Garage | 2Step | UK Funky | Bassline Vinyl LP 102 Items

Highly anticipated would be an understatement - so influential are his releases to date, it's difficult to believe he's never released a full length project. The name of the mixtape may already be familiar - an evolution from 2019's acclaimed "Slipping" EP and also the name of a Joy Orbison curated radio station ("Still Slipping: Los Santos") within Grand Theft Auto's immersive world - but in terms of scope and ambition, "still slipping vol.1" is without doubt O'Grady's boldest and most expansive project yet.

First coming to prominence in 2009 with his debut single “Hyph Mngo” - a track that became a bonafide phenomenon and changed the dance music underground forever - the London musician, DJ and producer is undoubtedly one of the most renowned, respected and influential electronic artists of his generation. Whether through his own game-changing releases such as “Ellipsis”, “GR Etiquette”, “Big Room Tech House DJ Tool-TIP!” or the “Slipping” EP, collaborations with the likes of Mansur Brown, Overmono and cutting edge Japanese clothing label Cav Empt, a run of genre-defining releases on his Hinge Finger label, a BBC Radio 1 residency and live appearances that span the most credible underground nights to festival headline slots around the world, the name Joy Orbison has been a constant byword for understated, uncompromising quality. "still slipping vol.1" is the next evolution in his journey. Fans of Joy Orbison's DJ sets and radio shows will already be aware of his diverse tastes and inspirations, represented here through a roll call of delicately curated, mainly UK, collaborators that include Herron, James Massiah, Bathe, Lea Sen, Goya Gumbani and Tyson. Just as important are the voices Joy Orbison's family - mum, dad, sister Sarah, uncle Frankie, uncle Keith (recently departed), auntie Helen and cousins Lola, Mia and Leighann, who was the first person to introduce O’Grady to drum and bass and garage as a kid and stars on the mixtape’s cover art. They appear throughout the record via a series of voice notes, his only contact with his family during this year of worldwide lockdown and an intimate, vicarious glimpse into the personal world of an artist who has generally side-stepped the public gaze. The result is Joy Orbison's best music to date and a powerful distillation of his musical career so far. Recorded in his Walworth Window studio in south east London, this is serious, future-facing sound system music cut through with a sense of warmth and playfulness much needed for these times. In O'Grady's own words, "I made a point of making it feel really human. I wanted it to be quite light hearted and humorous so that the weirder bits of the record didn't seem too wanky or self-indulgent. In my head it’s a soul record but I'm not sure that's how people will hear it”

Schon seit seinen Teenager-Jahren gehört Peter O’Grady, alias Joy Orbison, zu den treibenden Kräften der elektronischen Musik-Szene, der er immer wieder mit seinen Veröffentlichungen neue Wege aufzeigen konnte. Nun erscheint endlich sein erstes Mixtape „still slipping vol. 1“, das beweist, dass er auch in 2021 nichts an Relevanz oder Aktualität verloren hat.

„Heiß erwartet“, trifft es hier wohl, wenn man sich vor Augen ruft, dass Orbison bisher noch kein Album oder mehr als eine EP in seiner Karriere veröffentlicht hat. Der Titel erinnert dabei an die gefeierte 2019er EP „Slipping“ sowie an seinen kuratierten Radio-Kanal „Still Slipping: Los Santos“ in der Grand Theft Auto-Gaming-Welt – gleichzeitig ist dieses 14-Songs umfassende Mixtape die wohl ambitionierteste Veröffentlichung Orbisons bisher und ein Meilenstein in seiner Karriere. 2009 begann diese mit der Debüt-Single „Hype Mngo“, mit der der Londoner Musiker, DJ und Produzent hohe Wellen im Dance Music Underground erzeugte. Es folgten weitere Singles, EPs, Kollaborationen mit Acts wie Mansur Brown oder Overmono, eine BBC One Residency, DJ-Sets und Live-Auftritte in Clubs und bei Festivals auf der ganzen Welt. „still slipping vol.1“ zeugt wie gewohnt von den mannigfaltigen Einflüssen und Strömungen, von denen sich Joy Orbison treiben lässt und rollt den Teppich aus für Kollaborationen mit Acts wie Herron, James Massiah, Bathe, Lea Sen, Goya Gumbani und Tyson. Daneben bietet es einen intimen Einblick auch in die persönliche Welt des Künstlers während den vergangenen Lockdown-Monaten, beinhaltet das Mixtape doch auch einige persönliche Voice Messages seiner Mutter, seines Vaters, der Schwester und Cousinen.

Fatima's debut album is called ‘Asiatisch’, and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London.

'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods.

While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China.

Straight from the bustling scene of Brussels comes Nous'klaer Audio's latest signing: an effervescent debut album by the young Belgian-Japanese producer, live-performer, pianist and DJ Gaiko. Gaiko (real name Kaito) bursts onto the scene with a nine-track full-length album that highlights the rich and diverse output of this emerging talent. His first offering spans left-field electronics, IDM and DnB, blending intricate drum-programming with lush synths and contemporary, contrasting piano pieces. The long player has been shaped into a push-and-pull dynamic of tempo and mood, a flow of quests that gradually grow into their entirety. From atmospheric textures to tight, propulsive beats, Gaiko builds layers that ripple into each subsequent track. This contrasting yet complementary energy flows from the tender "Millennium" into the unassuming highs of "Setagaya," while the floating electronica of IDM-leaning tracks "Subdued" and "Ever's Lullaby" build up to standout tracks "Martyr" and "Crush." Gaiko's self-titled debut balances euphoria with introspection through an unusually sophisticated playfulness, a rare quality that makes this vivid young artist all the more promising. The 180g vinyl comes in a heavyweight sleeve with artwork by Loe Duval (aka Barwouf) and includes a download card.

The Streets’ first two albums ‘Original Pirate Material’ and ‘A Grand Don’t Come For Free’ helped to make the UK hip-hop/garage scene a force to be reckoned with on a global scale, and established Mike Skinner as a lyricist with a gift for delivering insightful observations about everyday life. Long out of print, both albums will be repressed and released on double vinyl on March 30th.

‘A Grand Don’t Come For Free’ emerged two years after their breakthrough debut album and The Streets had already become an international phenomenon. This time around, Mike Skinner constructed an album with an on-going narrative that was by turns hilarious, touching and energising. ‘Dry Your Eyes’ became The Streets’ first #1 single, while ‘Fit But You Know It’ and ‘Blinded By The Lights’ both hit the Top 10.

Founder of Ozadya collective, Pekodjinn has made himself one of the most influential producers in the Geneva subculture scene. Injecting his Tunisian heritage into the rap culture he grew in being a graffiti artist, he’s delivering a futuristic mix where darbukas meet trap influences, traditional chants melt in batida and percussions are distorted by dub effects.

Dharba, the first solo album of the beat maker, is built in two parts. First one is an ode to Tunisian youths who fight a revolution against oligarchic power in 2011 and are still struggling to achieve what they started. Chokri is for example dedicated to Chokri Bellaid a syndicalist assassinated in 2013. Second part is about imagining the future of Maghrebi, African, and Arab music. A unique sound where the youth of the continent and the youth of diaspora liberate themselves of colonialism, imperialism, and exoticism to build up a conscious sound to fight back the Western influences.

If you want to know how’s the guy sounds live, just check his latest DJ Set for Boiler Room, heavy tunes, heavy vibe... a newcomer to keep an eye on !

No one can doubt that Lightnin' Hopkins is the king of Texas country blues. P-vine is reissuing on LP for the first time in 35 years the classic album, which was originally released on Crown in 1961 and is a compilation of Modern/Kent recordings from 1950-51, one of the pinnacles of the Lonesome & Dirty Blues world. With its deep, withering vocals, which sometimes sounded even terrific, and a guitar that moved nimbly and uninhibitedly, this is one of Lightnin's top-class recordings in his storytelling style. No one can escape the devilish charm of these dense blues.

Uvb-76 Music presents Mesmerism a new 2 x 12'' LP produced by Lucid Dreams aka Overlook This release will transport listeners into a realm of hypnotic beats and atmospheric soundscapes, showcasing an experimental take on Overlook's signature style.

Live artist Innellea dropped his limited vinyl deluxe album. ‘The Belonging’ including two bonus tracks, poster and colored vinyls. The LP forms part of a conceptual storytelling project. The album features focus track ‘Shelter’ w. CamelPhat & Monolink, along with diverse and significant collabs with Grammy winner Flowdan, Swedish indie singer/songwriter Karin Park, live musician Juan Hansen. Additionally the deluxe vinyl album includes Innellea´s feature with Paris Paloma 'under Earth'.

Conrad Pack’s debut album Commandments. Mournful, murked-out dub-tekno and water-logged 〜150bpm steppers scraped from the floor of the Thames. A very UK response to the year-zero schrantz death-trips of DJ Valentime$, DJ Salazar et al. Simultaneously ultra-alienated and dialled into the dance, full of caustic/entropic industrial textures, drawing deep too on concussive reggae/soundystem dynamics and drill’s emotional-badboy yearning.

Avalon Emerson & the Charm is an evolution. Created during an extended break from the hectic blur of her life as a touring DJ, the album is a personal statement of intent from an artist who’s long looked beyond the club for inspiration. It’s also the first time that Emerson has put herself, her emotions and, most notably, her voice fully into the spotlight.

Having spent her entire career working more or less alone, Emerson purposely sought out a small cast of like-minded artists to help bring the album to life. A Chief among them was UK avant-pop savant Bullion, who executive produced the record and, most importantly, shares both Emerson’s predilection for shimmering pop melodies and her boundary- less approach to music-making.

Working together, they cracked open her head and heart alike, creating a space where she could intimately reflect on the people and places she’s loved and left behind.

Bartosz Kruczy?ski, also known as artist Earth Trax, is arguably among the leading names in Poland's current electronic music scene. Based in Warsaw, his music is deeply emotive and explores a wide-ranging sonic palette that is complemented by well-defined artistic concepts. He has already featured on labels including Phonica Records, Growing Bin, Into The Light and Shall Not Fade -with whom he released his acclaimed debut album in 2020-. His Lapsus release 'Closer Now', takes a different trajectory to his previous album 'The Sensual World' [Shall Not Fade, 2022], fundamentally an energetic and high tempo club record. In contrast, 'Closer Now' focuses on fresh and disparate ideas, with tracks that could typically be classified as more?unrestrained?B-sides that deconstruct sounds aimed at the dancefloor. 'Closer Now' is influenced by liminal spaces and cultivates surreal and dreamlike qualities. Conversely it also possesses a sense of strength and grit, highlighted by moments where electronic distortion bares its teeth. It is an album that both refers both to IDM and chill out rooms.

Ends Meet envisions a different kind of future, that while not necessarily utopian, feels less tense and more celebratory in the capture and release mastery of its syncopations. Through seven percussion workouts summoned from hard hitting kicks, flinty hand drums, darting rhythmic excursions and traditional flute-like synth melodies, 3Phaz creates a set of raw and ever-intriguing dj tools for adventurous dancefloors that escape the mere functionality associated with the term to bristle with a life of their own.
Stripping away some of the dankest & darkest layers that made his debut album - Three Phase - such a dystopic proposition, Ends Meet envisions a different kind of future, that while not necessarily utopian, feels less tense and more celebratory in the capture and release mastery of its syncopations. Through seven percussion workouts summoned from hard hitting kicks, flinty hand drums, darting rhythmic excursions and traditional flute-like synth melodies, 3Phaz creates a set of raw and ever-intriguing dj tools for adventurous dancefloors that escape the mere functionality associated with the term to bristle with a life of their own.

From the creator of Deep Reggaeton and the hit record "¡Estéreo Bomba! Vol. 1", DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.

" Confusion AND Simulation feeling of disorientation a Hypermodern hym For posthuman ontology. "

A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing. However, it was Rashad’s untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something…make something brand new." 100% committed to pushing further the potential of the footwork template, Still Trippin’ is ambitious in its range and scope. Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye’s talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork’s ability to confound. The album features a range of guests that span contemporary music; the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on ‘Get It Jukin’, Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to ‘Same Sound’, Fabi Reyna, the editor of the celebrated women’s guitar magazine She Shreds, sings and plays bass and rhythm guitar on ‘I Don’t Know’ and Jersey club queen UNIIQU3 offers production and rapping on ‘Gimme Some Mo’.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on ‘Smokeout’. Taye is ambitious in his hopes for the album; "I took this as an opportunity to not have boundaries with footwork. Different approaches to our ‘underground’ sound to make it broader. It’s only underground until it crosses that visible threshold.” This album brings all of this to the forefront.

Mastered and cut on 140g transparent vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

About the Album

‘Isthmus’ is Ross Tones’s 5th album for Houndstooth in 10 years.
It only seems fitting for it to return to the eclecticism of 2014’s ‘Mosaic’.

An isthmus is a narrow strip of land that connects two larger bodies.
The two islands contrast in time, topography, chaos and character.
One sears.
The other, buried by blizzards.
A land bridge fights the tide; offering harbour.

Connecting the estranged.
Giving battle to the noise.

It is uncertain who won.

Originally released on Firstcask Records in 2003. A selection of my styles and ideas at the time, ranging from drum n bass, ambient, acid etc etc

Emerging from a generative paradox of laser precision and fluid dynamism, Metallur fuses percussive, metallic force with warping tempos and a field of ethereal resonance and debris.

The result is an insurgent, elemental, time-smearing of hyperspace, where "tellurian beats merge with alien glossolalia and vocal samples blip tesseracts of human affect into a ghostly, melodic aether". Music for a crushed infinity.

Twin Cities duo Feel Free Hi Fi return to their in-house imprint Digital Sting with their first full length entitled “I was so far in I was out.” After two prior EP's and collaborations with Equiknoxx and Duppy Gun Feel Free Hi Fi deliver 8 new tracks of their distinct but eclectic digital dub. Amalgamating many of the sounds, sonics, and aesthetics of prior releases into these eight percussive instrumentals. The industrial dub and weirdo dancehall remain but the focus is further refined while also exploring environmental and cinematic sounds to create often dark and heavy versions that are as singular as they are collective, as introverted as they are expansive.
The records come in double sided silk-screened printed custom DJ Jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

On Gift n Curse Principle, Jnn Aprl puts forth her own signature interpretation of “techno”, relying on her art school drop out sensibilities and analog ear. After spending the better portion of the last decade immersing herself in the heartland of electronic music, The Seoul by way of Chicago by way of Detroit by way of Seoul again producer and DJ is proud to present the debut of her new EP as well as her new label, Rene Koala. Find on the record a set of tracks spanning the gamut, made with the assistance of a MPC 1000, a Prophet Synth, vocal effect and some grit. For the dancers and for the artist alike, each song represents a journey. 'Gift n Curse Principle' employs a minimal beat with raw intention. ‘Freedom Bondage’ taps into a low frequency and steady modulation, emulating a heartbeat. All tracks ask to be heard in their entirety. This EP was made with support from Piranhahead of Rustbelt Studios and Bill Skibbe of Third Man Records.

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents ‘Lost Paradise: Blissed Out Hardcore 91-94’. Though the records gathered for the compilation span a short three-year period and bridge the gap between scenes, the collection manages to find a sweet spot where the influence of Warp’s Artificial Intelligence, back room chill out sonics and the nascent jungle boom meet with elements of Italian piano house and slower breakbeat cuts. Opting to focus on atmosphere to highlight shared connections; in this case the duality of often serene and calming soundscapes with frenzied breaks and bass (see Hedgehog Affair’s ‘Parameters’ and Luxury’s ‘Twirl’ respectively); Lost Paradise is a formidable collection of tracks plucked from a thriving time for British dance music experimentation. The general themes of ascension and escapism channelled through digital samplers are also inescapably linked to a turbulent time in politics, beginning in the post-Thatcher years and culminating in the year the harshest anti-rave Criminal Justice Act came into force. Initially building the compilation around DJ Mayhem’s track ‘Inesse’, Blank Mind label founder Sam Purcell and Amsterdam based producer Tammo Hesselink began a process of swapping favourites and deep cuts to spread across this 2x12” doublepack. The compilation avoids any obvious centrepieces through masterful sequencing, allowing for moments of refrain and tempo changes in a way that helps add to their overall vision of what this music is and can be; “We wanted to frame hardcore in a different light, looking at this idea of ecstasy through the traditional meaning of the word and exploring that symbolism”. By drawing from what some might consider the softer edges of the movement, the pair offer a look into the relevance of these tracks in the contemporary era, where the past years have seen both an explosion in popularity of old ambient/new-age music and a certified jungle revival.

Putting a pigeon amongst the cats we are back with that good shit. An out of step, incidental artifact of peaceful sophistry: YS - Brutal Flower (2 x “12 LP). A no airs and graces piece of cool future-proof ambience. A modern ballad for brave young clubbers, local pubbers, slipstream warriors, and emotional doggers. The distinctive aesthetic hallmarks of YS are all here: slabs of urban flavor from emotional interior; raw data straight from the interface. ‘Untethered’ and ‘Down’ are chopped-up cuts of searching R’n’B - jaded jams of lustful erasure. On the flipside, blunted desire lingers in ‘Fading Memory’. Both hopeful and mourning: this is the lay of the land in Brutal Flowers sharing that rare strain of underground synesthesia best located in dark undercurrents of early Mo Wax. The orchestral ambience of ‘Autumn Ost’ is a potent stupor of end credit cinematics. Coming up for air. It feels young in an ancient sort of way: pure as first snow. And from here in the album unfolds with the patience, tranquility and the expansive poise of a work that is for now and always. Pulsating gently to assured ending with ‘Be Together’ - a flickering skyline, swarming with warm memories. In between there’s flashes of heartbreak reminiscent of Beltran's Ten Days of Blue and Blunt’s Stone Island (‘Look Up’ feels like a sort of spiritual successor to ‘Wake up’), that being said, when push comes to shove it only it ever flirts with its own reality. An aesthetic reflection of a creative process that is delicate and restless. Created in the edges, where long distances, fast cities and global melancholia are wrought large. Burning the midnight oil Berlin-Singapore style: from real to reel. A sentimental exercise of modern faith by old friends. With a nudge and a wink, Brutal Flowers is a (de)coded map of memories wavering with familiar intrigue. Patient listeners and the already initiated will be rewarded on re-visits - as playful & profound as you please, as deep as the heart. The scathe that cuts is clean and deep. There are no sleight of hands to be found in this opus, only hearts are worn on the sleeve here. A hill we’d gladly die on. Pace & luv,

"Blue Lightnin'" is an album by legendary blues musician Lightnin' Hopkins recorded in Texas in 1965 and released on Stan Lewis' Jewel Records in 1967. This album has long been acclaimed as a masterpiece, capturing the aesthetics of Lightnin' Dirty Blues. Instead of the widely circulated jacket design featuring a colour photograph of Lightnin' himself, we now present it in a rare jacket design featuring another photograph which is now rarely seen, and is all blue. These little differences is one of the pleasures of digging reissue vinyls.

Fade 2 End (aka Nick Woolfson & Mark Shimmon) only put out two releases to their name both originally on Shining Path Recordings in 1996 and in limited numbers. For this Rezpektiva we have compiled the tracks from those two releases and put them onto this double EP which perfectly encapsulates the project - tough beats, hypnotic vocals and tracks that tell a story - roll them out and let 'em do their thing. Rezpekt to Fade 2 End !

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (uk), Nice Music (aus), Clan Destine (sco) & Night People (us), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'cft' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

Strictly limited edition of 250 copies. Theodore "Hound Dog" Taylor was born on April 12, 1917, in Natchez, Mississippi. By day, he was a sharecropper; by night, he played the delta jukes. In 1942, following a dangerous encounter with the Ku Klux Klan, he high-tailed it out of the South to Chicago. There, he held a day job while building his reputation as a musician, performing in South and West Side blues clubs and on the streets. It wasn’t until the late 50's that he became a full-time musician, playing regularly at the Expressway Lounge.Taylor developed a raw vocal style and blistering slide guitar technique, using a cheap Teisco Del Rey guitar powered through a Sears Roebuck amplifier. He also had a physical condition called polydactylism, which resulted in an extra finger on each hand. Hound Dog Taylor first recorded in 1960 for Bea and Baby Records, and again in 1962 for the Firma label. The resulting 45s were his only releases during the 60's and these four tracks are included on this record. As a bonus, we have added two tracks by Mississippi-born, long-time blues veteran Homesick James, who, after recording several 45s in the early 50's, didn’t get another single released until 1962. Both numbers feature Taylor on guitar. He died in December 1975, after releasing four albums on the Alligator label, leaving us his own epitaph: ‘When I die, they’ll say, ‘He couldn’t play shit, but he sure made it sound good!’

Compiled from over 250 tracks created between 2017 and 2024, Juxtapose is Windu’s first ever release — a freeform, shapeshifting snapshot of sound. It is released by adventurous electronic music label topo2 on March 14, 2025.

The record is pressed on 180 grams of ICCS-certified bio-vinyl, housed in a heavy full-colour sleeve, and comes with a download-code to the full release and five digital-only tracks.

Mastering is done by Isabel Schröer at Scape Mastering and artwork by courtesy of Kees de Klein. Mixing is done by our dear friend Pascal Pinkert and Poetry by equally dear friend Eelco Couvreur.

Gayance joins forces with Rhythm Section for her debut album ‘Mascarade’ - a swaying dance that moves between poetic, soulful odes to the past, accounts of the Afro-diasporic feminine experience and playfully energetic dance floor grooves.

Mascarade is a collection of dancey, broken rhythms, interwoven with heartfelt stories and bright, unapologetic outpours of joy. In her own words, “It's the story of my 20's. I wanted to pay homage to this kid everybody knew, but not deeply. It's about taking back a power that is mine and was always in my hands...It's about making peace with the past and moving forward”.

Gayance (real name Aïsha Vertus) takes her alias from the Haitian creole word for joyfulness.Based in Amsterdam, born and raised in Montreal-Nord, she started as a DJ in 2013, and has toured the world with shows in Paris, Brooklyn, Marrakech, Berlin, Sao Paulo and more, bringing electrifying and contagious energy wherever she goes.

Her own production is influenced by underground UKG and the respective house scenes of Detroit and New York, with nods to the vivid, sun-soaked colours of Latin America. Shades of blues, jazz and gospel can also be heard in her newest project, pulling together styles from each corner of the world. Following her catalog of entirely self-released projects, Gayance announces her full-length debut album on Rhythm Section, bringing some fellow Montrealers along for the ride.

Chrome-plated sound design and bristling textures frame the latest speculative sci-fi experiment from Xao, meshing sonic concepts inspired by Rabit, Visionist and Lotic into the cybernetic scapes of Hyph11E or Algorave proponent Renick Bell.

Xao has been working alongside the C.A.N.V.A.S. label since the beginning, and his second album builds on the promise of 2019's Astral Black-released "Eternal Care Unit", by burying some of his most recognisable inspirations into an algorithmic shimmer of vaporous sound design and cyborg percussion. The roots of ‘Wirehead’ can be traced to the mid 2010s obsession with shaping global club echoes and videogame FX into music that accurately scored our descent into digital dystopia, but Xao makes a clear link between those ideas and the brain-fried cyberpunk vistas of William Gibson. His guiding theme is the idea of the contemporary digital attention economy with its algorithmically-powered tidal wave of content, and the mental states that follows - employing procedural and algorithmic compositional methods to shatter this status quo, reaching in the direction of a proposed "digital spirituality" in the process.

On opening track 'Bone Theory', he burns fragments of death metal into warped airlock club stumbles, welding evocative, clanging sound design to tempered forms of weightless grime and gravel-throated trap. 'Aqua Tofana' is more fucked, sounding like a frosted-glass take on Autechre's latter day post-electro rhythms, or an algorithm-warped AI rendition of Lanark Artefax's 'Touch Absence', while 'Hyperfixate For Me' stutters barely-audible vocals beneath cracked Vladislav delayed percussion and the corrupted data throb of guitar noise and loopy synthesis.

The rest of the album plays like a Johnny Mnemonic-style braindump: the last few years of underground electronic music melted into a frayed patchwork of textures, rhythms and sonic signifiers. It comes to a head on 'I Wed My Shadow', when opera singer Marie Requa Gailey's voice just about cuts through the static like a candle in the dark, making the escape route from the techno dystopia just about visible. Moments later we're exposed to the corrosive 'Ophanim Plushie' - all jazz clatter and anodised rolls, accompanied by drones and squashed breaks that barely make it off the surface. By the time we reach the album's final track 'Threnody for the Child of Omelas', it’s all repair and recovery, twisting beatless echoes from strangled neural networks into blankets of aesthetic warmth.

Wirehead is a smart album that fits well into the deconstructed club/post-club lineage, deploying hyperkinetic sound design and a whelming flux of feelings echoing contemporary classics in its progressive field by TCF or Lee Gamble or indeed the same algo-powered artificiality as James Ferraro, or even the hyperpop set, fused with nu-metal and dembow somewhere between Arca and Oxhy.

The rave continues!!! Handstamped ltd Transparent Blue Green Vinyl + surprise inserts ! :) Mastered by Radioactive Man - Artwork by Anja Lekavski.

Anoesis is the duo of Doc Bozique and Oxidation and this is their third release on Cosmic Soup. It is one that has been long anticipated by fans of their well designed breakbeat sounds and their first since 1995 when they dropped Blood & Sweat on D*Fusion. As such there is a hint of 90s post rave magic to the 11 cuts here, all with cosmic intent and deep grooves. They are tunes that have you lost in a reverie on the heart of the dance floor but with your gaze turned skyward. Essential stuff.

A solo project from Cairo underground fixture Youssef Abouzeid (aka Captain Solo and Yzeid), PanSTARRS is described as a "sensitive synthwave" project and comes across like a fluffed-up Suicide or an Arabic-language answer to Cold Cave.

Multi-instrumentalist, producer, effects pedal designer and the founder of Cairo's avant garde artspace and label Hizz, Youssef Abouzeid mutates into a new form on "Batee2", feeling his way thru a coarse set of reverb-drenched darkwave/no wave jams that nod to Suicide, Das Ding, and more modern proponents like Cold Cave and Lust For Youth. Singing in Arabic, Abouzeid avoids traditional song forms in favor of more punkish expressions, squealing forcefully over rolling analog synthesizers and blown-out drum machines.

PanSTARRS has been a prolific project for Abouzeid in Cairo, and his workshopping of these tracks has helped make the album feel completely coherent and unified. There's a distinct, hyper-saturated sound to each song that removes Abouzeid a step or so from his influences, giving him a space to work in that feels fertile and kinetic. It's a pleasure to absorb.

Super deep n’ rolling ambient junglist mutations from hyped cloakroom attendent Florian T M Zeisig and mysterious XPQ? operator Pvas, uniting under the NUG moniker for a highly atmospheric session beamed directly from that short-lived, elusive sweetspot in the mid 90’s when Omni Trio and DJ Crystl collided with Mo Wax’s Some Scientific Abstract Type Shit! and Gescom’s Disengage, all red lights dappling thru a dense fog of smoke.

Rinsed out under the timeless influence of “bong & sterni” - who sound like a legendary Berlin ambient duo, but are just weed and beer - Zeisig and Pvas collide in midair for a stereo-swirled recollection taking us back to 1995 - that Autechre radio show on Kiss FM, peak Mo Wax, Kodwo Eshun’s ‘club trax’ column, just before everything went fully tasteful. Throwing links to more contemporary refractions found on various J. Albert workouts as much as Skee Mask’s most vapourised breaks, the NUG sound keeps toes and heads off the ‘floor with a rugged but lush suite of rave suspension systems making critical use of negative space and recoiling dub dynamics.

One for the early hours of the club, ‘Not Many People Here yet’ gives acres of room to bounce off the walls, while the ruder ‘Filthy Club’ sounds like the backroom heard from ceramic tiled bogs, and you’re already healthily zonked for the zombie float of ‘Is Under The Blanket.’ The radiant pads and swingeing breaks of ‘Morpheus’ dial up Skee Mask’s most pendulous rave visions, and ‘Napping Under God’ rolls out on 9 minutes of webbed breakbeat for the locked-in steppers, with Florian’s ambient texturing fully coming into effect on the blurry-eyed flex of ‘Lite.’

Uncanny just how well this one nails the sound - top marks and full reccomendations for anyone looking for that liminal, junglist special sauce.

"Monstas brings out our street and theatrical sides to a fiasco, combining Grime/Dub MC's and tunes to make a Soundtrack-like experience. The release also marks an end of a Trilogy - which allows us to wrap up our sonic architect skills, and to start from scratch, to dive deep in the unknown - audio and visually." - Traka

What So Not announces his sophomore album, Anomaly, off the back of being inspired by traveling the world and exploring sounds globally just prior to the Covid-19 pandemic. Anomaly is set to be a cohesive journey of far-off adventures, self-discovery and scintillating electronic wizardry.

Leaving Records introduces San Francisco’s Xyla to the world. The classical musician-turned-producer’s debut full-length Ways presents a fresh, electronic yet organic sound that deftly skates over and around genre limitations into a deeply felt, lush and hyper-futuristic group of songs. Echoes of sweaty rave anthems and classic IDM head trips can be heard strewn throughout Ways’ serpentine compositions, awash in deep ambient swirls and intriguingly twisted samples. Of the album’s title, Xyla states, “Sometimes you think of how things could’ve been. There are a million different ways that things can go.” The eight tracks on Ways each feel like a uniquely personal expression, heavy feelings processed by the producer’s classical music training and extrapolated through exciting self-taught production methods.

The trajectory of Ways covers many different moods and atmospheres. Early standout “Now” inhabits a reflective space, emotive vocal samples mingling with a variety of expressively filtered synths. Xyla states, “It was a very vulnerable time when I was making this music. It was winter, I quit my job, and I had lost a few close people. I just really felt like, ‘Now that I need you, where are you?’” The devastating “Cold” mirrors its title with thick smears of psychedelic pads, abetted by deliriously sliced vocals stabs and a ferocious acid bassline. Title track “Ways” straddles the line between footwork and ambient, a stuttering, endlessly listenable track that unfolds new and unexpected sounds at each turn.

The pairing of Xyla and Leaving Records is a natural one, with the label and producer sharing an affinity for adventurous musical styles that defy easy categorization. Xyla states, “I listen to so much music, and I really feel like my music is all over the place … I was having an identity crisis, and then Leaving Records announces the mantra ‘All Genre, All Genre, All Genre,’ …… ‘yes, that’s me.’”

"The new album by c / a is a wild conceptronic ride but one that pays off in giddy acid squiggles and a healthy dose of 'horse riding ambient'

The debut full length from London AV duo c / a is an entertaining head melter. Mixing up artificial intelligence with Arcadian fantasy and the occult with deconstructed club sounds, The Only Way We Know To Have Fun does not bring the unity of sweaty dancefloor jams but the atomised connectivity of the terminally online. Putting the fun back into digital dysfunction"

Specific States of Mind

Canadian born, Berlin based producer Aquarian debuts on Dekmantel Records’ UFO imprint with Mutations I & II, a series of two EPs following his debut album The Snake That Eats Itself and his collaborative records as Aqxdm. The series marks his return to club focused solo material for the first time since 2017.

Originally written as inflection points for his typically boisterous and genre collapsing dj sets, Mutations deftly splices the foundational DNA of his earliest productions — electro, hardcore and broken beat techno – with new and vital influences.

Mutations I: Death, Taxes and Hanger finds Aquarian gleefully contorting mid-2000s dnb tearouts, wrong footed IDM and progressive trance euphoria into thrilling new shapes. Fast techno, hi-tek jazz, amphetamine-addled filter house and breakcore join the fray in Mutations II: Delicious Intent as he pushes intensity levels past breaking point. Whichever the touchstone, the results are clear: distinctly modern, highly-propulsive body music with an unapologetically emotive core.

Numbers will release ‘Clear’, the debut album by FFT, on 24th June 2022.The result of three years of focused writing and programming by the London-based producer, ‘Clear’ is deeply psychedelic, defined by a mature sense of melody and structures crafted at a monumental scale. Though FFT has previously released a handful of tracks under various names, it wasn’t until 2017’s ‘fft1’ EP on theUncertainty Principle label that his production talents began to fuse into a distinct and personal style, especially evident in FFT’s‘Regional/Loss’ EP on The Trilogy Tapes in 2019, multiple releases on Bruk Records and2021’s ‘Disturb Roqe,’also released on Numbers.Through it all, FFT has mastered a complex sense of mood catalyzed by sound itself: He builds patches and presets from scratch, and feels these synths and software have their own objectives and reactions, creating a kind of compositional feedback loop.The result is an album that brings to mind a collision of electronic pioneers like Delia Derbyshire and Bernard Parmegiani, 2000’s braindance, the Max-imized wares of an OPN or Objekt and the rough rhythmatics of SND or Mika Vainio The layering of sonic elements and intentions is starkly audible across these nine tracks.They can be seismically concussive and grandiose, but granular and fluid - echoing the Icelandic volcanic eruption that features in the artwork photography byGeorge Cowan. ‘Clear (Eight-Circuit Mix)’sets a euphoric tone immediately accelerated by the jagged sounds and vocal textures of ‘Redeemer’. ‘3 Sided’ channels hyper-urbanity from its almost entirely analogue palette, and by contrast ‘Disturb Roqe 2’is bracingly digital, gyrating in random cycles between clustered percussion, metallic splinters of audio and artificial vocal tics. Opening side two, ‘You’ve Changed’ adheres to a more abrasive core, while ‘Heal’ and ‘Heal (Alt Mix)’evolved out of linked pieces in FFT’s live sets that grew into complete tracks in the months before Covid-19.The significant intensity of ‘Heal’ in particular was refined during strobe-heavy live performances and is the album at its most turbulent, the claustrophobia interrupted by dazzling arpeggios.The overall impact of 'Clear' is cinematic and precise, marking the arrival of an impressive electronic musician who is not new but has come into his own as a fully developed artist

Templeight is Temple’s eighth release, The first in our seventh year. It features eight tracks from artists spanning two continents. These are bent songs of glimmering confusion that rejoice in dissolution; songs to truncate the space Between us all. We love them, and you might too. ::))

Artwork by Jonathan Castro & Alejos and Robuche. Mastering by Marco Pellegrino at Analogcut Mastering. Ex-Terrestrial - Inlet and M & Dust - A Day in June mixed by Priori. Phones in the Sun - First Look mixed by Lukas Glickman.

The London-based producer has joined the likes of Mumdance, Batu and Bruce in redefining the traditional confines of UK Bass music. His forward-leaning experimentalism and unconventional take on grime takes a step forward in the realm of the dance floor, creating an abstract universe where no predictable structures seem to exist. Resident DJ on Threads Radio known for his eclectic selection of tracks and exclusives, working through an array of styles and influences that span from 90’s rave, grime, techno, drum n bass and odd ambient rarities. J-Shadow’s tracks have been played by relevant radio hosts such as Tom Ravenscroft, Sherelle and Anz.

After two EPs on Pleasure Club, Johnny Hunter returns to the label with his first full length -Dub Is King LP. Fusing all of the styles he has become renowned for through his releases and DJ sets, this album see’s him incorporate dubby techno, spacey electro and UK garage flavours into one eclectic yet cohesive body of work.Created throughout the trials and tribulations of the last two years, Dub Is King LP is a message of optimism, unity and freedom, and is also a deep homage to Johnny's roots in soundsystem culture.

Toronto avant-pop experimenters Bernice will follow up their Polaris Prize longlisted 2021 LP 'Eau De Bonjourno' with 'Bonjourno My Friends', an EP featuring seven remixes of songs from EDB.

Once you enter the field of unity You will feel the infinite source

Once you enter the field of unity You will serve in presence

Once you enter the field of unity I promise you will meet yourself

Mentalist dance music from Tera Octe on PRR! PRR! If you love Ork Musik, Lorenzo Senni and Sophie then you'll love this.

A sacred grove is a place in a forest thought to hold spiritual powers. Throughout history, these sites have been places of worship and ritual. Since the rave boom of 89’ - a new generation has found an alliance with nature steeped in hedonistic abandonment. So it is a befitting alias for the Malmö-based producer Teodor to use in order to serve us these spiritual excursions into ‘open air’ territory. While he has previously donned this mantle to provide atmospheric lo-fi techno on the Japanese label City-2 St. Giga (then as a duo with his friend DJ Natto) - here he hits closer to the deep house palette of his 2017 album ‘Neo Geo’ under the alias Fyodor The DJ. For the 8th instalment on blundar, the artist has worked closely with the label in picking out the right tracks from his vast archives. While the tempo sometimes staggers well towards BPM levels of hardcore techno, the touch remains gentle and soft. This genre-defying characteristic owes a lot to video game music, and especially Japanese games, where Teo finds a lot of his inspiration. The first track bathes us in tropical field recordings before tripping off into a relentless tribal groove - countered by meandering new age flutes. A2 is a fluid and complex piece, vibrating with a warm tenderness all the while maintaining a minimal progressive path. A3 deals in crunchy breakbeats and layers upon layers. On the second side, B1 builds through a hazy fog of tape hiss, pierced by the bouncing thud of sped-up bongos and an arpeggio that escalate it all into transcendental euphoria. B2 goes ‘off the grid’ for a heady trek of slippery beats that spill out into small flecks of breaks, all the while gleaming through the doorway to a sombre ambient jazz score. Closing off this 12” is a chilling high-speed chase through a neon-flashing night, propelled by a numbingly hard hitting drum machine sequence. The artwork for Blundar8 is as always photographed by mutantexture. The photos - which were taken during a hot summer by the Western Harbour of Malmö - were picked out by Teo as this is a place of great significance for him. A place for the daydreams of sun-dazed ravers

new project from Future Times.. proper out-there steppers. tip!

"With this release, I set out with a particular sound in mind - one through which I could amalgamate my inspirations from over the years to create something fresh and outline a unique approach. With these tracks, I wanted to walk the line of having something energetic enough to tease my UK Underground & Dance Music influences, and yet experimental enough to present the listener with a deeper landscape to explore through the FM sound design." Aagentah

Montreal duo Biochip return to Central Processing Unit with their new LP Crux Alley. The pair of Melissa Speirs and Julian Kochanowski turned plenty of heads when they first rocked up on the Sheffield label back in 2019 with debut drop Synthase. Synthase found Biochip twisting up Braindance, IDM and electro to their own ends, and Crux Alley is an album which hits similar sonic sweet-spots.
It's clear from the off that Biochip have brought their A-game here. Opener 'Mind Bubbles' has no time for pleasantries, dropping the listener straight into a nocturnal IDM-electro groove where bass dances nervily around shadowy synth pads. 'Mind Bubbles' is followed-up 'Polymorphic State', a tune whose laser-gun synth-bass plumbs even more energy into the pair's Rephlex-indebted sound. It's a hugely arresting way to begin an album, and the bold sonics here align Crux Alley with recent CPU releases like Bit Folder's Silicon Frontier and Annie Hall's Fum.
Other tracks on Crux Alley ease up on the frenzied feel of those opening numbers. Take 'Orbital Rendezvous', a cut which is still full of zippy melodies and keening keyboards but whose contemplative strut recalls the legendary electronic music duo referenced in the track's title. There's also a distinct cyberpunk flavour to this track, and this is brought out further on the vivid 'Dopamine City' and 'Tower 13' - it is at these points where Biochip most resemble the work of fellow CPU act B12.
Biochip record their music straight from the mixing desk, an approach that gives their tracks a spontaneous energy and one which sometimes leads Speirs and Kochanowski into novel sonic terrain. Crux Alley's 'Antagonist Part 6', for instance, is a spiritual successor to Synthase's 'Acid Billy' in how the overload of electronics almost pushes it into industrial-techno territory. Furthermore, while most of the LP draws on the Detroit electro continuum of Drexciya, DJ Stingray et al, 'Neutral Current' obliquely recalls the jazz-tinged house of Theo Parrish - although the wobbling synth chords and reverb-laced drums make 'Neutral Current' sound more like an extra-terrestrial reimagining of the Motor City legend's music.
Biochip continue to mark themselves out as one of contemporary electro's most exciting new acts with the Crux Alley LP.
Riyl: Cygnus, B12, Annie Hall, Orbital, Silicon Scally

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.
The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.
Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.
Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

Limited to 300 hand-numbered copies including hand-silk-screened poster by Vladimír 518.

Inspired by a long lost tale from dark and cold northern lands, written many ages ago, ‘Neida‘ is the story of a young boy who one day noticed an eerie call, so peculiar and odd that he could not resist but to follow it. While it resonated through remnants of ancient settlings, the boy had to overcome many obstacles and solve numerous quests, journey through mystical forests, foggy mountains and ghostly villages, battle the forces of nature and lose himself in this adventure. Finally reaching the ocean after an exhausting voyage, a mysterious invisible force drew him closer and closer to it, suddenly entranced in a state between consciousness, floating underwater, lured by the siren of the sea.

Finnish producer Desto returns to Rwina to deliver his first full length album, ‘Emptier Streets’. As with his previous releases on the Dutch label, Desto strips the music back to its bare-bone essentials, fulfilling the album’s title with a sound that’s spacious and eerie, bleak and punishing yet still offers warmth in its apparent coldness. Stylistically the album is most obviously aligned with the aesthetics of Dirty South hip hop and the dubstep diaspora, deploying booming drums, rolling hats and cold synthetic melodies and voices inside cavernous sonic landscapes.

Seoul-based producer and DJ Yetsuby conjures immersive, layered soundscapes that glide between breakbeat, jungle, and leftfield bass. As one half of the duo Salamanda and co-founder of Computer Music Club, she has released music on labels like Wisdom Teeth, all my thoughts, Human Pitch, and Métron. And her boundary pushing sets on Seoul Community Radio, Boiler Room, and NTS Radio have brought her experimental Seoul roots to a global audience. Her new album, 4eva, invites listeners to wander through strange musical landscapes. Blending digital, analog, and acoustic sounds, Yetsuby explores the magnetic pull between people and music—an experience that feels both cosmic and deeply personal. Effortlessly weaving through genres such as bass, breakbeat, ambient, footwork, contemporary club, and IDM, she creates maximalist compositions that remain cohesive and refined. The inspiration behind 4eva is equally surreal. A childhood doodle from her sister, calling her a “brain-ful human,” sparked reflections on loneliness, togetherness, and the joy of navigating both. The album channels these themes of connection, introspection, and the transformative power of music, delivering catchy melodies and restless harmonies that invite listeners to lose themselves in its nuanced rhythms. Out on Pink Oyster Records in LP and digital formats, 4eva marks a bold new chapter for Yetsuby. With this release, she emerges as one of electronic music’s most original and exciting voices, defining the sound of Seoul’s underground—and beyond. Pink Oyster is a new label from Jess Goodchild and Jack Hardwicke (Métron Records)

As most of us now live in a world saturated with information, this album feels like a reflection of how the modern world might sound if it were to process its own chaos through a unified scream. Hailing from the highlands of Bandung, West Java, a city where tradition and modernization intertwine in the rhythm of daily life, Xin Lie unpretentiously translates this cultural fusion into a sonically rich and rhythmically bold debut LP. The artist’s roots in the hardcore and punk scenes reverberate throughout the album, though they’ve been reshaped and refined for the club. There’s an undeniable pleasure in experiencing the chaos Xin Lie channels—irregular beats, dynamic frequencies, and disjointed grooves collide and expand, each track laced with a sense of unpredictable energy. Yet even in its most chaotic moments, the music feels deliberate, its edges softened by a sense of compositional care. The album reveals a strange duality: tracks that seem to beckon you to the dance floor but never quite let you settle there. Frequencies flicker and fluctuate in patterns that feel just slightly off-grid, as though resisting traditional structures. Yet, amidst the digital textures, Xin Lie weaves in organic sounds—snippets of native conversations or environmental noise—creating layers that feel both intimate and expansive.It’s fair to say this album extends far beyond the boundaries of today’s club music. Picture this: you’re moving through your daily routines—mundane, repetitive—and suddenly, the music shifts your perspective. It reframes the ordinary as something surreal, as though it’s deconstructing itself in real-time, breaking into fragments or conjuring entirely new forms. Perhaps it’s best imagined as the soundtrack to a multi-sensory art installation or a performance staged not in a gallery but in an unassuming house down your street. Who’s to say where it might take you?

Layers of fog, hazy synths, solid percussion, and liquid basslines – Esaïa's debut album Mindscapes invites listeners into a dreamlike soundscape. A sonic experience where Berlin’s Berghain meets the vibrant streets of Kingston, Jamaica.

With its cinematic chiaroscuro lined with sub-bass, the album blurs the boundaries between genres. Inspired by the pioneers of dub, Esaïa seamlessly blends hybridisation and experimentation, pushing musical limits to carve out her own sonic space.

An album designed for both the dance floor and introspective listening, 4-to-the-floor techno-driven beats fuse with blissful instrumental flows. Paired with Madame Ipsum’s luminescent visuals, Esaïa’s work creates a multi-sensory experience that sparks the synapses.

‘faixa’ is the eponymous debut LP from rural Valencian group Faixa, emerging from a desire to fuse their curiosity for electronic sounds with experiences of living immersed in the folklore that resonates through the Valencian regions of l’Alcoià and el Comtat. This atmospheric album speaks to a sound not often heard in the wider Spanish electronic music scene, but reminiscent of other modern revivals of traditional music fused with electronic sounds across Spain right now. The sound of the album is a constant dialogue between the roots and the future of Valencian generations; traditional vocalists play an essential role in connecting oral traditions such as the “cant de batre” and marches of the “moros i cristians” with leftfield electronic, influenced by sounds typical of dubstep, jungle, or footwork. This historical quality resonates profoundly through songs where vocalists Noelia Llorens “Titana”, Carles Dénia, and Josep Aparicio “Apa” act as channels to a new sonic dimension of traditional music, where the classical and the modern intertwine. Receiving great feedback across the country in a short period of time, Faixa’s unique approach to electronic music has gained them mentions and interviews on national and local radio & TV.

A collaboration between Duncan Bellamy (Portico Quartet) and Belinda Zhawi (MA.MOYO), Jump Ship, Sit Lean, Be Still, Stand Tall is a collection of sonic-poetry that sets Zhawi’s illuminating, elliptical words in dialogue with diffuse, explorative music and sound by Bellamy. Fluctuating between expansive contemporary classical arrangements and intimate layered vocal experiments, together they render these disparate forms into something distinct, melancholic and luminous.

Belinda Zhawi is a literary & sound artist based in London & Marseille, author of Small Inheritances (ignitionpress, 2018), & experiments with sound/text performance as MA.MOYO. Her work explores African diaspora research and narratives, and how art and education can be used as intersectional tools. Her literary & sound works have been featured on various platforms including The White Review, Vogue, NTS, Boiler Room & BBC Radio. She’s held residencies with Triangle-Asterides, France; Cove Park, Scotland; Serpentine Galleries; ICA London and was a Brixton House Associate Artist 2022 - 24. Belinda’s the co-founder of literary arts platform, BORN::FREE. She is working on her first full poetry collection.

Duncan Bellamy (b. Cambridge, UK, 1986) is a multidisciplinary artist based in London. His diverse practice encompasses painting, silkscreen, photography, sound and music. His work examines the shape of time, loss and our relationship to the past and present in a period of compressed transformation. He is a founding member of Mercury Prize nominated Portico Quartet, and has contributed sound work to the artist Hannah Collins audio-visual installation I Will Make Up A Song. Bellamy is working on a debut exhibition and new music.

Rhythm Section International, the impossible-to-define label founded in South East London by Bradley Zero in 2014 has reached the ripe old age of 10 years. Funny thing is, it feels like it could have been almost double that. It’s hard to imagine the Landscape of the London music scene without this foundational force whose influence is felt more than ever.

With this special anniversary release, the label takes stock at this milestone to present a compilation in 3 parts: Past, Re-imagined AND Future: honouring the labels tradition of always paying homage to what has come before while setting sights firmly forwards.

With 100-odd releases in their extended back catalogue covering every imaginable style and boasting influence in every inhabited continent on earth, it’s been quite a decade for the independent label, which began on a shoestring budget with funds made via the now legendary Rhythm Section pool hall parties in Peckham.

From humble beginnings to an era defining output - few would have predicted the slow and steady rise of the imprint and the impact it has had on generations of Dj’s, musicians and listeners - at home and abroad.

Spanning 6 discs and 30 tracks, the compilation begins by taking us on a walk down memory lane and presenting one track from each year of the labels output - highlighting some forgotten classics from the archives over the first 2 discs. For discs 3 & 4, the label invited it’s stable of artists to pick a track from the back catalogue to re-imagine in their own style. This process resulted in some incredibly playful contributions from the likes of Ruf Dug, Session Victim and Private Joy - whose playful reinterpretations add new depth to old material.

Finally, the last 2 discs are entirely new material for 2024, carrying the torch of the previous Shouts compilations - whose sole aim is to shine light on new music from emerging artists

Desde los oídos de un sapo We are very excited to announce a new chapter in our journey. Here we are blazing a new trail, making our way to document and leave a first-class record of sound design, Field Recording and cutting-edge electronic music made in South America. We present our first album, 'Desde los oídos de un sapo', by our favourite amphibian, a man ahead of his time, the Uruguayan Lechuga Zafiro. "How could I call it my sound if I had not found it myself?"___ States the artist, who finished forging his outstanding musical identity based on field recordings. Metal, wood, plastic, glass, rock, toads, birds, sea lions, pigs and water (in its various forms) captured in Uruguay, El Salvador, Chile, China, Argentina and Portugal, coexist and exchange harmonic and dynamic properties. By altering, editing, or simply letting the sounds manifest themselves, Lechuga generates a wide and complex rhythmic-timbral universe. These are 7 tracks that never cease to have consistency and a fierce character.

Lechuga's debut album is a milestone in Latin electronic music. This document opens a new territory, one so genuine and challenging, so real and fertile, that we are confident it will be a must-have anywhere on the planet. This collaboration is our new contribution to the mission of contemplation, so please stop, come to this frog's ear, to feel with both Pablo and us.

“Experimental, Hip-Hop, Electro, Blue, Textured, Research, Spatial, Atmospheric, Dark, Silver, Bark, Cold Nights, Spacial, Flashlight, Bouncy, Dance, Hans Richter, Nature, City by Night, Arctic Dreams, Self-Growth, What Is Art, Boundaries, Gravity, Finland, Finland's Music Scene, Culture, Question, Explore, Travel, Layered, Curated, Moving Images as Sounds, Soundscape, Dynamics, Echoes, Reverb, Listening, Responding, Multi-Dimension, Reuse, Reinventing, What About Your Alter Egos, Plastic Night, Construction Site, Blue, Shark”

Duo Lucas Brell and Marvin Uhde deliver fire-powered percussion to Osàre! Editions. Longtime friends and collaborators, they channel a liquid medley of drum menace that flips sideways, swiftly pivoting between wildly different tempos. As disorientating as it is formidable, Purest State Confusion offers up a fractal prism of ever-shifting beat patterns – an endlessly warping vortex of guttural, narcotic sounds. The titular number, a wormhole techno ordeal, builds steadily, layer upon layer. A crystalline dancefloor pleaser, it subverts classic four-to-the-floor with a delayed kick drum that punctuates every 8th beat. Like black oil diffusing in water, the bass creeps in menacingly to 'The Disappearer', in hard and fast contrast with the sharp fluctuations of the amen break. Slamming in mercilessly, 'Channeling Bryn Jones' opens up the B-side, its fluttering rhythms joining together with an infectious klaxon melody before the IDM stylings of 'Brain Massage' closes out. Purest State Confusion was recorded at various locations in Leipzig and Berlin. Final touches and mixing assistance were performed by Mike Bierbach at the Wsnwg studios. The pioneering techno producer inflects the record with his staunch taste for aerobic club rhythmics, teasing out the whirling tempos and pointillistic harmonics.

Follow-up to "The devil's weight" album even more rock and blues, ever more intense and powerful, Eric in the tradition, on the frontier, but always himself without concession. In the Mingus family, in your hands, for your ears, the son and his sequels...

For Maya, this EP is a reflection on what it means to be home and the relationships which make it so, written over a two month period of some difficult transitions and changes. After struggling with some memories around what home meant to her in the past, some large personal life changes triggered and shaped how she feels about home now, after having been away from the US and living in the UK for nearly a decade.

She explains that the music on this EP is also very much a love letter to her friends and family who share their stories with her, who make her time here worthwhile, and who ultimately make her feel at home.

Musically the record spans seven tracks each with their own style. Some up-tempo breaksy cuts along with more delicate down-tempo melancholic moments, all of which are influenced by her upbringing in the US and also the UK. She uses sounds that she was listening to back when living in the US and other things that make her think of home such as pool field recordings and piano-lead indie music, as well as 00s RnB samples, all united by soft pads and vocal samples.

Latest and last entry in Comfortnoise’ triple set that started with Com05 and Com06.

Artefacts is the second part of the diptych of 2 albums by Hihats In Trees, pseudonym for Belgian drummer, producer Lander Gyselinck

Hhit’s unprecedented experiments with rhythm and acoustic textures on its debut album ‘Disleksikon’, released in 2019, was well received. On Artefacts Hhit takes it a step further. A truly sensational sonic realm is explored.

Hihats In Trees’ obsession with singular physical objects, materials of wood, stone, metal evokes a dark dystopian sentiment and a recurring melancholy. A poetic expression of the solid object. In Artefacts, through this language with materials, the physical objects come to life sonically. The 10 compositions revolve around this peculiar vocabulary of texture and rhythm, balancing between the dance floor and a solitary ritual, reminiscing on Hhit’s major influences of gqom, detroit techno, hiphop and experimental ambient.

Fashion designer Dries Van Noten was fascinated by Hhit’s musical experiments, This resulted in a collaboration with photographer Viviane Sassen for his Spring Summer collection in 2021 with music by Hhit, partly from Disleksikon, partly tracks later to be released on Artefacts. Artefacts is released on the Brussels based label Maloca Records, run by dj, producer Le Motel.

Vinyl was made in two versions - black and limited to 100 copies black&white vinyl. Both 180g.

The debut album from our specialist in bass sounds from Wrocław - TVB. AAfter many bootlegs and two acclaimed EPs (including official Sam Binga remix), the time has come for the official cross-genres long play, where, apart from solo tracks, there are many vocal guests - Mila, Bryndal, Cheeba, Krzaquu, Marceli Bober and JupiJej. An amazing mix of experienced MCs with a new generation of artists.

"The Very Bass" LP is a fresh club sound inspired by the British wave of bass music, which resulted in a mix of 2step, UK garage, dubstep and drum'n'bass.