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Key Information

Brandon Avery Perlman (born 1989/1990), known professionally as Delroy Edwards, is an American electronic music producer and DJ based in Los Angeles.[2] According to AllMusic's Paul Simpson, he produces "gritty, lo-fi house tracks in addition to trippy, abstract mixtapes".[3] He is the owner of the record label L.A. Club Resource and runs the underground hip-hop reissue label Gene's Liquor.[3]

Edwards is the son of actor Ron Perlman.

Early life

[edit]

Edwards was born to actor Ron Perlman and jewelry designer Opal Stone Perlman. His father is Jewish with roots from Hungary and Poland and his mother is Afro-Jamaican.[4][5][6] He has an elder sister, Blake Amanda (b. 1984).[6]

Edwards was exposed to different genres of music while growing up, including post-punk, industrial, funk and R&B.[3] Edwards also stated that he frequented noise concerts and listened to KROQ-FM artists and acts such as New Order, Joy Division and Depeche Mode throughout this time.[1] His parents were influential in his early musical development and provided him with his first drum kit;[7] he was trained classically in jazz drumming.[8] His mother, a fan of gangsta rap and dancehall, introduced Edwards to underground hip-hop and cassette culture.[9] He was introduced to house music by a friend of his sister, who taught him how to operate a drum machine.[1]

Edwards briefly attended California Institute of the Arts to study music.[8]

Career

[edit]

Moving to New York City in 2010, Edwards worked at A1 Records with Ron Morelli, who founded the label L.I.E.S. His debut 12", 4 Club Use Only, was issued on the label in 2012. Releasing a string of EPs on the label,[3] he founded his own imprint, L.A. Club Resource, in 2013.[10] Edwards's chopped and screwed mixtape series, Slowed Down Funk, was issued on the label for free download.[3][11]

In 2014, The Death of Rave record label issued Teenage Tapes, a compilation of experimental tracks that Edwards recorded back in art school.[12] The same year also saw the debut of Edwards's techno project, DJ Punisher.[9] In 2016, Edwards released the 30-track full-length Hangin' at the Beach on L.A. Club Resource; Resident Advisor's Matt McDermott described it as his "most realized album to date."[13] Its follow up, Rio Grande was issued in 2018.[14] In the same year, he returned to L.I.E.S. with the LP Aftershock, his first with the label since 2013.[15] Edwards also collaborated with Dean Blunt on Desert Sessions, a collection of experimental synthesizer tracks.[16]

In 2020, L.I.E.S. issued his full-length album, Slap Happy.[17]

Musical style

[edit]

While Edwards is known to employ different genres for his different releases, including house, techno, chopped and screwed, Memphis rap, noise, hardcore and obscure American garage rock, his music is generally characterized by lo-fi production and tape hiss.[13][17][18] Pitchfork critic Marc Masters thought that Edwards combines "the faded '80s vibe of Ariel Pink and John Maus with a sharp eye toward what moves bodies on dance floors today,"[19] while Kevin Ritchie of Now regarded his work as "avowedly anti-pop, anti-digital and anti-glam in its minimalism."[20] His work is often associated with the "outsider house" scene,[21] with his EP 4 Club Use Only being regarded as a defining release of the genre.[18][22] His Slowed Down Funk mixtape series were heavily influenced by DJ Screw and featured "edits of laid-back Southern rap and '80s R&B grooves filtered through his hazy, lo-fi sensibilities,"[3] while Hangin' at the Beach was characterized by "racing new wave-inspired electronic drums and occasional post-punk basslines" that permeated through the record.[23]

According to Shawn Reynaldo of Pitchfork, Edwards's aesthetics are informed by "classic Chicago house and vintage rap tropes."[17]

Discography

[edit]
Studio albums
  • Teenage Tapes (2014)
  • Hangin' at the Beach (2016)
  • Rio Grande (2018)
  • Aftershock (2018)
  • Desert Sessions (2018; with Dean Blunt)
  • Slap Happy (2020)
EPs
  • 4 Club Use Only (2012)
  • White Owl (2013)
  • Untitled (2013)
  • Kickin Butts!! (2015)
  • Wagon Wheels (2019)
  • Dubonnet (2019)
Mixtapes
  • Slowed Down Funk Vol. I (2014)
  • Slowed Down Funk Volume II: Hate Is Beneath Me (2014)
  • Slowed Down Funk Vol III: Pure Evil (2014)
Singles
  • "Heart and Soul" / "Sprk tha Dust" (2012)
  • "Untitled" (2013; with FunkinEven)
  • "Can U Get With" / "Always (Edit)" / "Untitled" (2014)
  • "Heart of Gold (Take 2) Raw Jam" (2015)
  • "Stop It Baby" (2017)
  • "When I Think" (2018)

References

[edit]
[edit]
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Delroy Edwards

View on Grokipedia
from Grokipedia
Delroy Edwards (born c. 1990 as Brandon Avery Perlman) is an American electronic musician, record producer, and DJ based in , recognized for his influential work in the underground through gritty, lo-fi house tracks featuring thick, punk-inflected tape-hiss textures and abstract, experimental mixtapes. His music draws from traditions, lo-fi collage techniques, and the raw energy of Los Angeles's punk scene, often prioritizing atmospheric immersion over polished club precision in both production and DJ sets. The son of actor and jewelry designer Opal Stone Perlman, Edwards grew up in Los Angeles amid the city's vibrant punk and music subcultures, which shaped his early creative influences. After being expelled from the , he relocated to around age 18–20, where he immersed himself in the electronic music world by working at the influential A1 Records store alongside Ron Morelli, founder of the L.I.E.S. Records label. This period marked the beginning of his professional trajectory, leading to his debut release, the critically acclaimed EP 4 Club Use Only in 2012 on L.I.E.S. Records, which established his reputation for raw, tape-saturated sounds. Edwards co-founded his own label, L.A. Club Resource, in 2013 to release his work and support like-minded artists, expanding his output to include full-length albums such as Slowed Down Vol. 1 (2014), (2018), and (2021). His discography also features notable EPs like (2013) and (2019), both on L.I.E.S., blending funky, distorted beats with experimental elements. As a DJ, he has performed at major events, including the 2024 Club to Club Festival in , , and maintained an active touring schedule into 2025 with sets in and . Through these efforts, Edwards has solidified his role as a key figure in contemporary electronic music, bridging underground aesthetics with broader experimental influences.

Early life

Family and upbringing

Delroy Edwards was born Brandon Avery Perlman on March 28, 1990, in , . He is the son of and jewelry designer Opal Stone Perlman, who is of Afro-Jamaican descent. Edwards has an older sister, Blake Amanda Perlman, born on January 7, 1984. Raised in , Edwards grew up in a creative household shaped by his father's prominent career and his mother's background in fashion and jewelry design. The family environment provided access to diverse music collections, reflecting the artistic influences of his parents and exposing him to a broad range of sounds from an early age. This included genres such as , industrial, , R&B, and , drawn from family record collections that highlighted the eclectic tastes fostered by his upbringing. Additionally, his familial musical heritage featured professional drummers among relatives, including his uncle and grandfather, which contributed to an early rhythmic foundation in his childhood experiences.

Musical education and early influences

Edwards received training in jazz drumming from a young age, with his uncle and grandfather serving as professional drummers who provided foundational rhythmic instruction and his first . His family's exposure to diverse sounds, including through his mother's collection of and tapes, further shaped his early listening habits. Edwards briefly attended the to study music, where he engaged primarily with an African drum composition course that aligned with his percussion background, though he described himself as mentally disengaged from the program overall, leading to his expulsion. This formal exposure reinforced his interest in primal, tribal rhythms, which he later connected to house music's heartbeat-like qualities. A friend's introduction—through his sister's circle—marked Edwards' entry into , as the individual played tracks for him and demonstrated how to operate a , sparking his shift from live drums to electronic production tools. Complementing this, his mother's curation of underground hip-hop on cassette tapes immersed him in bootleg culture and raw, unpolished sounds from the 1980s and 1990s. These influences converged in Edwards' early experiments with recording, where he sampled hip-hop tapes, layered drum beats, and captured the results onto cassettes to achieve a warm, lo-fi aesthetic reminiscent of era-specific underground aesthetics. Often conducted in bedroom settings, these sessions emphasized analog grit over polished production, laying the groundwork for his signature raw style.

Career

Move to New York and debut

In 2010, at the age of 20, Edwards relocated from to to pursue opportunities in electronic music production and DJing. Upon arriving, he took a job at the renowned A1 Records, a key hub for vinyl collectors and electronic music enthusiasts, where he worked closely with Ron Morelli, the founder of the influential L.I.E.S. Records label. This role provided Edwards with direct access to the city's underground electronic scene, allowing him to build connections among producers, DJs, and label operators through daily interactions at the shop and exposure to rare records and emerging talent. Edwards' time at A1 lasted approximately 1.5 years, during which Morelli mentored him on dance music history and production, deepening his understanding of genres like and . These experiences helped him network within New York City's tight-knit electronic community, including attendance at underground parties and collaborations with like-minded artists associated with L.I.E.S. His professional breakthrough came in 2012 with the release of the 4 Club Use Only EP on L.I.E.S. Records, a four-track 12-inch vinyl that showcased raw, lo-fi tracks such as "Bells" and "When the Glue Won't Burn." The EP quickly established Edwards as a rising figure in the outsider movement, praised for its gritty, DIY aesthetic that blended classic elements with experimental edge, and it marked his debut as a professional in the scene. Following the release, Edwards began performing at intimate underground venues and parties in New York, further solidifying his presence through sets that highlighted his burgeoning DJ skills.

Founding of labels and relocation

After gaining experience in New York City's underground scene, Edwards returned to his hometown of around 2013. There, he founded the label L.A. Club Resource in 2013 along with Jimmy Mock and Henoch Moore, initially as an extension of L.I.E.S. Records but quickly establishing its own identity to facilitate self-releases and support emerging artists in the local community. The label emphasized raw, lo-fi electronic sounds reflective of Los Angeles nightlife, providing a platform for Edwards' productions as well as contributions from like-minded producers. In conjunction with L.A. Club Resource, Edwards helped establish Gene's Liquor, an indie distribution firm and reissue label operated with collaborators, focusing on experimental and obscure underground works such as long-lost New Orleans rap albums and gritty recordings. This venture handled distribution for L.A. Club Resource releases while excavating and reissuing rare tapes from genres like and , broadening Edwards' influence in archival and experimental electronic music. Post-relocation, Edwards intensified his DJing activities, often performing under the alias DJ Punisher for his techno-oriented sets, which featured noisy and corporeal explorations. This period saw him secure local residencies and gigs in venues like , while expanding internationally with his first European tour alongside the L.I.E.S. crew in March 2013, and subsequent appearances at festivals such as Club to Club in .

Key releases and collaborations

Delroy Edwards achieved a breakthrough with his 2014 album Teenage Tapes, released on The Death of Rave, which featured a collection of raw, tape-recorded tracks blending elements with lo-fi aesthetics. This debut full-length marked his shift toward more experimental production, drawing from manipulation and guitar pedal effects to create a gritty, immersive sound. Subsequent releases solidified Edwards' reputation in underground electronic music. In 2016, he issued Hangin' at the Beach on L.I.E.S., a tape of sun-soaked, vaporwave-inflected house tracks that captured a laid-back Californian vibe. This was followed by Aftershock in 2018 on L.I.E.S. Records, exploring post-rave deconstructions with distorted synths and rhythmic fragmentation. Edwards continued this trajectory with Slap Happy in 2020, a playful yet abrasive LP on L.I.E.S. Records, and Change the World in 2021, which incorporated more polished techno influences while retaining his signature raw edge. A significant collaboration came in 2018 with , a joint album with released on L.A. Club Resource, featuring 19 improvised tracks that merged Blunt's hazy, psychedelic production with Edwards' house foundations for an experimental, desert-noir atmosphere. The project highlighted Edwards' ability to adapt his style in partnership, resulting in a critically noted fusion of their respective underground scenes. In recent years, Edwards has revisited and expanded his catalog with reissues and new mixes. Slowed Down Funk Vol. I and Vol. II: Hate Is Beneath Me, originally from 2014 and 2015, were reissued in 2025, updating their chopped-and-screwed tributes to Houston's with fresh digital availability and remastered audio. Culminating the year's output, Palace: Delroy Edwards Winter Mix, a released on November 7, 2025, via , showcased his live set curation with 18 tracks blending archival cuts and new edits for a seasonal, flow. Edwards has maintained an active touring schedule, including performances at the 2024 Club to Club Festival in , , and sets in and in 2025. Edwards' output has evolved from early EPs on labels like L.I.E.S. to full-length albums on his L.A. Club Resource imprint, increasingly influenced by his live DJ performances that emphasize spontaneous mixing and tape manipulation techniques. This progression reflects a maturation in his production, prioritizing immersive, set-like experiences over standalone tracks.

Musical style

Genres and production techniques

Delroy Edwards primarily works within the genres of lo-fi house, , , , and minimal synth, blending elements of with raw, experimental edges. His lo-fi house tracks emphasize distorted, atmospheric grooves that deviate from polished club standards, while influences appear in his unconventional, DIY-leaning interpretations of house rhythms. Techno elements surface in his offbeat, pulsating compositions, often infused with hip-hop undertones from techniques, as seen in slowed-down, pitch-shifted reinterpretations of and rap sources. Minimal synth aspects emerge in sparse, synth-driven pieces that evoke coldwave and early electronic . Edwards' production techniques center on achieving analog warmth and imperfection through cassette recording and intentional tape hiss, which impart a gritty, low-fidelity aesthetic to his work. He frequently employs slowed-down samples drawn from '80s , , and rare punk records, manipulating them to create disorienting, trippy soundscapes that blur genre boundaries. Minimalist arrangements dominate his output, featuring sparse layering of elements like live-played basslines and short, looped structures that prioritize mood over complexity. Industrial and influences are incorporated via abrasive textures and noisy loops, adding unease to otherwise danceable tracks. In terms of tools and methods, Edwards relies on hardware synths such as the Sequential Circuits Pro One and for melodic and bass elements, paired with drum machines like the TR-8 to drive urban, machine-like rhythms. DIY editing techniques, including bouncing tracks through vintage compressors and radio transmitters, further enhance the abstract, lo-fi character of his productions, often resulting in bedroom-recorded pieces that feel intimate yet expansive. These approaches draw briefly from early house's stripped-down ethos but evolve into distinctly hazy, experimental forms.

Influences and evolution

Delroy Edwards' musical influences draw heavily from the foundational sounds of , pioneered by figures like and , whose raw, DIY ethos and infectious rhythms shaped his early appreciation for underground . This connection is evident in Edwards' reissues of classic Chicago tracks on his L.A. Club Resource label, such as Gene Hunt's After School, which highlight the genre's innovative Black artistry from the 1980s. Additionally, the techniques of Houston producer profoundly impacted Edwards, inspiring his Slowed Down Funk mixtape series, where he reworks Southern rap and '80s R&B into hazy, pitched-down grooves that evoke Screw's lean-infused alchemy. Edwards' style also reflects exposure to '80s industrial and acts, including noise experiments and new wave bands like , , and New Order, which his family introduced through punk-pop radio and underground shows during his youth in . These elements contributed to the gritty, unpolished textures in his work, blending abrasive noise with rhythmic drive. In the early , Edwards emerged with raw, tape-based productions, characterized by lo-fi analogue recordings and a nostalgic warmth derived from and bootleg tapes he encountered growing up. His 2012 debut EP 4 Club Use Only on L.I.E.S. Records exemplified this phase, focusing on unrefined and tracks that prioritized underground club utility over polish. Edwards' relocation to in 2010 immersed him in the underground scene, where working at A-1 Records alongside Ron Morelli expanded his palette and prompted a shift toward experimental mixtapes incorporating hip-hop samples and abstract collages. This evolution continued into the late 2010s and 2020s, yielding more structured yet gritty outputs like the eclectic Hangin' at the Beach (2016), which fused basslines, , and tape-decayed grooves, marking a departure from strict genre confines toward broader, hip-hop-inflected abstraction. By the 2020s, Edwards' productions had refined their edge while retaining raw energy, increasingly weaving in Memphis rap influences and boogie elements, as seen in releases on L.A. Club Resource that prioritize forward-thinking hybrids over traditional house forms. Post-2021, his focus intensified on slowed funk reimaginings, extending the Slowed Down Funk aesthetic into ongoing DJ mixes and 2025 releases such as the track "Swingin The Bitch" on L.I.E.S. Records and new volumes of Slowed Down Funk, which continue to emphasize his lo-fi, experimental house style.

Discography

Studio albums

Delroy Edwards released his debut studio album, Teenage Tapes, in 2014 on The Death Of Rave, a mini-LP compiling experimental analog synth and noise tracks he recorded during art school. Hangin' at the Beach followed in 2016 via L.A. Club Resource, a 30-track double LP blending lo-fi house, minimal synth, and personal reflections on youth and escapism that marked a pivotal moment in his growth as a producer. In 2018, Edwards issued on L.A. Club Resource, an eclectic collection of raw house and electro tracks evoking borderland vibes and underground club energy. That same year, he released on L.I.E.S. Records, a 14-track double LP drawing from influences with sparse rhythms, fat basslines, and italo-inspired arpeggios for high-energy dancefloors. Desert Sessions (2018, L.A. Club Resource), a collaborative album with Dean Blunt, features untitled experimental soundscapes blending ambient noise, distorted electronics, and abstract improvisation born from improvised studio sessions. Edwards returned to L.I.E.S. Records for Slap Happy in 2020, an eight-track LP of mature, measured lo-fi house workouts rooted in vintage drum patterns and catchy melodies. His most recent studio album, (2021, L.A. Club Resource), delivers firmly house-oriented rhythms across eight tracks, emphasizing irreverent takes on classic club sounds to energize listeners.

EPs and singles

Delroy Edwards' early extended plays (EPs) and singles established his reputation in the underground electronic scene, often released on vinyl through independent labels like L.I.E.S. Records and his own L.A. Club Resource imprint. These shorter-form releases typically featured raw, lo-fi and tracks optimized for club play, with limited pressings emphasizing analog formats. His debut EP, 4 Club Use Only, arrived in 2012 on L.I.E.S. Records as a 12-inch vinyl pressing. The release includes three tracks: "4 Club Use Only," "Bells," and "Love Goes On and On," blending gritty percussion and synth lines characteristic of his outsider house sound. In 2013, Edwards followed with White Owl on L.I.E.S. Records, another 12-inch EP available in both standard and white-label editions. Key tracks are "White Owl," "The Fast Lane," and "Drop Dead," noted for their high-energy, Chicago-influenced rhythms. The same year, he launched L.A. Club Resource with the Untitled EP, a 12-inch vinyl featuring two untitled tracks described as dark, rough beats tailored for club environments; it was issued in limited quantities, including promo white labels. Subsequent notable EPs include Kickin Butts!! (2015, L.A. Club Resource, 12-inch vinyl), a high-tempo collection of five tracks emphasizing aggressive basslines and stripped-back production. Later releases like (2019, Apron Records, 12-inch) and (2019, L.I.E.S. Records, 12-inch EP) continued this trajectory, with the former exploring dub-infused house across six tracks and the latter delivering six raw jams in limited edition. Post-2020 output shifted toward standalone singles and remix contributions, including the "Juice B Crypts (Delroy Edwards Mix)" single in 2020, a remix for Caribou released digitally via Merge Records, which reworks the original track with Edwards' signature lo-fi grit. No further EPs or singles were issued through 2025, though limited digital availability persists for earlier works.
Release TitleYearLabelFormatKey Tracks
4 Club Use Only2012L.I.E.S. Records12" vinyl4 Club Use Only, Bells, Love Goes On and On
White Owl2013L.I.E.S. Records12" vinylWhite Owl, The Fast Lane, Drop Dead
Untitled EP2013L.A. Club Resource12" vinylUntitled A1, Untitled A2
Kickin Butts!!2015L.A. Club Resource12" vinylKickin Butts!!, Say Goodnight, Die Motherfucker Die, Str8 Fuckd, Insane In the Membrain
Dubonnet2019Apron Records12" vinylLive And Let Live, Fat Dynamics, Dubonnet, In Orbit, How High Is The Moon, Funny Styles
Wagon Wheels2019L.I.E.S. Records12" vinyl EPCrazy Cool Beats, Mrs. Mauva, Wagon Wheels, Jockin The 808s, Do Do, OK Track
Juice B Crypts (Delroy Edwards Mix)2020Merge RecordsDigital singleJuice B Crypts (remix)

Mixtapes and compilations

Delroy Edwards has produced a series of experimental mixtapes under the Slowed Down Funk banner, drawing from chopped and screwed techniques inspired by Houston rap traditions while incorporating lo-fi house and abstract electronic elements. The inaugural volume, Slowed Down Funk Vol. I, released in 2014 on his L.A. Club Resource label as a cassette edition limited to 100 copies, features 19 tracks spanning approximately 45 minutes of slowed-down samples from Memphis rap and funk sources, emphasizing gritty, hazy production. Slowed Down Funk Vol. II: Hate Is Beneath Me, also issued in 2014 on cassette via L.A. Club Resource, contains 18 tracks over 43 minutes, continuing the series' raw, tape-warped aesthetic with pitched-down hip-hop loops and minimal beats. The trilogy concluded with Slowed Down Funk Vol. III: Pure Evil in 2015, another cassette release on L.A. Club Resource comprising 18 tracks that push the experimental boundaries further through distorted, evil-toned manipulations of rap vocals and basslines. In 2025, L.A. Club Resource reissued the full series digitally, making them available on platforms like SoundCloud, Spotify, and Amazon Music for broader accessibility while preserving their underground, non-commercial ethos. Beyond the Slowed Down Funk series, Edwards' mixtape output includes tape-based experiments tied to his early noise explorations, such as the 2014 Teenage Tapes LP on The Death of Rave, which functions as an abstract offshoot with eight untitled tracks of reel-to-reel manipulations and guitar pedal noise, clocking in at around 30 minutes and evoking a raw, adolescent tape-loop aesthetic. His 2025 DJ mix Palace: Delroy Edwards Winter Mix, commissioned by Palace Skateboards and released on Apple Music, compiles 18 tracks into a 58-minute seamless blend of trippy house, ambient drifts, and abstract electronics, showcasing his evolving DJ style with transitions between lo-fi grooves and experimental soundscapes. Earlier mixes like the 2013 PHNCST088 for Phonocasts (a single-track, hour-long MP3 file) and the limited cassette Cassette Store Day Mix on Mount Analog further highlight his informal, mix-oriented works distributed via SoundCloud and niche tape labels. Edwards has also contributed to various artist compilations on L.I.E.S. and L.A. Club Resource, underscoring his role in experimental electronic scenes. On L.I.E.S.' 2013 compilation American Noise, he provides the track "In Love," a lo-fi cut amid psychedelic and contributions from other artists. For L.A. Club Resource's 2015 VA release LACR013 (a 12-inch EP compilation), Edwards appears alongside label affiliates with raw, club-ready edits. Additionally, the 2023 compilation Un-Earthed Essentials Vol. 1 by Deep Concentration—a project promoted by Edwards on his platforms—features six tracks of vintage homages on L.A. Club Resource, with Edwards' curatorial influence evident in its tape-saturated, essentialist approach. In 2025, Edwards contributed "Swingin The Bitch" to a Various Artists compilation on L.I.E.S. Records, blending and elements in unreleased tracks from influential producers. These compilation appearances, often limited to vinyl and digital via , emphasize Edwards' collaborative and archival bent in underground electronic music.

References

  1. https://www.npr.org/sections/allsongs/2016/08/29/491524771/guest-dose-delroy-edwards
  2. https://open.spotify.com/artist/683gIqfxdjjg2sowYxBHIQ
  3. https://ra.co/dj/delroyedwards
  4. https://www.discogs.com/artist/2897541-Delroy-Edwards
  5. https://ra.co/news/21074
  6. https://www.facebook.com/photo.php?fbid=1072010674376645&id=100047031670838&set=a.754347846142931
  7. https://www.instagram.com/delroy.edwards/?hl=en
  8. https://www.latimes.com/entertainment/music/la-et-ms-ca-la-club-resource-20141130-story.html
  9. https://www.imdb.com/name/nm2984813/
  10. https://www.legit.ng/ask-legit/biographies/1438954-opal-stone-perlmans-biography-ron-perlmans-wife/
  11. https://www.pbssocal.org/shows/artbound/delroy-edwards-breathing-new-life-into-house-music
  12. https://daily.redbullmusicacademy.com/2014/11/delroy-edwards-interview/
  13. https://daily.bandcamp.com/label-profile/delroy-edwards-la-club-resource-interview
  14. https://www.nts.live/shows/la-club-resource
  15. https://www.laweekly.com/delroy-edwards-one-of-l-a-s-best-dance-music-producers-remains-an-enigma/
  16. https://www.thefader.com/2016/08/23/delroy-edwards-la-club-resource-interview-hangin-at-the-beach
  17. https://phonk.fandom.com/wiki/Delroy_Edwards
  18. https://www.discogs.com/release/5444518-D-Edwards-Teenage-Tapes
  19. https://ra.co/reviews/14634
  20. https://boomkat.com/products/teenage-tapes-f8087b62-473f-49a4-bfdb-b9f4af37c2ef
  21. https://ra.co/news/76244
  22. https://laclubresource.bandcamp.com/album/desert-sessions
  23. https://ra.co/reviews/23182
  24. https://theatticmag.com/reviews/2250/delroy-edwards-%2526-dean-blunt-_-desert-sessions.html
  25. https://tidal.com/album/466449368
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  28. https://boomkat.com/products/slowed-down-funk-vol-i
  29. https://music.apple.com/is/artist/delroy-edwards/591790909
  30. https://ra.co/features/2664
  31. https://www.nts.live/shows/genes-liquor
  32. https://equipboard.com/pros/delroy-edwards
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  35. https://delroy-edwards.bandcamp.com/album/slowed-down-funk-vol-1
  36. https://liesrecords.bandcamp.com/track/delroy-edwards-swingin-the-bitch
  37. https://www.discogs.com/master/659002-D-Edwards-Teenage-Tapes
  38. https://www.juno.co.uk/junodaily/2014/02/27/delroy-edwards-to-release-teenage-tapes-on-the-death-of-rave/
  39. https://laclubresource.bandcamp.com/album/hangin-at-the-beach
  40. https://pitchfork.com/reviews/albums/22152-hangin-at-the-beach/
  41. https://laclubresource.bandcamp.com/album/rio-grande
  42. https://www.discogs.com/release/11875661-Delroy-Edwards-Rio-Grande
  43. https://liesrecords.bandcamp.com/album/aftershock
  44. https://ra.co/news/41549
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  48. https://www.discogs.com/release/21385045-Delroy-Edwards-Change-The-World
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  55. https://open.spotify.com/track/2DopOLCD5xsONTum1WWiqc
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  60. https://www.discogs.com/release/7592908-Delroy-Edwards-PHNCST088
  61. https://www.discogs.com/release/4944130-Delroy-Edwards-Cassette-Store-Day-Mix
  62. https://soundcloud.com/delroy-edwards
  63. https://pitchfork.com/reviews/albums/17507-lies-presents-american-noise/
  64. https://www.discogs.com/release/7628544-Various-LACR013
  65. https://www.discogs.com/release/28264240-Deep-Concentration-Un-Earthed-Essentials-Vol-1
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