Spotify’s decision to deal directly with artists in 2018 has made record labels nervous. The move by the industry-dominating streaming platform threatens cutting labels out of the equation, which should be of concern to all music fans.
The careful curations of labels and the work they do in guiding artistic talents is essential in building scenes and ensuring the music that reaches our ears is the best it can be. In our rundown of the best labels of 2018, we salute the imprints working hard to these ends. From the fresh names showing exciting potential to the established outlets continuing to shine, the institutions below assert the enduring necessity of labels to the music world.
In alphabetical order, these are the best record labels of 2018.
There might have only been a handful of releases on Black Focus Records in 2018, but what the label - ran by Henry Wu, aka Kamaal Williams - lacked in quantity was made up in supreme and sultry jazz-funk quality. The label boss kicked things off with his debut album ‘The Return’, giving us swinging, sexed-up melodies, cosmic synth flexing and ear-tickling piano keys. All of this had me relentlessly bopping earlier in the year when I saw Wu and his band play in a central London chapel.
‘The Return’ introduced us to London guitarist Mansur Brown (he featured on ‘LDN Shuffle’), who released Black Focus’ second album of the year, ‘Shiroi’. Shades of The Durutti Column’s 1979 album ‘The Return of The Durutti Column’ run through on tracks like ‘Mashita’ and ‘Straight To The Point’ and trust me when I say the combination of wriggly guitar riffs, scattered percussion and deep bass licks has eased me into many weekend hangovers.
Henry Wu’s coined the term ‘Wu funk’ for the sounds he produces. We’re definitely down to discover what else falls under that umbrella on Black Focus. Dave Turner
In 2017 ‘Club Chai Vol 1’ announced the type of energy that exists around the Oakland party and its nascent label. Agitations continued this year with the release of two very necessary EPs: co-founder 8ULENTINA’s ‘EUCALYPTUS’, which combines “Middle Eastern percussive sounds, recordings of objects or making processes”, and Jasmine Infiniti’s ‘SiS’, which is “a commentary on fear, sexuality, the importance of community and camaraderie, and the anger and shade of it all” as a black, trans woman in 2018. Although very different in style – 8ULENTINA serves brilliant new renditions of ‘club music’ and Jasmine Infiniti traces a path through techno, ambient and rave – both are genuinely powerful statements, flying in the face of dance music that can so often feel faceless and vacuous. Seb Wheeler
Watching footage of Kasra detonate d’n’b bombs at Boomtown, flame-flowers and all, it’s pretty clear that he’s become one of the figureheads of the genre. He’s been lighting up raves across the world for a second now, and is a particular heavyweight on the festival circuit, where the arsenal of tracks he has at his disposal comes into full effect. These come, of course, from Critical, the label he runs with an intense release rate. It’s been responsible for 22 drops this year, taking in the subterranean liquid and half-time facemelters of Halogenix’s ‘Deep News’, the alien funk of Emperor’s ‘Bloodsport’, Foreign Concept’s handle-with-care explosiveness on ‘Gozen’ and a debut EP from the boss himself, which contains the dankest rollage. But sheer quantity doesn’t make a label great; that should be measured by a commitment to unearthing boundary-pushing music and supporting a fervent scene, which Critical has locked down to an absolute tee. Seb Wheeler
This year Mumdance and Logos’ imprint has been concerned with rhythm ‘n’ space, releasing a trio of records that push you and pull you and – just when you least expect – cast you into a black chasm of nothingness. This can be experienced best on Raime’s ‘Am I Using Content Or Is Content Using Me?’, where bass engulfs the body and ghostly samples flicker into focus where hard drum beats would normally be. Nothing is conventional, with the duo pushing into more psychedelic territory than ever before. An EP from Szare and an album from Chevel fall either side: the former launching a leftfield techno assault, the latter using the breadth of an LP to explore the range between ambience and pure bangers. Listening across all three will leave you wrongfooted on many occasions, which is what good experimental dance music should do. Seb Wheeler
femme culture is a label and collective set up in 2016 by artist and producer of the moment Elkka, in response to the lack of support for womxn DJs, producers in music.
Alongside fellow creative DJ Ludo, Elkka has been championing womxn, and the LGBTQ+ community whilst bringing forward-thinking music through their carefully curated club nights and events around the country. Earlier this year they released their first label compilation ‘HeForShe x femme culture.’ a collaboration with UN Women. It featured the likes of Octo Octa, Anastasia Kristensen and Finn. Trust me when I say, femme culture are about to be your new favourite label. Sherelle Thomas
The Italo house revival is in full swing it's here to stay thanks to labels like Flash Forward. The Italian imprint is a bastion of excellence in a scene rigorously mined for house gems that still manage to sound as relevant as ever. Catching the eye of discerning diggers with their first batch of quality Italian house in 2016, Flash Forward have continuously found the best and brightest of the scenes tracks.
2018 saw the reissue of a highly sought after Anixus EP that Discogs sharks were flogging at pricely sums, an extended EP of Agua Re's 'Holy Dance' which was brought back into consciousness by another label on this list and, perhaps most importantly, 'The Cool Deep Mixes', only the second EP from OG Varese producer Don Carlos in 15 years. It's this kind of sustainable-resourcing of the scene that will keep it from turning into an empty pit of rehashed classics and for that we say thank you. Louis Anderson-Rich
Kalahari Oyster Cult
Amsterdam-based label Kalahari Oyster Cult has already developed a reputation for delivering something special and unique with each release over the last two years. Starting out as a go-to spot for dreamy house and reissues of overlooked gems, 2018 saw the label establish itself as a revered tastemaker in clubland while continuing to broaden its palette.
The approach resulted in six releases over the year including a compilation that melted sounds of krautrock, new wave, experimental and house together, a reissued album from 1995 by South Africa's Mpumi, while also staying on the pulse of what's current with bass-heavy and otherworldly EPs from Urulu and breakout star Roza Terenzi. They also started selling off their back catalogue digitally for those who don't play or can't afford vinyl. With labels often consigning themselves to one strict sound in an attempt to build up a core listenership, Kalahari Oyster Cult is bucking the trend. We say more mixed bags please. Louis Anderson-Rich
With only one release to date, Courtesy’s Kulør label may not seem an obvious choice for our list. However, its Kulør001 compilation, which came out back in October, looks set to become a seminal album, demonstrating why Copenhagen’s exigent techno scene demands attention. The compilation helps us gain an understanding of the city’s 140 BPM, trance-centric sound, while also showcasing some of its strongest individual talent, for example DJs IBON and Sugar, who make up four of the ten tracks. With support from the likes of Nina Kraviz, DJ Replacement Bus Service and obviously Courtesy (see her dynamic In Session mix), Kulør’s explosive introduction in 2018 makes it a great contender for our ‘labels of the year’. Expect big things to come from Kulør here on out. James Dewar
Brave and singular in its hybridized tone, Livity Sound is a leading imprint for UK techno. Formed in the wake of "dubstep's golden age" in 2011, Bristol-based artist Peverelist set up the label and live collective with Kowton and Asusu as a means to break away from dubstep and pursue a new musical direction. Using their bass music know-how to construct mutated forms of rugged techno, Livity Sound has come to define the type of corporeal music the UK scene thrives on.
Kicking off 2018 with three EPs from Facta, Via Maris and Toma Kami, the label released Forest Drive West's hypnotic debut album, 'Apparitions', in October. With its enthralling fusion of heavy drum programming, scattered reverb and billowing synths, the landmark LP has turned Forest Drive West into one the year's most appreciated underground players.
Created in conjunction with their joint Autumn US tour, label boss Peverelist joined with Tectonic's Pinch to release 'In Deep' - a noteworthy compilation that showcases the essential sounds of their respective labels' back catalogues. Putting finishing touches on an excellent year in music, Livity Sound dropped a collaborative three-track outing from imprint mainstay Hodge and newcomer Laurel Halo, titled 'Tru/Opal/The Light Within You'. With each passing year, the label's fresh output of tricky weaponry continues to push clubland forward with brutal and uncluttered dancefloor energy that is all the rage. Cameron Holbrook
Canada's NAFF is, quite simply, anything but. The imprint founded by Ex-Terrestrial and fellow Montreal artist Priori at the start of the year is a sound addition to Canada's thriving dance music scene, and with four top-shelf releases it's already forcing its way into the consciousness of clubbers.
Much like Vancouver label Mood Hut, the releases so far have been a family affair, with either Ex-Terrestrial or Priori appearing on all but Perishing Thirst's 'Pilgrims Of The Rinde' LP. Tied together by an aesthetic sitting somewhere between mid-90s Wiggle and the PS1 game Wipeout's main menu, every release has been an exceptional slice of forward-thinking house music with a nostalgic touch of the past creating one of 2018's clearest visions.
Ex-Terrestrial kicked it off with a four-tracker of bubbling delights and subwoofer-friendly grooves, while ANF explored lower BPMs and a 10 minute 909 workout. The jewel in NAFF's 2018 crown however was a collaborative effort, Housemates, that thrilled with four unique versions of it's track 'Soul Value'. The track's combination of ecstatic horns, uplifting chords and chugging drums lent itself to a number of euphoric moments over summer and rightly earned itself a place in our top tracks of the year. Louis Anderson-Rich
What makes a label of the year? Some would say it’s the quantity of releases, some would argue that the more established artists on the imprint means a bigger label and others might say that the label nights bring the sound to the masses. Here though, we’re giving Naive props because it’s been the label on everyone’s lips in 2018. With Violet at the helm, her label has released three huge EPs this year that have been slammed on dancefloors all over the planet.
The year started with a split EP in March from label-head Violet and Bleid before new Swedish talent Almaty brought forward the ‘Gennaro’ EP. Almaty was actually receiving Ableton lessons from Violet and the fruits of her labour made the grade for Naive’s third release, which came backed with remixes from Octo Octa, Endian and Photonz. The one that really had everyone talking this year though was the beautifully produced, almost-transcendant split record from Eris Drew and Octo Octa and the ‘Devotion’ EP is one of the best this year, hands down.
Eris Drew’s debut release had ravers reaching for the stars and clenching their jaws with euphoric grins slapped across their faces. Her ‘Hold Me’ (T4T Embrace Mix) is pure, unadulterated joy and combined with Octo Octa’s already established production talents, shot to the top half of our tracks of the year list. Let’s just say you’d be naive to overlook this ever-evolving imprint in 2019. Funster
The wave of club music pioneered by labels like Night Slugs and parties like GHE20G0TH1K this decade was made by stripping genres such as r’n’b, rap, grime and house down to their bare-bones to form a frostier, more industrial sound. In 2018 NUXXE is a label flipping the script again. The collective’s brand of experimental club music maintains the pulsating energy of its stylistic forerunners, but pushes the sounds back towards their roots, using lyrics and verses to recapture a more expressive, and at times sensual, dynamic within the commotion.
Shygirl’s razor sharp vocals make Sega Bodega’s stark and intense production on her ‘Cruel Practice’ EP all the more engaging, grounding the beats in stony delivery while simultaneously upping the ante with a slew of lethal bars. Sega also showed off his own vocals for the first time on his ‘self*care’ EP, warping them amid six potent pop bangers fuelled by elements of off-kilter club and skewed r’n’b. The latter style informs the basis of ‘The Rite Of May’ EP from French newcomer Oklou, which abandoned the label’s more extreme experimental tendencies in favour of mistier tones, making it NUXXE’s most accessible outing to date. Patrick Hinton
Vancouver’s Pacific Rhythm is the kind of the label that doesn’t like to make a fuss. Since 2014 it’s quietly released three editions of the ‘Rhythms Of The Pacific’ series and a handful of other releases, making it a go-to for lovers of woozy house. After this year, though, DJ DEE and Early’s label is going to have to get used to people making a big deal of what it does.
Ex-Terrestrial, the fairly new alias from Adam Feingold, can take huge credit for the ascension. His ‘Urth Born’ EP hit all the right nostalgic rave buttons, its lead track ‘Urth Man’ is a humming, acidic beauty laced with trippy twangs. The type of tune that soundtracks distorted old acid house rave videos and takes you a temporary audio-visual heaven.
Although technically first released in 2017 (but only on cassette), Khotin’s ‘New Tab’ hit stores on vinyl and pricked ears up in the process. The producer veered away from the house sounds of his 2014 album ‘Hello World’ to go on a meditation-ready ambient trip. ‘Frog Fraction’, full of twinkles and frog croaks, is a fave and the perfect remedy for a restless mind. Dave Turner
With these end of year lists, we aim to shine a light on as many new and burgeoning imprints as possible and for that reason, a lot of the bigger, more established labels don’t make the cut. With Phantasy however, it was just impossible to omit Erol Alkan’s legendary imprint as 2018 has been a stellar year for the UK stable. Of course there was February cover star Daniel Avery’s sophomore album ‘Song For Alpha’ that garnered incredible reviews across the board and heralded a new direction for his sound, one that incorporated ambient alongside a fiercer strand of techno.
Factory Floor’s Gabe Gurnsey released his debut album ‘Physical’ that showcased a dancey, pop-flecked excursion for the producer. In terms of EPs, there were more than ever. Red Axes made a welcome debut, Ghost Culture returned with ‘Axon’ and James Welsh continued to impress with his sonic vibrations.
Then of course came Erol with his first musical offering in five years and the two track ‘Spectrum’ EP didn’t disappoint. Alkan’s had a fantastic year as a DJ too, with sell-out To The Rhythm all-nighters taking place across the country. It’s a wonder how he still has time to curate such a carefully-considered schedule of music, but then again, that’s why Phantasy has, and always will be, one of the best electronic imprints out there. Funster
Brighton and Hove is a fitting home for Mike Paradinas’ label. The south coast city sticks out in the conservative climes of its region for cultivating a more eccentric approach to life, and 23 years into Planet Mu’s lifespan, the self-contained universe of outlandish sounds found on the imprint shows no signs of buckling against the tides of convention.
Planet Mu acts like an incubator around the minds of its free-thinking roster, creating an environment for the artists to explore their singular ideas. Innovation is a natural consequence. And 2018 has seen a coruscating run of radical releases emerge from the label.
Jlin has grown into one of the most exciting artists in electronic music in recent years for her twisted sound experiments rooted in footwork. Her 2018 LP ‘Autobiography’ - a score for Wayne McGregor’s ballet - shaped a new sound again, advancing from club to theatre with spacious ambient dancing around the propulsive core. RP Boo’s take on footwork on ‘I’ll Tell You What!’ was similarly idiosyncratic, ruminating on inspired samples and buffeting against established frameworks.
Jlin collaborator Zora Jones delivered a standout record for club thrills alongside partner Sinjin Hawke with ‘Vicious Circles’, engulfing lofty themes in erupting foundations. Bonaventure managed this expertly too on ‘Mentor’, synthesising existential and inescapable experiences into disruptive soundscapes, while Sami Baha’s patchwork of global trap cues highlighted the label’s prowess at distorting the familiar into next-level concoctions. Patrick Hinton
Roska Kicks & Snares
It's the home of UK funky and it's been ten years of hard graft for the London based label Roska Kicks & Snares. Roska is no stranger to a hectic release schedule, minting over 50 releases since the label's inception, and it's been going from strength to strength in 2018.
Roska himself led the charge with his 'Perception' album. Featuring Donae’o, Aleisha Lee, Mista Silva, Newham Generals, Jammz, Gemmy, Chrystal and Simbad the record harked back to his early ‘Rinse Presents’ release while updating his approach with inventive new tweaks to the UK funky formula. It arrived in a landmark anniversary year for the label alongside killer outings from the likes of Pharaoh K, DJ POLO, Boy 8-Bit, Champion, DJ Madd, Kouslin and more, indicating Roska Kicks & Snares has moved with the times and isn't going anywhere any time soon. Sherelle Thomas
If you’ve seen Young Marco DJ or heard one of mixes, you’ll know that the Dutch DJ and producer’s tune selection ranges from upbeat, bouncing house to leftfield sounds and meditation-ready ambient. It’s no wonder then that he joins those dots together on his label Safe Trip. Two of the label’s main releases this year - ‘Welcome To Paradise Vol. III: Italian Dream House 90-94’ and Darling’s ‘Tulipa Moves’ - exemplify this.
The former is the third and final installment of Young Marco’s euphoric Italo House celebration series, providing those sunshine moments all year round. The type that make you wanna sack everything off, book a flight to Croatia and get yourself on the dancefloor of Barberellas until the early hours. On the flipside, Darling’s ‘Tulipa Moves’ provides moments of synth-laden serenity, also making you wanna flick the kill switch on your day-to-day schedule, but conjuring up images of laying on a sunbed instead of being in an open-air nightclub.
Artis also came through with ‘Caecilia’, delivering ‘Panthera Pardus’, which could easily be a glorious addition to the Drive soundtrack, and Max Abysmal’s ‘Sutekh’s Mirage’ arrived to turn your life into a breezy walk through the park, if only for six-and-a-half-minutes. Enjoy your trip and be safe. Dave Turner
Scuffed Recordings have taken the year by storm. Birthed by Reprezent Radio resident High Class Filter and Definite Party Material’s Ian DPM, the pair have a mutual love of oddball electronic sounds and showcase this through the label. In its debut year the imprint has garnered support from names like Skream, HAAi, Ben UFO, Patrick Topping and Daniel Avery as well as radio plays on BBC Radio 1, NTS and Rinse.
With genres ranging from techno, electro, acid, breaks, and garage, the Scuffed sound is playful, unorthodox, and at times leftfield - but this doesn’t stop the label being the first place an international DJ will go to for a huge secret weapon. Sherelle Thomas
Manchester has long been associated with some of the country’s most pivotal musical moments, from local bands gone big to the one and only Haçienda club. More recently however, it’s crews like Swing Ting (helmed by Balraj Samrai and Ruben Platt) taking the reins as they steer the way towards Manchester’s next electronic music era.
Over the years, (Swing Ting parties started in ‘08, with the label launching in ‘14) the Swing Ting sound has become an instantly recognisable presence on the scene, merging a slew of energetic, boisterous bass and club sounds from the realms of dancehall, r‘n’b, jungle and more from a loyal roster of artists such as Equiknoxx, Murlo and Florentino alongside productions from the label bosses.
As a melting-pot of material, sounds and mainstays, this year alone the likes of Famous Eno, (‘Music for Clubs’), DJ Lag & Epic B (‘Goin Modd’) and Sharda & Shanique Marie (‘Wanna Know’) have released music on the label that’s both true to them and true to Swing Ting. Here’s to another 10 years... Jasmine Kent-Smith
It was quickly apparent from Timedance’s early releases that Batu was onto something special with the imprint, treading new ground for UK techno by pushing functionality to experimental extremes. 2018 has marked another flawless year and seen the label hit new heights of popularity, asserting its importance as an outlet keeping dancefloors moving and interesting, through both its own discography and its influence proliferating among a new generation of producers.
This year saw Timedance put out its debut compilation ‘Patina Echoes’, comprising contributions from a handful of label mainstays alongside a spread of new faces hailing from Europe to North America. “I wanted to push everyone...I wanted to showcase how we can still have dance music that isn’t relying on any specific pre-existing tropes,” said Batu of his curation. And the manner in which each of the 11 tracks is compelling and out-there while still fitting together coherently is indicative of the impact Timedance is having in cultivating new approaches and fighting inertia in dance music on a global scale.
Timedance’s ability to achieve these goals and wreak havoc on a dancefloor was underscored by the release of Ploy’s ‘Ramos’ in June. The playful combination of explosive snare rolls and MC vocal samples packs a punch as forceful as a stray elbow from its Spanish footballing namesake, and saw the track emerge as one of the most ubiquitous festival draws of the summer. Follow-up release, Lurka’s ‘Heat Mover’, was equally incendiary with its earth-shattering sub-bass, while Laksa rounded off Timedance’s year expertly with the finely crafted techno of his ‘The Amala Trick’ EP. Patrick Hinton
There’s an intoxicating splendour to watching a planetarium light show, as shooting stars and fiery galaxies zip along your eyeline in a series of spectacular projections. Delving into the discography of TT, fka Tobago Tracks, is like the aural equivalent. The London-based label’s catalogue is made up of dazzling sounds that are sometimes worlds apart yet intrinsically connected, forming a beguiling, formidable whole.
The two minds helming the imprint bring diverse musical backgrounds to the table. DJ Pitch, who launched the label in 2013, studied classical piano at degree level and grew up performing in bands, jazz groups and choirs, while Gribs, who came aboard last year, was focused on being a dancer and explored music through that prism. As they exited their teenage years their interests shifted to include electronic music, and together the pair have synthesised their tastes to define a unique curation approach.
In 2018 this has resulted in an invigorating release schedule of eight distinct outings, sharing a common thread of packing emotional weight into layered textures.Experimental outings from Lucaufer, Yeongrak, Litter Frog and a split from AF85 and Bianca Scout wrapped listeners in deluges of noise, eerie vocals and lustrous ambient, while object blue’s gripping techno-adjacent debut ‘Do you plan to end a siege?’ bubbled into an underground hit. The label’s credentials in the field of stimulating dancefloors were affirmed by INTENTIONALLY COLD unleashing frenetic club concoctions on the ‘CROSSROADS E.P’ and a split record which saw Bine exploring broken textures and BFFT offsetting them with entrancing melodies. And there was even scope for a honeyed take on trap, dancehall and drill with the release of Don Sinini’s ‘Grove Centraal’ EP. Patrick Hinton
Tri Angle has been a leading light in avant-garde electronic music since its formation in 2010 with attention heaped upon the Brooklyn-based label, including from scene heayweights such as Björk, so its lack of releases in an uncharacteristically silent 2017 was felt. But, as is common in the best experimental sound design, there was swarms of activity going on beneath the surface, with a number of the label’s key artists working on significant projects. This has come to fruition in a striking run of releases across 2018.
Three of the standout albums of the year have arrived via Tri Angle, and each respective artist has hit new heights on the release. Lotic progressed their sound from the anxious, serrated and impenetrable soundscapes of prior EPs to a more emotionally acute exploration of intimate themes in an experimental framework, incorporating their voice for the first time. serpentwithfeet’s refined his expansive, leftfield pop on ‘soil’ (a co-release with Secretly Canadian), improving on the formula set out on his debut EP with stronger sense of nuance found beneath the theatre. And Vessel convinced us the trend towards clubland orchestral renditions may not be all bad with the staggering ‘Queen of Golden Dogs’, merging classical arrangements and frenzied, futuristic club sounds into a set of anachronistic anthems.
On top of these LPs, reissues of Compton White’s hip hop abstractions and mmph’s sophisticated sound design put a spotlight on exciting new talents, while Hanz returned to the label with a strong two-part outing of spacious beats soaked in industrial rawness. Patrick Hinton
Established in 2015, UIQ is an ambitious, artist-led label championing a global collective of voices. Helmed by Lee Gamble, one of our favourite futuristic thinkers, UIQ has consistently supported and showcased a slew of our favourite newcomers and contemporary pioneers ever since its inception, with many stepping up to release highly-personal projects that just bang time and time again. In 2018, UIQ cemented its place as an experimental incubator, releasing wonderful debut LPs from the likes of rkss and label affiliate ZULI (titled ‘DJ Tools’ and ‘Terminal’ respectively), with a final, not-to-be-missed debut LP from Nkisi (‘7 Directions’) landing in January. When we spoke to Nkisi earlier this year she praised Lee and his crew for their encouragement and their creative support towards the project. “It was really nice to have [Lee] and the team be really into the idea and the concept,” she explained. A vital imprint indeed. Jasmine Kent-Smith
Unknown To The Unknown
We’ve said it before and we’ll say it again: DJ Haus is one of the hardest working artists in dance music. Not only does he travel around the world spraying nightclubs with spanky house, he runs his label Unknown To The Unknown which, year after year, knocks out a rapid rate of releases. 24 records came out on UTTU this year, from Kornel Kovacs’ fruity ‘Metropolis’ and Alan Fitzpatrick’s ‘System Addict’ EP to Mele’s ‘Tribal Trax’ and Bell Towers’ swirling house trip ‘My Body Is A Temple’.
On top of that, ‘DJ Haus Enters The Unknown Vol.2’ brought together the likes of DJ Seinfeld, DJ Stingray, Mall Grab and more as the label head mixed 44 tracks of house, electro and everything else dancefloor ready. That DJ Haus sure knows how to keep things lively. Dave Turner
White Peach is an independent record label based in West London founded by Zha focusing on grime, dubstep and garage. The label has dropped releases from Youngstar, Sukh Knight, Sepia, Gundam, and Neffa-T, and with connections all over the UK, the crew are hosting some of the freshest parties in the city.
2018 saw the the release of TMSV's slow and melodic Zoned Out', one of White Peach's strongest releases with with its clever use of sampling to create beautiful soundscapes. Bad boy releases from grime's most rated artists also landed, including Neffa-T and Gundam's 'Peach Bits'. The 4 track EP is perfect from start to finish and tailor-made to star in a cypher.
We'd go as far to say that White Peach is the future of bass music, and with the largest grime and dubstep specialist record store in the world they offer vinyl pressing and distribution solutions for other labels within the community. Proper. Sherelle Thomas