re used to. In order to do this we had to remove a bunch of samples that we were unable to clear, so what you hear won’t be exactly what leaked in 2013 – but I know the original stuff is still floating about if you know where to look. Of course, it’s completely surreal to me that this music will now exist officially in this form, unfinished, and even sequenced by the people who leaked it! Much of the tracking and production work was there, but it’s a shame about the scratch vocals and the overall mix. This is also not all of the material from those early sessions so again it’s a shame not to be able to present something completed, in its entirety. It will always be a little painful for me to listen to myself, but I don’t want to deny people a chance to hear it, especially as it’s already knocking about. Hopefully, this message gives it all a bit of context and answers a few questions about it.

Finally I just wanted to express how grateful and appreciative I am for the friends, artists, colleagues and strangers that have stuck by me and shown so much love, support and mad patience over the last however many years. I truly appreciate the help and positivity I’ve been given to get back on my feet. I wanted to put two new tracks out to say thank you.

For the double B side, we decided it would make most sense to pick up where I’d left off, so I’ve finished two tracks that I was working on at the time of the leak. I’ve signed and numbered all 500 copies of the white label vinyl. I’ve not had a website or merch for sale before so I’m excited to share all that stuff with you. We’ll see where things go from here.

Anyway, if you got this far thank you for reading, and I hope you enjoy the tunes. As always, you can find me down the pub (shout out to all the safe people who’ve come up to me to say hello over the years) so I’ll see you down there for a pint later.

Peace, Jai

P.S. 10% of profits on merchandise will go to SANE.