The latest House of Underground 12″ presents a brilliant collaboration between UK legend DMX Krew and French young blood DVDE. Including 2 vocal featurings by none other than the iconic Fingers vocalist Robert Owens.
The thirteenth drop from Curtis Electronix comes courtesy of veteran of the electronic music scene. Edward Upton has been producing music since 1994 and much has changed since he unveiled his debut release under the DMX Krew alias. Warp Zone LP showcases the great mastery of his studio, his technical expertise and his exceptional ability to create monolithic soundscapes using very few elements. Each layer contributes to a rich, immersive experience, each element resonates with depth, highlighting his deep understanding of club music, sonic texture and space.
DMX Krew returns to Hypercolour with a new long player. ‘Spiral Dance’ comes stuffed with wonky and futuristic synth jams.Having honed a style that has endured over an illustrious career, DMX Krew continues to immerse his productions in luscious analogue electronica, touching on the many bases of electro, Detroit techno, synthpop and dreamwave. With previous albums for Rephlex, Permanent Vacation and Balkan Vinyl, amongst others, ‘Spiral Dance’ becomes the fifth album for Hypercolour, following on from 2021’s ‘Loose Gears’.
Third episode of whispers of an ancient world. In these new interludes, the artist DMX Krew realizes his personal vision of the well-known story by Jorge Luis Borges, The Library of Babel. Borges takes as a starting point to explain the universe two realities that are essential for the world of libraries: the library, as a physical space, as a continent, which also contains the greatest wealth that can be conceived as it is the compendium and sum of everything. human knowledge and understanding. But this place, this library is not a silent, uninhabited, inert space, but rather something alive, full of activity, guarded by librarians and used by all men, in turn librarians in search of giving meaning to their nature, to what that surrounds him, to the past, present and future of humanity. And here we have the other reality: librarians. Borges interprets that each man is a librarian, someone who inhabits and explores the infinite hexagons of the Library, in search of his particular interpretation of the world. Although it also establishes the figure of the librarian as custodian of books, of knowledge, as an interpreter who knows how to decipher all the mysteries that the Library contains inside, an official who has unraveled the content of the infinite Library that requires subjects who know how to keep it. and at the same time help men, all of them librarians, to find meaning in everything.
Ed Upton is back to Shipwrec for his sixth release with the label. The British musician has crafted icy electro, thoughtful electronica and textured techno and ‘Tree in Space’ is a combination of these styles. Blending a spread of sounds, acid, braindance and techno, DMX Krew serves up something truly special. Brooding notes are met by cracked percussion and simmering 303 squawk in a track that pursues its own path. An EP from a musician that continues to stretch boundaries and imaginations.
DMX Krew announces his return to Peggy Gou’s Gudu Records with a new four-track EP, sharing the dreamy, Detroit-inspired title track, ‘Return to Jupiter’. Inspired by the futurist funk and vivid synthesiser epics of classic Detroit, ‘Return to Jupiter’ is dripping with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define Ed’s catalogue. The EP’s title track sets the tone for what’s to follow, introducing a language of sorts for the record – before ‘Altered Chords’ turns the funk up to 11, ‘U Ain’t Down’ aims its distorted kicks and wiggy, manipulated lead straight at peak time dancefloors, and ‘I Love Juan’ closes the EP on a star-gazing tip.
DMX Krew has been turning out electronic music from his analog-laden studio since 1994. He has built a discography nothing short of prolific. He mixes tech savvy with a firm understanding of club music and a penchant for catchy and clever hooks and the Powerplay EP, released on Innershades’ Altered Circuits imprint, forms a great display of this.
Over the years, Ed Upton has released an insanely large volume of records as DMX Krew, though his quality level as rarely dipped below “brilliant”. While many of these EPs and albums explore his love of electro, he’s not averse to exploring sci-fi techno, jacking house and throbbing Italo-disco. ‘Unhooked’, the track that opens his first 12″ of 2022, is deliciously dark and creepy, sitting somewhere between the lo-fi techno of L.I.E.S, the acid-fired rave-era insanity of Aphex Twin and bittersweet dancefloor melancholia. Elsewhere, he peppers a crispy breakbeat with ghostly chords and bubbly lead lines on ‘Orange Cat Print’, summons the spirit of the apocalypse on doom-laden acid-electro number ‘Didgerididnt’ and delivers sturdy, mind-mangling electro thrills on ‘Dust Devil’.
Classic Detroit-influenced electro tune featuring special guest vocal by Blak Tony of Alien FM / Aux 88. Plus two bonus bass bangers on the flip.
Self-styled ‘house husband, record producer’, DMX Krew, continues his effortless stretch of releases that date back to the early 90s, with a new album for Hypercolour. His deft melodies and mechanical, electro-tinged beats have made for some classic albums in his repertoire, from his incredible run of albums for Rephlex Records, up to 2020’s ’Ghost Bubbles’ long player for Terrestrial Funk. And so ‘Loose Gears’ marks DMX Krew’s fourth album for British stalwarts, Hypercolour, and fans will not be disappointed. Armed with an arsenal of hardware, and a head full of futuristic visions, ‘Loose Gears’ collects eleven tracks of the customary quality we have come to expect from DMX Krew. From the funk laden ‘Solar Transit’ to bleepy chugger ‘Dejected Ambient Twerp’, the vibrant synths and spongy rhythms of ‘Torpedo Tube’ to the beatless wiggle of ‘Xpansion 2’, there’s much in store to be savoured on ‘Loose Gears’, as DMX Krew serves up another fine selection of electronic goodies.
DMX Krew has made millions of booties move to the beat since the early nineties. His string of albums on Aphex Twin’s Rephlex spanning 1996-2005 helped define UK electro and breaks on dancefloors around the world. For almost thirty years he’s tirelessly pumped out a myriad of incredible electronic programming through many labels including his own. Terrestrial Funk humbly welcomes Ed DMX’s new album ‘Ghost Bubbles’ as the fourth release on our catalog following a string of boogie, highlife, and disco records. From Miami, Florida, to Accra, Ghana to the Gulf Of Mexico, and now to the Celtic Sea’s channels off Britain’s west coast. Ghost Bubbles is a thirteen track journey perpetuating DMX Krew’s synthesized sound waves around the globe.
A long player of new music from DMX Krew on Hypercolour. ‘Glad To Be Sad’ presents the usual collection of first class electronic funk and modular melodies that DMX is known for, but covers a wide and colourful palette of rhythm and sound, abundant on the bass and with a heavy dose of futurism in its waves of glorious synth-work and deadly drum machine rhythms.
Shipwrec is 50 releases old. No mean feat and to celebrate the dutch label is returning to one of its stalwarts, Ed Upton aka DMX Krew. For this very special 12″ the veteran audio alchemist conjures up five tracks of machine music magic. Squirming, acid soaked electro forms and melts in “Bush Baby Bug Eyes” before the shapeshifting “EQShift Trak.” “Language Reponse” goes up a gear, rhythms zipping along on a highway of bright bars as synth lines beam warmth. The flip skids into the corners for the chiptune freshness of “Irrational Momentum” before the wave funk wizardry of the title piece. Ed Upton cracking open the champagne for this Shipwrec milestone and once again proving his undeniable prowess behind the machines.
23 years have passed since Edward Upton first donned the DMX Krew alias, but the prolific British producer shows no signs of slowing down. Astonishingly, Strange Directions is the electro stalwart’s 21st full-length excursion. Predictably, it’s rather good, with Upton delivering a set that effortlessly body-pops between vocoder-laced electro workouts, melodious IDM, bass-heavy intelligent techno, gnarled Drexciyan throbbers, Artificial Intelligence style home listening fare and even a dash of muscular, tongue-in-cheek Italo-disco (the deliciously sleazy “Soft Networks”). As usual, the distinctive, off-kilter swing of original analogue hardware is present throughout, as Upton showcases his full range of talents.
7777 presents its 13th release featuring DMX Krew and Yuri Suzuki. Side A brings you straight house attitude. B side strips it down and adds the acid. These songs are perfect for your record bag.
Following his stunning box set on Fundamental Records, Ed Upton aka DMX Krew makes his third outing on CPU, increasingly becoming home for his darker side. Space Cucumbers contains a wealth of expression with Italo disco arpeggiators, seldom heard time signatures, Hi-NRG, and bass heavy electro funk. Featuring the usual aquatic tendencies mixed with echoes of darkwave. Vintage analogue strings, overdriven acid and Upton’s favourite drum machine all make an appearance riding on his signature funk laced arrangements.
UK wave funk veteran DMX Krew returns to Abstract Forms with his latest double album project. Escape-MCP features 13 tracks of synth drenched electro and elastic techno grooves drawing inspiration from a 1983 computer game where the player is trapped inside a computer by a rogue processor. Fortunately DMX Krew isn’t trapped inside a computer and is still with us making killer grooves.
The Hipodrome Of Music 