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SWITCH GENRE
 

Almost two years ago to this day Tumble Audio brought us their first release and instantaneously leapfrogged other brands in the UKG scene to become one of the most exciting labels in the scene today. We caught up with "Hank Limit" one of the founding members of the label to have a quick chat about the ticket giveaway for their event at Plan B in Brixton, the mix that was specially recorded for Juno and one of the possibly the biggest release in the label's history "Roadman Anthems Vol 1"

To be in with a chance to win a pair of tickets for the Roadman Anthems launch party then simply download the killer free track from label stalwart "Killjoy" and you will be automatically be entered. We will email you on Thursday morning to confirm - so get downloading those freebies guys!

Download free track and enter prize draw Killjoy - Really Hot

Featured Release

Roadman Joel / Various

Roadman Anthems Vol 1

Tumble Audio

Listen / buy

Interview with Hank Limit

Hi Hank, thanks for taking the time to speak to us Firstly for those unfamiliar with the mighty Tumble Audio brand please give us some insight into who you are and what you do?

Tumble Audio is a record label and event that specializes in tunes made for the dancefloor. The music we put out takes in influences from a variety of genres including UK Garage, Funky, Grime and Bassline. We have been running for just under two years now and are celebrating our 10th release which is a huge thing for us.

You’re originally from Nottingham; what is your assessment of the dance music scenes in the city and surrounding areas compared to say London or Berlin?

Yes we are indeed a Nottingham based label and we are extremely proud of our roots. Nottingham has a small but extremely close underground scene with some really good events and talented producers. On our Tumble roster alone you have artists such as Timbah, Killjoy, Lyka and Sergic who all started out in Nottingham. But I do feel like the midlands definitely gets a hard time of it when people look at the UK’s musical make up, it seems like there is a vast empty space in-between the north and south where nothing happens. I personally use this lack of attention as motivation to do more in Nottingham, so that hopefully over time people will take more and more notice. It is quite a small city with only a handful of decent clubs so I couldn’t really compare it to huge metropolises like London or Berlin, all I can say that Nottingham raver’s are certified nutters.

Also shout out to the Nottingham crews and producers MIMM, Wigflex, Sub:concious, Rubberdub, Congi, Origin One, Geiom, Hizatron, Metske who are all doing some really good things at the moment.

The label seemed to come out of no where and became a huge success right from your very first release “Killjoy’s XTC EP” did you anticipate this in anyway or were you planning to slowly and steadily build momentum as is the case for most labels?

The great thing about Tumble is that none of it was planned. When it first became an actual idea, back in 2012 I was the label manager at MIMM Recordings. We were doing some really cool interesting stuff with MIMM, but myself and the owner wanted to take the label in very different directions. Luckily at the time I was being sent a lot of really wicked party music around 130 – 135 bpm from the likes of Killjoy and Majora, it was not stuff that would have worked on MIMM, so I decided to start a new imprint to get it out there. That is how Tumble was born. For the first four or five months Tumble was just as a side project, but after Majora’s ‘Boss Key’ EP dropped and got a great reaction I realised there was a lot of potential in Tumble.

From that EP onward it has already happened really organically, there was never really a plan, we were just putting out music that was going down well in the raves that we were enjoying. There is still a lot of work to be done, but I am really happy with the body of work we have put out over the last 10 releases.

Your sound is heavily influenced by all elements of UK Garage and we noticed that you guys have been championing the “bassline/4x4” sounds even when they may have dipped in popularity and influence. Was this a calculated risk or was it more a case of putting out music that you love and not paying too much attention to everyone else?

I always try and avoid taking too much interest in what others are doing and just do what I feel is right for the label. I have been into grime and bassline since the age of 15, so I never really clocked whether it was cool or not at any point. There is always a risk element to putting out music, but as long as it feels right in your gut then I say just go for it. We are quite lucky with Tumble that we have some really good producers who are always happy to give honest feedback which I think really helps with quality control.

The track you are giving away is a dance floor killer and features a very familiar vocalist, can you tell us a little about the track?

The track is by Killjoy who is my right hand man and one of the best producers around at the moment in my opinion. It is a wicked tune that always gets a huge reaction in his DJ sets and at Tumble parties so we hope you enjoy it.

Killjoy is about to put out his 3rd EP out with Tumble it is a storming collaboration with Lenkemz and Slick Don, the EP is called the ‘Wesley Snipes EP.’ So watch out for that dropping before the end of the year.

You guys are also giving away 2 pairs of tickets for the HUGE event at Plan B on Friday 19th September what will the night hold for the lucky winners?

Yes we are indeed giving away 2 pairs of tickets to our event on Friday at Plan B in Brixton. For the lucky winners I ensure that there will be standard tumble party vibes, with loads of bassline. The line up features all Tumble artists featured on the compilation, so it really is going to be a celebration of our sound. For those of you who do not win, I suggest you come down as it is pretty cheap for London and will be a banging evening.

You recorded a special mix for the takeover can you tell us a little about the music selection process and how it was recorded?

The mix is a real representation of what you can expect from a Tumble Audio set at the moment. Lots of certified bangers mixed with the dancefloor in mind. It was recorded on two CDJ’s and a mixer whilst me and Killjoy were eating olives and a cheese.

How did you and the rest of the Tumble Audio get into putting on events? Do you have any words of advice for aspiring promoters?

I have been involved in putting on events for almost ten years now, so the tumble event happened naturally after we started the label. Our first official event was with Dexplicit and Blackwax in March 2013. It actually didn’t go very well, but I had another one already planned with Marcus Nasty so we rolled the dice again, and it turned out to be a great success. Since then we have invited the likes of Kahn & Neek, Flava D, Champion, Coki, Terror Danjah, Logan Sama and Big Narstie to perform. We have been running nearly every month in Nottingham since the first event, and in the last year have also put on events in Bristol, London and Leeds.

The best bit of advice I could give to any aspiring promoter is to never be complacent and to always have fun, if you’re not having fun at your own night then how is anyone else supposed to?

What upcoming artists do you think people should be listening out for at the moment?

It is always hard to shout out a handful of upcoming producers as there really are so many smashing it at the moment. I would suggest to anyone who is reading this to first of all check out everyone on the compilation, there are some really awesome producers on there. Outside of Tumble I am really enjoying the music of Beneath, Brunks, Tropikka and Lenkemz.

What do you have planned for the label for the rest of the year and moving into 2015?

Just keep churning out music that people enjoy. We have already got a great EP lined up for TUM011 and are working on a number of other releases with some new artists who are yet to release on the label. Also expect to see new EP’s from Nativ, Deadbeat UK and Killjoy in the new year.

Events wise we have our release party this Friday at Plan B in London, then our next Nottingham event we are inviting one of my all time favourite DJ’s Spyro on the 4th October. We also have events coming up in Leeds and Bristol before the end of the year which will be announced extremely soon.

Just want to say a big thank you to everyone who has been supporting our music so far, especially the people who have been buying it legally through Juno Download. Your time guys!

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Check out previous Tumble Audio events:

Reviewed Tumble Audio Releases

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Reviewed this week
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Tumble Audio has been providing us with seriously killer bass music for a few years now, and here they celebrate reaching their tenth release by recruiting Roadman Joel to curate a selection of the kind of seriously heavy tunes you might expect to hear at one of their many label nights. There's a whopping 18 tracks on here covering a wide spectrum of British urban dance music, including Majora's ridiculously amazing tribal UKF monster "T&C's", A Motion's ghetto 2-step hybrid "Back In Your Love" and Sentiment's wobble-heavy tropical jam, "Change You".
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There's throbbing bass aplenty on the menu when Paul Lawrence and Andy Garrett get together with this EP for Four40, which finds the pair fusing techno atmospherics with rude garage styles to create a potent floor-filling blend. "Apocalypse" works around a snappy breakbeat pattern which buffets along the heavy-wobbling b-lines, while "Fire" is a more devoutly swung and shuffling stepper to inspire a wealth of uptempo gyrating, aided and abetted by choice vocal licks and tripped-out breakdown sections. There's no let up for "War Cry" either with its own blend of tight drums and gut-busting low end honed for the hottest part of the night.
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Sounds Of Sumo is fast becoming a prized name within the bass music spectrum, and it's thanks to the label's ability to find new and exciting producers from all over the globe. Majora, a newcomer with just a string of releases to his name, drops two hot new floor-nfillers backed by a even more scorching selection of remixers. "Exactly" and "Don't Watch" are both at the crossroads between house and bass, where Majora proceeds to deliver a slap-funk 4/4 groove over gnarly percussion shots. Over to the remixes, Flava D, Tanka and Boean all have a go at "Exactly", the former of whom gives us the standout, a gnarly, shuffling garage tune for the peak-time hours.
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Though he's been making and releasing music of various styles for roughly five years, it feels like Florence-born Digi G'Alessio has really found his creative voice since he starting working under the name Clap! Clap! Having established the project last year with the Gwidingwi Dema digi release for Origami Sounds, G'Alessio has since gravitated to the like minded Black Acre with the Bristol label issuing two Clap! Clap! singles. If you're not familiar with the Clap! Clap! sound, it deftly fuses traditional elements of African music with a rhythmic freneticism that is influenced by everything from house and hip hop to footwork and dubstep. Apply this to the album format as G'Alessio does with Tayi Bebba and you have some interesting listening, especially as each of the 17 tracks is presented as a tour of an imagined island, with "each song representing a location, event or ritual."
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Genre mashing production unit LV have enjoyed a fruitful partnership with British Nigerian vocalist Josh Idehen since first colliding on the 38 EP for Keysound Recordings back in 2010. Having flirted with Hyperdub for the release of 2012's Sebenza LP, LV and Joshua return to their spiritual home Keysound for third LP Islands. Whereas previous long players have seen LV manipulate Idehen's vocals, Islands finds Joshua given centre stage and lyrically exploring themes such as "murder, desperate loneliness, obsessions and sexually-unfulfilling nights out". Despite this new approach, Islands is a very confident album, with LV's arrangements perfectly complementing the tone Idehen takes with each track. "Talk Trim" and "Make It Count" are particular highlights.
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Back in 2010, Peverelist's Punch Drunk label released the Worth The Weight compilation, a collection of hard to find classics from Bristol's dubstep scene. In the years that have passed, dubstep has mutated, and so has Punch Drunk, with the classic dubstep sound giving way to something equally as likely to feature elements of house, techno and experimental music. It's this direction explored in the Worth The Weight Vol. 2: From The Edge, a 12-track compilation featuring tracks from the city and beyond. While Hodge and Tessela represent swung house and techno hybrids, Bass Clef and Ekoplekz are on hand to provide some strange analogue deviations, while Kahn and Zhou represent the city's Young Echo collective. With Pev himself, Andy Mac and Kowton delivering a remix of the classic "Roll With The Punches", this is an essential compilation for anyone with even a passing interest in the past few years of bass-centric UK music.
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Berlin-based She's Drunk is making his full EP debut with this snappy three-tracker for Liminal Sounds, drawing upon the legacy of soundsystem culture and modern low-end permutations to deliver distinctive club smashers. "Talk To Them" leads the charge with a wealth of jungle reference points rubbing up against whip-crack beats heavy on the stop-start dynamics, flying breaks and mammoth bass notes around the mix with gleeful abandon. "The Wild Yard" takes things even freakier with a dancehall undercurrent and an irreverent line in helium vocal licks before "Mariah Believes" slows things right down to a low-riding jam peppered with sliced and spliced vocals.
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Subscape, AKA producer Anthony Peters, has been releasing material on bass music specialists Dub Police since 2008. Here he shifts focus a little with "I Would Have Loved You". In its original form, the track melds UK funky tendencies and dubstep-influenced house rhythms with twinkling progressive house electronics, widescreen chords and cut-up autotune vocals. AWE delivers the most striking remix, an off-kilter, out-there dubstep interpretation seemingly influenced by glitch-hop and IDM. There's also a more straightforward deep UK funky take from Atlantic Parade which makes great use of the original's sweet strings. Finally, bonus cut "Angels" is a deliciously wide-eyed chunk of ultra-deep dubstep blessed with shimmering melodies and hazy, Jonny Nash style guitars.
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Alex Phountzi and Leo Greenslade's Greenmoney imprint deals only in the finest UK-driven house music. Newcomer Toyc makes his debut for the label after an impressive string of EPs on various European imprints, including Bristol's Crazylegs. "Shuffle", as the name suggests, stutters its way through broken beats and some seriously mutated basslines, while "Flip" goes even deeper into the wormhole thanks to a truly abrasive artillery of low-end frequencies. RS4 remixes "Shuffle" into a straighter, tighter house groove which sits on the boundaries between deep and tech house. On the strength of this we look forward to more Toyc business!
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Fresh from making his debut on Balans, the bleepy and linear techno offshoot from Darko Esser's Wolfskuil label, Nphonix touches back down in bassy territory with his second EP on Shifting Peaks following last year's Reach Out EP. Things sound full and electronic on the title track, which merges disjointed Detroit techno with muffled Chicago house. "Drifting in Barnard 68" is as dank as it is dub, hit by a flurry of breakbeats wrapped in a swirl of cloudy atmospherics. This release's third and final track has a footwork vibe of repetition, though slightly less frenetic, but still features a workout of drums and synth stabs that sounds like a UK incarnation of a slamming Kyle Hall joint.
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Wah Wah 45s is one of those labels that sweats musical freedom from every pore. The label head, Adam Scrimshire, has made it his goal to release just about anything that tickles his fancy. From daring tribal house cuts to tropical percussive music and much more, you can never know what to expect from this conniving little imprint. This time, Paper Tiger's tunes are remixed and revamped by a sublime collection of artists. There's something for everyone to enjoy in here, from slow-swung hip-hop scorchers to moody house cuts. We particularly like Lewis James' dub-fuelled remix of "Treasure Town", a true lesson in vibes and all-round musical relaxation.
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San Francisco's Worthy drops a payload on the inimitable Trouble & Bass imprint in the form of two brand-spanking new belters. "Golden Fang" is a proper hybrid track if we ever heard one - deep, sweltering bass, 4/4 kicks and absurdly mutated percussion blend to create an all-out monster! "The MZ" follows in the same vein, where gnarly squelches and melodies are swollen by a heavy kick-snare framework. Killers, both of them!
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As the Houndstooth roster becomes increasingly diversified with age, so Call Super remains the label's brightest star. Responsible for inaugurating the Fabric-housed operation, J R Seaton has subsequently gone on to deliver some of their best 12" offerings and the time feels right for the Berlin-based producer to show his hand at full length albums. In contrast to the techno-focused approach of his Call Super 12"s, Suzi Ecto finds Seaton expanding on his palette with 11 tracks that veer wonderfully between moments of electronic poignancy and more thrusting fare. Spend some time with Suzi Ecto and you'll find it to be one of this year's most rewarding listens with new favourites emerging with each cycle - "Raindance" is the current fave here at Juno HQ.
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Adelaide's Strict Face is a rising concern in contemporary grime circles, dealing in nutty, daring sounds that stretch the genre to its limits. Following a killer single for Gobstopper earlier this year, he lands on the sublime Tuff Wax with an immediately recognisable set of tracks. Using the genre as a rough guide for his broken, clicky percussion sounds float among dreamy pads and cosmic melodies, he creates tracks like "Slow Fields", an airy, ambient tune backed with some raucous gunshot-like sounds in the distance. Similarly, "In Evergreen" is a shimmering tune contrasted against a darker, more brooding two-step structure. All in all, a singular bunch of sounds which will tear any floor apart. Hot!
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In the aftermath of Moleskin closing out the 2013 Keysound compilation This Is How We Roll with a slab of emotive grime, the UK producer has experienced something of a breakthrough to be a major voice in contemporary grime. The Goon Club Allstars collective that Moleskin is part of has a real star in the making in the shape of MssingNo whilst his own self-titled release for the label is up their with this year's best. A full debut on Keysound had to happen sooner or later and the three track Satis House expands on the approach of his prior label contribution. All were written between 2011 and 2014, a time when "illusion and fantasy" were key themes in his work and Moleskin had withdrawn from the clubbing circuit, with the results taking on a more cinematic tone, albeit one realised in the hyper-defined world of Jam City.
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There was naturally much excitement when Aaron Jerome announced the forthcoming release of his second SBTRKT studio album, Wonder Where We Land. Before that drops, Jerome offers up another tasty teaser in the shape of "Look Away", an inspired collaboration with Chairlift vocalist Caroline Polachek. Her fragile, folksy vocals are the perfect foil for Jerome's imaginative musical backing - a kind of uneven fusion of grandiose jazz piano flourishes, spitting post-dubstep beats, immersive strings and foreboding electronic noises. Polachek's vocal is typically melancholic, which adds to the track's beautiful but intensely haunting feel. If his is the direction Jerome has chosen to take with Wonder Where We Land, it could be a great album.
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Having previously impressed with vivid blends of cosmic R&B, skewed space-pop, glistening post-ambient soundscapes and mangled, synth-laden grime, rising star Throwing Shade (AKA producer Nabihan Iqbal) demonstrates her dancefloor side with a killer single on Happy Skull. "Chancer" and "Blanx" both retain Iqbal's uniquely intergalactic aesthetic,whilst flitting between jacking, Chicago-influenced house rhythms and jazzy, off-kilter dancefloor grooves. Synths sparkle, while vocal snippets drift in and out of the mix. The single is completed by a riotous, predictably heavyweight remix from Kowton, whose guttural techno grooves are peppered with cut-up samples of Iqbal's distinctive, dreamy vocals.

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