After six years away from Inspected, a label that the artist has called home on multiple occasions, Culprate recently announced his return to the imprint with the Normal EP, an eight-track journey that promises to resonate deeply with fans both old and new. Due for release on October 31st, the project showcases the artist’s signature technical mastery while delivering a fresh blend of stylistically diverse tracks, finding a perfect home on Inspected where innovation strives. Ahead of the release, we have the extreme pleasure of premiering ‘Area 51’ today.

‘Area 51’ plunges listeners into a sonic enigma, embodying the secrecy and speculation surrounding its namesake. True to his signature style, Culprate crafts a relentless neurofunk soundscape that feels both sinister and otherworldly, mirroring the myths of hidden technologies tied to Area 51. The track unfolds with an eerie atmosphere, as echoing synths and futuristic, metallic clinks build tension as if drawing closer to an unknown threshold. When the drums finally kick in, they do so with surgical precision, driving the track forward with a mechanical rhythm. Culprate uses sharp, punchy, and unpredictable drops and breaks, keeping listeners guessing just as Area 51 mysteries have done so for decades. The relentless bassline twists and mutates throughout, inducing controlled confusion through its intricate, sinister sound design.

‘Area 51’ is a drum and bass experience for the curious and the brave. Don’t miss it below and be sure to check out the rest of the Normal EP tomorrow.

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The next phase of NUEQ’s musical odyssey promises to be thrilling, as he makes his inaugural appearance on Inspected with the Zahara EP, coinciding with their 13-year anniversary as trendsetters in music, fashion, and beyond. What better way to celebrate this milestone than by embracing such a formidable talent into the Inspected fold? NUEQ has long admired Inspected, and the journey to the release of this project was surely rewarding.

In the words of NUEQ, “This past year and a half was challenging. I decided to leave everything behind and move to Bristol to try and advance NUEQ. After three months, I realized it wasn’t the ideal place for me so I decided to fly to Mexico to get closer to the US. I spent two months in Mexico, relaxed and traveled, and continued working on this EP. The next destination was Denver, Colorado, and it didn’t take me long to realize that I belong here. And here, out of all places, I finished ‘Zahara’, my EP dedicated to THE label – Inspected. Working on this project taught me that you don’t need anything but desire. It pushed me beyond what I thought I was capable of, and showed me that through hard work dreams come true.”

The Zahara EP signifies a remarkable evolution in NUEQ’s artistry, encompassing four diverse yet cohesive tracks. ‘Viernes’ opens with a serene sonic landscape, before seamlessly transitioning to a hard-hitting bass section without ever losing the musical essence from the introduction. ‘Neo’ maintains the energy but diverges stylistically as NUEQ explores the technicalities of drum and bass with this cut. ‘Ammonites Wall’ follows suit with a mystical tone reminiscent of ‘Viernes,’ maintaining a light and airy feel in the introduction before shifting to a heavier drop around the ninety-second mark. ‘Astarte’ brings the project to a close with NUEQ further demonstrating his ability to navigate between different styles, layering otherworldly soundscapes over mesmerizing drums to draw listeners into his sonic realm.

Inspected and NUEQ; a match made in heaven. Don’t miss Zahara below.

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It only makes sense that this epic body of work is released via Inspected, marking the label’s 50th release. The relationship between Inspected and Vorso, which dates back to 2017, is one of mutual respect and shared artistic vision. Inspected has provided Vorso with a platform to showcase his ever-growing artistic vision, while Vorso’s limitless creativity and technical excellence have aligned perfectly with their commitment to nurturing exceptional talent. The release of Holonomy is but a match made in heaven.

In anticipation of the album’s release on October 18th, we have the extreme pleasure of premiering ‘Weirdzone’ today. True to its title, ‘Weirdzone’ is peculiar in a hypnotizing way, changing tones midway through yet keeping you hooked with its quirks. The first minute of the track is upbeat and groovy, as Vorso uses fun effects and textures to keep listeners bopping. After that section, the soundscape of the track becomes more eerie and sinister, almost as if one entered this hypothetical weirdzone. Rugged synths and heavy bass take over, as Vorso creates an atmosphere tailored to the upcoming spooky season.

Don’t miss ‘Weirdzone’ below and be sure to catch Holonomy out in full on October 18th

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‘Wannabe’ is a quintessential Vorso track that fans immediately recognize upon hearing it. COPYCATT”s treatment of it is exactly what fans have come to love from the artist. Together, Vorso and COPYCATT’s names on a single track seems like perfection. About that, COPYCATT states, “I met Tom back in like 2015 when we were both using different monikers. We all used to chat in forums and comment on each other’s Soundcloud tracks, so in a digital kinda way it feels like we came from the same hood. I think we mutually enjoyed each other’s music even back then so it feels pretty wholesome to share a release with both of our names on it some 8 years later.”

COPYCATT keeps the allure of the original intact throughout the introduction, modifying it enough to be recognized as a new rendition but not too much to completely erase its origins. The talented producer quickly adds his own flair to the piece, before the drop hits and listeners are taken on a halftime journey. Typical with COPYCATT productions, the ‘Wannabe’ remix carries an aggressive swagger that flows well due to its hip-hop influence, punching harder with every passing bar but never becoming overbearing.

The glimmer of hope is also complemented by COPYCATT’s return to America. Until then, dive into his remix of ‘Wannabe’ below.

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Following the release of Echo Map and Azaleh’s ‘Feather,’ and continuing upon the theme of showcasing emerging talent, the imprint returns today with the release of a dual single titled ‘Inertia’ from OSO and Other Echoes. While OSO’s earliest track on Spotify dates back to late 2020, Other Echoes’ newest piece (prior to today) dates back to 2013. Quite a dichotomy, and to be honest we hadn’t heard of both of these artists before this release, but ‘Inertia’ is a must-listen. The track opens with an ethereal soundscape that gradually builds in energy as layers of percussion and synths slowly sneak their way into the introduction. At the seventy-second mark, the tone slightly changes as the producers flip the track into a groovy bass-riddled garage beat that isn’t overly energetic, but lively enough to get people moving. Spanning more than five minutes, ‘Inertia’ balances introspective textures and crisp sound design to create a silky smooth hit.

‘First Light’ accompanies the title track, with OSO showcasing what he can do as an individual artist. Beautifully complementing ‘Inertia,’ the second piece is just as mesmerizing as the first, as OSO seamlessly meshes serene melodies and riveting cuts of bass. ‘First Light’ is the type of garage tune that is perfectly suited for Inspected – its ability to act as both a complex story-telling ballad and a mindlessly danceable track is a recurring theme on the label.

Don’t miss ‘Inertia’ and ‘First Light’ below.

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Following William Light’s single ‘Lift You Up‘ from late June, Inspected are back today with the release of Echo Map and Azaleh‘s ‘Feather,’ a single accompanied by a second track titled ‘Nightfall.’ Despite being the first (and second) collaboration between these two producers, it comes as no surprise that their work is so cohesive and immersive, and Inspected is a welcome home to both their sounds. Each artist has an extensive catalogue of rich, soul-engulfing tracks that span much much longer than your average radio hit, creating sonic worlds within their songs to scratch more than a basic surface itch. ‘Feather’ and ‘Nightfall’ continue to do just that, meshing lavish melodies and otherworldly textures.

The title track, ‘Feather,’ opens with a graceful piano introduction that slowly builds with atmospheric effects and gentle percussion. Growing with additional layers of bass, the artists have concocted a track that transitions gradually from a focus on melodiousness to a focus on sound design, yet they never cut the natural flow of the piece. Seamlessly crafted and meticulously arranged, ‘Feather’ is as delicate as its name suggests. ‘Nightfall’ follows, beautifully complementing the opener with a more rugged approach as Echo Map and Azaleh put a heavier emphasis on bass. The introduction lures listeners in with its intriguing aura, before changing tones into a more bass house-leaning cut. While the first half of ‘Nightfall’ is mellow yet whimsical, the electro inspiration in the second half further demonstrates the production knack that both artists possess, forging a well-rounded piece from start to finish.

Don’t miss ‘Feather’ below.

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The next exemplification of this statement is the upcoming Cosmogony EP from Poland-based Ankou, serving as a follow-up to his stellar Fatum EP released back in March. Set to be heard by the masses on November 18th, Cosmogony is a six-track project spanning everything from dubstep, to halftime, to house, with Ankou showcasing a versatility that contends with the greats. The artist is able to evoke a plethora of raw emotions throughout the journey that is the Cosmogony EP, which is a rare feat nowadays among creators of bass music. Ahead of the full release, we have the extreme pleasure of premiering ‘Forlorn,’ a gloomy bass house track that spurs these conflicting emotions.

Regarding the origins of ‘Forlorn,’ Ankou tells us it started as a future bass project. “I tried to have a fresh take on the genre so I started messing around with Ableton’s Granulator II and writing the main chord progression. I have to admit I was really inspired by IMANU’s recent house tracks so I decided to give it a try changing the drums in the project and I thought that it sounded much better this way. It is definitely different than my usual stuff, I wanted to show my versatility as a producer with this one,” he adds. Within the project as a whole, ‘Forlorn’ acts as a relief to the first four tracks that are more intense and aggressive. As a standalone, ‘Forlorn’ is melancholic, sinister and slightly apocalyptic yet sprinkled with a tad of hope. The textures at the forefront of the introduction are granular and tumultuous, before Ankou uses percussion to give the piece rhythm and bounce without ever straying from the somber soundscape. In the second half, this theme is repeated once more, but a serene melody is layered above the contrasting darkness to give listeners a sense of rejuvenation.

‘Forlorn’ and the Cosmogony EP as a whole are a testament to Ankou’s undeniable versatility. Don’t miss the former below and stay tuned for the latter, out soon.

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The first and only single to drop on the label this year was ‘Biomes,’ an epic seven-minute adventure from Vorso and RefraQ. Today, the latter returns to Inspected with a new single titled ‘Bloode,’ a follow-up track to his highly-acclaimed ‘RUK‘ released in late 2019. As is often the case with Inspected, the release goes much further than just the music. ‘Bloode’ is accompanied by an incredible visual that perfectly suits the audio experience. Even though the music video is in black and white, the track paints vivid colours and emotions with its raw energy. ‘Bloode’ is a riveting hybrid of old school synth wave and modern bass music, as RefraQ showcases his ability to concoct something totally unique with his latest. The piece is hypnotizing from start to finish, boasting a sustained intensity for well over three minutes yet never growing repetitive.

Don’t miss ‘Bloode’ below.

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His latest project, the dayscapes EP, is all the listening one needs to do to get familiar with the genius behind the music. Out via Inspected, who have been on a tear of boundary-pushing collections in 2021, dayscapes is over twenty minutes of ground-breaking electronic music. Boasting the common theme of bass throughout, every track offers something unique to the sonic experience, from lighthearted jazz-influenced sections in ‘café mañana’ to hypnotizing drum and bass mastery in ‘anemoi.’ It’s rare to find a project that engulfs your spirit from start to finish these days, but dayscapes is sure to have you hooked for its entirety. Everything from the musicality to the sound design is executed meticulously, with voljum showcasing an evident evolution in his artistic abilities since his latest project. We would try to do every track justice with words, but words are simply not enough to describe the journey that is the dayscapes EP.

We had the extreme pleasure of catching up with voljum to discuss his background, his influences, the new EP, and more. Dive into dayscapes and the interview below.

So, we know you’re classically trained, but what exactly does that mean? What instruments do you play? How long have you been playing this/these instrument(s)?

In my case, “classically trained” simply means that I studied my instrument in the field of classical music, as opposed to jazz or popular music. I began playing the piano when I was four years old. Along the way, I’ve been accepted to conservatories, won several competitions and currently I’m studying piano pedagogy (music education for piano) at university.

Do you still play this/these instrument(s)? If so, do you still enjoy it as much, less, or more than when you did when you were younger? Why do you think that is?

As time went on, I began to enjoy it a bit less, since my new-found passion for electronic music slowly started taking over my everyday life. However, it’s so tightly connected with my music production workflow that I can’t quit, even if I wanted to. And I don’t want to, because through music production I discovered different aspects and new facets of piano-playing that reignited my passion for it.

When were you first exposed to electronic music? When did you decide that it was something you also wanted to venture into?

The first time I heard electronic music was through video games, back when I got my PlayStation 2 as a six-year-old. I was too young to properly understand and appreciate it, but the energy that some of those tunes had, made the experience stand out to me and I enjoyed it just as much as any other music I was presented with. As I got older, I was able to shape my musical tastes and as a result I became a bit more narrow-minded, only enjoying a few songs and harshly rejecting music with aggressive sounds. I was enthused by the complex rhythms of jungle and drum and bass, until one day I finally decided to give it a try myself — with a Yamaha PSR-9000 and some breakbeat samples, which I copied onto a floppy disk. Only a few months later did I discover Digital Audio Workstations.

Who were your early influences in electronic music, and what inspires you to create nowadays?

Early on, I listened to a lot of Moving Shadow, Good Looking Records and Metalheads artists, as well as plenty of jungle mixes in general. Later I got into slightly heavier music by artists from the drum and bass and early UK dubstep scene, but also more subtle and intricate experimental-leaning music. I still get the most inspiration from late romantic and early modernist classical music, as well as various styles of jazz.

Do you use a lot of your training while creating electronic music, or are they two totally different worlds? How important is it for you to balance these two seemingly distinct realms of music?

More or less everything that I’ve learnt through my classical music education over the years (such as music theory, instrumentation, ear training, etc.) is finding its use in the music I create. While they are still two completely different disciplines, I often notice that one is influencing the other in different fields. Music production is beneficial to my creativity and drove me to practice the act of improvising on my instrument. As a result, it’s easier for me to associate and create musical structures (such as riffs, vamps, motifs and themes) on the fly. On the other hand, my early contact with music helped to develop my hearing and therefore I can use that ability of recognising notes and chords to mix with more precision and write melodies and chords quicker whenever I don’t have my MIDI keyboard around. This particular example is sort of a symbiotic influence cycle, where both abilities profit from each other. Balancing these activities (in terms of the time I spend on them) is a big challenge, mainly because I find myself having far more fun creating my own music than performing music written by others.

The dayscapes EP is truly amazing. Tell us a bit about it. How long has it been in the works? Did you have a concept for the project from the beginning, or did these four tracks come together individually before being lumped into a collection?

I decided to start an EP after I had finished half-overcast back in March 2020, but I didn’t properly start until July. Eventually, I got into a proper flow and, all in all, it took about five months to complete, with a few larger breaks in between. Right from the get-go, I wanted to have all tunes connected to the central theme of weather, climate and landscapes in one way or another — that was the main source of inspiration.

From the beginning of this project, storytelling and igniting the listeners’ imagination was an important factor, and I’d like to keep that quality in my music going forward.

What is your favourite track from the bunch? Why?

It’s really difficult for me to pick a favourite, each track has its own character and charm. However, there are two tracks that indicate an evolution of my sound, avenues that I would like to explore more in the future: ‘café mañana’ and ‘anemoi.’

The dayscapes EP is one of a kind, similar to Inspected. How did you link up with them, and why do you feel Inspected is the right platform to showcase this work?

In January 2020 I made ‘missile’ and my friends convinced me to send it to Inspected. I was very skeptical at first, since it’s quite an aggressive tune, but they seemed to like it and we released it later that year. Ever since I was introduced to the Inspected sound back in 2017, I’ve been greatly enjoying their releases and I definitely looked up to the artists on that label. As soon as I finished this EP, I was keen to send it to them because I felt it would fit in with their catalogue, while providing my own perspective and touch on bass-heavy electronic music.

What are your plans for the rest of 2021, both musically and beyond?

This year, I’m hoping to continue with more singles and maybe a few remixes along the way! I’m going to keep developing my sound and find new and exciting ways to express myself through music. Generally I’d like to lean towards a more emotive and expressive style, while incorporating heaviness in more “musically appropriate” and “pleasant” ways. From the beginning of this project, storytelling and igniting the listeners’ imagination was an important factor, and I’d like to keep that quality in my music going forward.

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gyrofield’s Synopsis EP dating back to October 2020 saw her develop a meticulous, boundary-pushing approach to production, stating that it was all “about taking drum and bass to its extremes.” Today, the talented artist looks to push that mentality one step further with the release of her Title Card EP via Inspected, orchestrating four mind-melting pieces that are sure to leave listeners awestruck. Fittingly delivered through a platform that only showcases the best and the brightest, the Title Card EP is a gem worthy of multiple listens from start to finish.

Soft, comforting textures float vividly throughout ‘Silk.’ ‘Rosequartz’ alongside frequent collaborator latesleeper is a glitchy, ethereal journey that is equally calculated as it is emotive. Chaotic, fast-paced rhythms leave one perplexed yet amused in ’23nd,’ and ‘FYDB’ is similar, but different. Simply put, every track is uniquely incredible, with gyrofield stating that “these four worlds are interlinked by their exploration of meaningful characteristics of sound, their central concepts originating from my perception of reality.”

We had the extreme pleasure of catching up with gyrofield to discuss the above statement in more detail, the ideas surrounding the project as a whole, and a few more interesting bits. Check out the project and the interview below.

The title card of a movie sometimes denotes the change from one act to another. How is the title of this project a reflection of this new chapter in terms of your sound?

Title Card and Self Titled represent a change in the way I approached writing music. For a very long time I was mainly invested in the technical side of production, aiming to execute ideas as best as I could. Some time after my Synopsis EP I began writing music that reflected on my mental state, my thoughts and the way I perceived the world. This was the beginning of a shift from a focus on dancefloor tracks to music that is emotive and expressive, though the two aren’t mutually exclusive.

You’ve talked about musical journaling in the past. Broadly speaking, what does this mean to you?

Musical journaling to me means that I’m trying to write something that is personal to me, and is reflective of my mental state and thoughts while creating the piece. Achieving this involves a process of self-discovery and relating aspects of myself with the ways that I write music, finding ways to create an authentic representation of my mind using the tools and processes involved in music production. Obviously this is an ongoing journey, and extends way beyond Title Card and Self Titled. Journals document personal experiences and thoughts with an aim of being truthful and honest, and I would describe my way of approaching music to be similar to that.

The project title is relatively straightforward, but the song titles aren’t. What does each track represent to you, and how do they all fit together to form what you envisioned for the Title Card EP?

These track titles are a bit oblique but each track represents a general concept or aspect of myself. These titles are up to the listeners’ interpretation. In attempting to depict these concepts I looked to creating character in sounds that remind me of them.

‘Silk’ to me is a track that sounds soft, smooth, and flowing. As with many other synth-focused tracks I’ve written there was a focus on warmth. It is something I’ve looked for in the music I listen to and make for years now, and ‘Silk’ is one way I chose to represent this characteristic in sound.

‘Rosequartz’ is about beauty and light, like how light refracts and splits into prisms when hitting a crystal. Kai (latesleeper) and I decided to depict that with small, discrete pieces of synth sounds. The interaction between the sounds creates the crystalline and fragmented aesthetic of the track.

’23nd’ was a track I wrote while reflecting on the pervasive disorder of the systems in our societies. It was written in a time of social movements and systematic injustice. Cold calculated rhythms form a complex web of musical relations that warp and develop over time. There is a kind of aggression, akin to the rage against the machine.

‘FYDB’ is similar to 23nd in the way it also has to deal with systematic and personal injustice. I wrongfully thought that the drum and bass scene would be a meritocracy where everyone could belong. Disillusioned by the truth I began writing the track in a turbulent state of mind. I wished I could just yell at everyone with a megaphone to get it together.

You recently tweeted about wishing you were more active on social media, but that you find comfort in creating in private. Can you elaborate more on that thought? In this age of social media, how do you balance promoting your work while still working in privacy? Why do you wish you were more active?

With that tweet I wanted to express the sentiment that it felt tiring to have a presence on social media while having to create music. It would be nice networking with people more often, and that would probably lead to many great opportunities for collaboration. It would also be nice to be more outspoken about social issues, and to be true to my moral compass all the time. It would be nice to do these things, but I simply don’t have the time and energy to involve myself like that, on top of living and creating. Right now I wish to continue my personal process of creating art in private, where I don’t have to prove my capabilities or be outspoken about anything. It’s also nice to be able to not be seen as ‘gyrofield’ when I interact with people in online spaces.

Why do you think Inspected is the right platform for you to showcase this evolution in your artistic abilities?

Above all, I’ve enjoyed Inspected’s output for years, they’ve released so much imaginative and thoughtful electronic music. Now that my focus in music is shifting to dreaming and thinking in sound, and I’ve grown in confidence in my craft, I felt like I could present my work to Inspected and its community. I want to present my perspective to people who are looking for forward-thinking and genuine expression in music, and Inspected is a good place for that.

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