MP3, WAV, FLAC
SECURE SHOPPING
Juno Download offers over 3 million dance tracks in MP3, WAV & FLAC formats, featuring genre pages, advanced audioplayer, super-fast download speeds.
Visit Juno Download
DJ & STUDIO EQUIPMENT
SECURE SHOPPING
Massive range of equipment and accessories for DJs and studio use.
Visit Juno DJ
VINYL & CDs
SECURE SHOPPING
The world's largest dance music store featuring the most comprehensive selection of new and back catalogue dance music Vinyl and CDs online.
Visit Juno Records

Win: Tickets to Swamp81′s NYE party

by Juno Plus on 20.12.2012 at 14:43pm

The Swamp81 family will be taking over London’s Lightbox club on New Year’s Eve, and we have a pair of tickets to give away to both the ringing in of the bells, and the afterparty which follows.

Read the rest of this entry »

MC Chunky readies debut release for Swamp81

by Juno Plus on 31.08.2012 at 13:13pm

Details have emerged on the next release from Loefah’s Swamp81 imprint, the debut release from MC Chunky.

Read the rest of this entry »

FaltyDL – Mean Streets Part 2 review

by Juno Plus on 11.04.2012 at 15:35pm

It’s difficult to gauge which label FaltyDL’s music is most suited to; he’s graced Planet Mu with two albums and a sprinkle of EPs, and his productions seem equally at home on zeitgeist obsessives 50Weapons, Amsterdam’s house and techno bastion Rush Hour and evergreen UK beats institution Ninja Tune. The fact is his music – a cluttered, intoxicating blend of garage, house, jungle, hip-hop and afrobeat – is suited to all of the aforementioned imprints, yet the most thrilling FaltyDL 12” to date, for this writer at least, was Mean Streets Pt. 1, released via Swamp81 last year. There are a few reasons for this: it was a vinyl-only affair and limited to 500 pressings. The full picture sleeve offered a glimpse of contemporary Brooklyn life, with visual artist and long term Swamp affiliate Ashes57 on hand to take a classy black and white photo. The music itself was bliss, particularly the ephemeral future soul jam “Moonshine”.

Read the rest of this entry »

Boddika & Joy Orbison – Swims review

by Juno Plus on 11.01.2012 at 13:39pm

The arrival of Boddika and Joy Orbison’s “Swims” will probably end up being Swamp81′s biggest release of the year, but those who have heard it will know it was really the biggest release of last year. Unleashed on the world via Rinse FM at the end of March 2011, and then promptly ripped onto YouTube by a number of bedroom fanatics eager to bask in its reflected glory, it’s a landmark track for the nebulous “UK Bass” scene, whose name dare not be spoken at risk of incurring the wrath of Ben UFO on Twitter.

Read the rest of this entry »

Pinch – Retribution review

by Juno Plus on 20.12.2011 at 12:10pm

For all the hype over the various Joy Orbison & Boddika tracks which have yet to see light on Swamp81, it’s easy to forget that when they’re not breaking the internet with their indomitable hype machine, Swamp81 have been quietly releasing some of the best dubstep records of the last few years, and this new release from genre pioneer Pinch is a case in point.

At 128bpm, “Retribution” is perhaps a little slow for most dubstep DJs, but is no less powerful for it. The hallmarks of the genre are all there; booming subs, ethereal vocals, rolling kicks, but as a track it perhaps fits more with the slightly straighter take on the genre coming from Instra:mental and their solo identities as Boddika and Jon Convex. It’s prescient that this track has arrived within weeks of Clone’s Drexciya reissues; the searing synth lead that gives “Retribution” its uniquely heavy texture could easily be described as positively Drexciyan, and it’s very much a Drexciyan school of thinking that has influenced Boddika’s releases for Swamp81 this year. But while Boddika’s “Electron” and his collaboration with Joy Orbison, the as yet unreleased “Swims” delivers a frenzied, ADD take on that style of production, Pinch’s “Retribution” couldn’t be more different, delivering a much more measured take on abrasion, damaging the track’s fragile surface by rubbing it with sandpaper.

“Get Out Of Here” on the flip is a much more traditional take on the genre, providing a masterclass in looming threat, which, free of the cosmetic scratches of  “Retribution”, allows Pinch’s unadulterated bass to seep through the gaps. It’s over in a mere four minutes, but it’s testament to Pinch’s ability to create such sheer scale in his productions like nobody else that leaves you feeling more than satisfied.

Scott Wilson