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Edition Hawara’s fifth release is a raw funk gem by a little-known Austrian pop band called Magic Sound. Edition Hawara’s second 7“release features one of the more obscure Austrian bands from the 1980s. Little is known about Magic Sound. The cover suggests that their label wanted them to be Austria’s Village People, though their sound is much rawer and funkier. One thing we know for sure is that the group included Andy Töfferl, who was also a member of the famous Austrian pop ensemble EAV (Erste Allgemeine Verunsicherung). And we know that they went to the studio to record a whole album after touring Sweden in 1980. Only these two songs survived, and they are worth listening to over and over again. Enjoy in fancy dress, or dressed down. With or without a moustache.

Still shrink wrapped but opened.
Cover as new with slightly dented corners.
Records are close to NM.

Following EPs unearthed from by Dukwa and Marco Bailey & Redhead, Tdsr land back in their native Scotland with the debut release from young Edinburgh producer LWS. One half of the party duo Agora, he has been quietly honing his production skills wherever he can, seemingly even during university lectures. This is most evident in the title track ‘Metrixulus’, made entirely from a ten-minute iPhone recording from one of his economics lecture, flipping it fully on its head. Distorted synth howls are layered atop tight, clinical ercussion shaking in unison with a broken melody. The overall effect reveals a method to the madness though, nodding to deeper dancefloor moments through the emotive synth work, yet also showing a keen ear for the blistering digital drums of UK Funky and post-dubstep offshoots. The four tracks here show a young producer with a distinct sound, yet each remain markedly different to another. ‘Buy These’ on the A2 changes up the pace with a sharp, bouncy rhythm workout bringing in toms reminiscent of old Dance Mania jams, alongside some quality ambient pads. Side B delivers a driving EBM style lead blended with elements of dub techno, cavernous reverb filling the stereo field (C-Gard). Big extended breakdown in the midsection too! Arguably the most full-on cut is left till last, utilising the same knack for tight drums to underpin a truly wonky electro melody with what sounds like a detuned panpipe scale amongst various other FX.

Nicknamed “The Sleeping Giant” by B.B. King, Lowell Fulson is one of the finest bluesmen to ever come out of Oklahoma. Tramp, his second effort from legendary blues label Kent Records, sees Fulson at his honey-toned best. The opener and title track “Tramp” is arguably Fulson’s most popular song - a funk blues cut which initially peaked at number five on Billboard’s R&B Charts before becoming a minor hit for Otis Redding and Carla Thomas (who would take it to number two on that very same chart) just a single month later. Across twelve tracks, Fulson’s playing is constantly funky, constantly bluesy, and constantly amazing. Don’t miss a single moment - reissued on limited edition monophonic vinyl, this record sounds simply fantastic.

The latest by UK rave reanimator Low End Activist is a nine-track suite of skeletal hardcore, pointillist drum n bass, and deprivation chamber dub, chopped and brewed in homage to the countryside sites of golden age dance gatherings: Airdrop. From Waterstock to Yarnton Road to White Horse Hill, England’s early 90’s dance summits loomed large in LEA's familial and artistic landscape as a youth, trading tapes and pumping tunes across long weekend afternoons: “Fast music to soundtrack slow days.”

An atomized stew of stabby samples, bubbling bass, airhorns, echo, and blitzed BPMs, the cuts take cues from key heroes of the “where were you in ‘92” set – Tango & DJ Ratty, Top Buzz, DJ SS, DJ Seduction, Dr. S Gachet – then fling them to the four corners. Skittery, stripped, and elevated, this is mad scientist music of voltage, vision, and rewired brains, scraped to its raw genetic essence and deployed for peak kinetic liberation.

Collage by Clayton Burke. Mastered by Joshua Eustis.

Lotus Wash drops his debut album on LBD Sounds, bringing a whole load of fresh material which came out from his experience as a session musician, and performing his experimental live sets around the Czech Republic. He connects the dots between classically trained musician and modular synth-head, working in Prague's DIY shop and creative community Noise Kitchen. The album spans across 6 original tracks of pure analogue bliss and live ideas, alongside three remixes from his closest allies, local producers Oliver Torr, Vision of 1994, and Hrtl.

The Field Theory was created during a period of deep fascination with quantum physics, with the tracks being conceptually and aesthetically inspired by some of its phenomena. Acoustically, it's mostly a slow and dark affair, with Lotus Wash only letting the light in very briefly when the sun is young (Magnetic Moment), keeping the shutter firmly closed for the rest of the record. His music does not rely on banging beats to drive it, instead letting intense grooves do the job from deep underground, just like on earth-shattering album opener Vacuum Fluctuation. He masters his craft of building atmosphere, a skill learnt during multiple collaborations with various Czech theatres. Of course, he lets the steam out occasionally, and always with devastating effect (Higgs Field, Casimir Force), but mostly choses to keep it capped, humming and hissing. When the sky clears, he opts for a minimalistic and hypnotic approach, only to disturb this peace with a killer bassline in one of the album's highlights – Spooky Action in A Distance – later re-imagined and re-electrified by Oliver Torr. Standard Model is anything but your standard techno, while Hrtl's remix of Magic Moment flirts with techno too, but on a dubbier and brighter side. Bringing the album to a close is Vision of 1994's downtempo take on the same track, finally letting you breathe out.

With a fundamental emphasis on the encouragement of genre hybridization, Evar Records, the Los Angeles-based imprint co-founded by Trickfinger (John Frusciante) and Aura T-09 (Marcia Pinna), continues its momentum with an expansive 9-track collection from Netherlands-based luminary, Limewax.

After making a strong first impression with its 2020 debut offerings, Evar Records has recruited Limewax to carry forward its mission of blurring boundaries and challenging conventions in electronic music. The Ukranian hard drum and bass hero happily obliged, referring to signing with Evar as a breaking point which allowed him, finally, to take full stock of his background in classical and electronic music simultaneously. Although Maxim Anokhin is widely known for his hard-edged breakbeats, releasing on labels such as Tech Itch Recordings, Position Chrome, Freak Recordings, and Prspct, the full scope of his artistry shines through on Untitled.

The opening cut, "Porcelaineworm," is a futuristic electro cut recalling IDM classics like AFX's "XMD5A." Of course, the virtuosic drum programming and hectic D&B sound which Limewax has built his reputation upon is here in spades on tracks like "Stay Lackey. Cuts like "Ushio" and "Whay1" are fascinating studies in contrasts—the former balances bludgeoning techno of the Ansome and Perc variety with a resolve that recalls Fennesz's pastoral glitch abstractions. "Whay1," meanwhile, is sub-rattling drum and bass nuanced by cinematic string themes. "Getupa" is an experimental beat track that truly bangs, its layers of texture and field recordings placing Limewax in the company of bleeding-edge acts like SVBKVLT's breakout star Hyph11E. The very next track, "19NB," is a subtle update to the original minimal technical template established by Detroit icons Robert Hood & Jeff Mills.

While most of the album hurtles forward at hard techno and D&B tempos, "Maleisae" is a sensual 70 BPM track mixing ghostly R&B and acid. That spectacular cut heralds Untitled's intricate denouement. The brief "Wernmqbram" effortlessly reconciles a baroque minor-key piano theme with the renegade snares of classic jungle. "Hasan" is a true "closing credits" master stroke, half-time acid giving way to gorgeous IDM-meets-Blade Runner synth leads.

Far from a genre-jumping hodgepodge, Untitled is a remarkably coherent full-length by a virtuosic artist free to explore the entirety of their creative influences. The Tilburg-based artist cites the poets Marina Tsvetaeva and David Whyte as influential on Untitled and also listened to works by 1771-1862 works by organ builders when crafting the album. The end result reveals Limewax as a masterful, diverse artist, capable of any style he pursues. It's a clear indicator of the boundless promise of Evar's core principle—a staunch refusal to put artists in boxes.

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.

"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.

Much deserved, remastered reissue of ‘We Are I.E.’ by Lennie De Ice, arguably the first proto jungle tune, now coming correct with fresh remixes from Solo & Blades alongside Borai, as well as the sought-after Horsepower Productions remix. Released in 1991 on I.E. Records, an imprint based out of De Underground Records, a store in London’s Forest Gate run by Mike De Underground alongside Uncle 22 and Randall, it famously featured elements that paved the way for the Jungle sound. Centered around the Amen break, ragga style basslines, vinyl spinbacks and gun shot samples, it stood out as something different back in ’91, A certified classic, rinsed on dancefloors everywhere and anywhere, from back in the day to the present. Solo & Blades are the first of the new versions, hitting hard with a heavyweight jungle remix, as Borai steps up with a beefy bassline rework. Horsepower Productions killer and sought after remix rounds off the package.

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.

Last Nubian — one of South London’s most electrifying producer/DJ talents — partners with Geneva’s Sweet Fruity Brunch to debut on Errol and Alex Rita’s Touching Bass. Six tracks oozing the grit and groove of inner city LDN with deep house, broken beat and dub at its core.

From the wiggling, jazz-tinged house of the title track and anthemic singalong bruk of “in da morning” (both featuring the honeyed vocals of Achanté) to “unformidable/call it out”’s moody steadiness and the dub that bookends the EP — this is music with soul firmly in its veins.

Fresh from stellar releases on kinship labels, Tiff’s Joints and Ben Hauke’s Woop Records, the Balamii Radio resident has been steadily making moves for the past few years as part of an exciting scene of local producers and DJs. He’s now ready to take things to a new level, developing a live/DJ-hybrid performance (which premiered spectacularly to a hot-footed audience at Gilles Peterson’s We Out Here Festival).

‘Babylon Shuffle’ marks the first of Touching Bass’ 12” riddim packages, bottling the eclectic sounds of their much-loved South London-based dance on wax; custom built for dancefloor damage and beautifully presented in the soon-to-be customary, crimson red house sleeve.

Previous support from Moxie, Shy One, Secretsundaze, Aqwea, Pete Tong, Jamz Supernova, Alexander Nut and more.

Kyle Hall back on Hyperdub for our 10th Anniversary? - Yes please. In fact this is more or less a long delayed EP from the vaults, recorded around the same time as his 2010 ‘Kaychunk’ EP … which just goes to show how ahead of the curve the young Detroit producer is. Starting with 'Girl U So Strong', the track riffs on a distorted arpeggiating bassline, seasick organ and a dubbed out voice, and a flicking metronomic note, starting slowly before shuffling drums give the track some rhythmic focus. Soon a warm melody builds over some happy arpeggios, and the whole track feels like a product of brilliant spontaneous energy. 'Take Me Away' works an 8 bit bassline, bleeps and throbs into an off beat shuffle over a pulsing bass drum, loose and happy, dosed with sunshine and space.

Presenting the third volume of forward-thinking electronics and peerless Jungle / D&B expressionism from iconoclastic Bristol producer and DJ, Krust. An artist who has always been pushing the sonic envelope while keeping dancefloors fully locked.

Introducing 'Irrational Numbers,' a meticulously curated collection of five parts, available on both vinyl and digital formats. This compilation is a treasure trove of hand-picked records and archival gems from Krust's extensive discography, thoughtfully remastered and presented anew for both devoted fans and newcomers.

'Irrational Numbers' features a dizzying array of self-released 12" cuts, exclusive unreleased VIPs and dub-plates, alongside epic major label widescreen classics. It's an unmissable journey through the sonic output of one of the UK's most distinctive and forward-looking producers.

Volume 3 serves us a plethora of unmissable highlights from Krust's enviable back catalogue. From the raw jump-up chaos of 'Rukus', the early rolling business of 'The Resister' to the epic genre defying voyage that is 'Soul In Motion', no stone is left unturned on what is - once again - an essential purchase for any serious lover of electronic music.

For longtime Krust enthusiasts, this project serves as a fond reminder of the boundless creativity and originality that flourished during the early 1990s and beyond. For those new to his work, it presents an enthralling introduction to innovative electronic music that has comfortably set the tone for generations to come. Get ready to experience the evolution of sound and immerse yourself in the visionary artistry of Krust.

The record ‘Rīgas Elektromašīnbūves Rūpnīca (rer)’ has many distinctive characteristics. I would like to draw listeners’ attention to the fact that the recording was made with 16 microphones in an abandoned factory in Sarkandaugava (Rīga, Latvia). Over two days, Kodek recorded how the music sounds specifically in this vast space – how the window panes vibrate, how the metal lockers rattle, and how the sound waves propagate uniquely. This created a special and unparalleled musical sound. In this record, Kodek not only plays musical instruments but also the space itself, resulting in an added value or a new chapter in the history of world music – The Sound of Sarkandaugava. – Kaspars Rolšteins Artist bio: Musician Raivo Vainovskis, widely known as Kodek represents a narrow nonacademic electronic music genre while having proven his excellence and gained international recognition performing in countless electronic and experimental music festivals like CTM Festival in Berlin, Amsterdam Dance Event in Amsterdam, Cynetart Festival in Dresden, Mutek festival in Montreal among others. Kodek is a core figure behind the globally acclaimed Latvian electronic music instrument manufacturer Erica Synths and often uses their synthesizers in his work. Since 2011 he co-organizes experimental music mini-festival Brīnumu Nakts in his native city of Madona which is one of the rare occurrences of such events outside the Latvian capital Riga. Since 2005 both in his releases and live performances he challenges his audiences with his unique stage presence and sonic aesthetic that is rooted in the spirit of truly independent music and art. Kodek has been nominated (and has won) The Annual Latvian Music Recording Award in the category ‘’The best electronic music album’’ for his ‘’Flavours From The Future’’ LP in 2012.

Having previously graced the label with Ifsdigi002 and as part of the Ifsdigiv001 record which landed earlier this year, Kodama marks his return to Infernal Sounds with a 4 track solo EP on their main catalogue. As to be expected from the producer he showcases his musical and melodic prowess throughout, touching on darker tones whilst displaying the lighter, nibble notes we've all come to expect to hear from him.

'Gekko' opens up the EP, beautifully constructing a kaleidoscope of emotion and spanning textures, whilst 'Fijit' hits a little differently, layering daunting droplets of reverb, revealing a sinister underbelly to the overall vibe.

The B-side opener, 'Sneakers' leads with drawing melodies, before breaking into a bass-infused medley. 'Wiretap' finishes the EP with accurate precision, again providing an example of Kodama's use of melodic structures, whilst drawing you down a spectrum of sound and feeling.

It's one of those EP's which isn't particularly packed with out-right bangers for the dancefloor, but more of a display of the newer 140 sound, and a selection of tunes which cohesively gel into a neat little package. For the DJ's who love to build, these are dying to be part of your collection and are perfect to get the crowd on the correct vibe.

Rising star Kilder releases his 10-track debut EP ‘Don’t Hide’, taking listeners on a whirlwind ride through club music as heard through Kilder’s ears: emotive house, hard-edged bass and divine indie-disco bring the energy, while more cerebral ambient tracks wind things down. Although it’s largely club music, there’s a pop sensibility at play throughout, with punchy song structures and a keen ear for melody that poke at the pop zeitgeist. Guests on the EP range from established names like underground legend Trim and Japanese soulstress Friday Night Plans to art-school-upcomers Jasper Lotti, Lyzza, k_anti and Lyam. As a debut body of work, it’s a product of self-discovery and a bold first statement that speaks of big things to come. Kilder has released half the record as warmup singles, starting with the title track ‘Don’t Hide’ back in July which reverberated in underground circles and saw him featured by Dazed, Dummy, The Line Of Best Fit and The Independent in addition to heavy tastemaker playlist support across all DSPs. Since then, the producer has racked up over 2 million streams, received plaudits from Jack Saunders’ Future Artists show on BBC Radio 1 and was dubbed “one to watch” by Notion magazine. At just 20 years old, the Amsterdam based producer is an essential new addition to your record box and a thrilling new talent for 2021.

The one that almost got away… A track that many thought would be destined to remain on only the most select of DJs USBs, Kieran Hebden finally clears the sample on one of the most talked about tracks of last year. Flipping the script on 3LW’s 2000 R&B heater ‘No More (Baby I'ma Do Right)’, Four Tet, under his KH alias, works that untouchable magic on the sample in true Hebden fashion. Taking that peachy vocal snippet and looping it up to the high heavens with a chest rumbling, wobbler of a bass synth and skippy garage beat you’re treated to a Four Tet warper of gargantuan proportions, finally officially released via Ministry of Sound Recordings under the title ‘Looking At Your Pager’. In Kieran’s own words, "This track was made in the summer last year just before my first festival set in a long time. I wanted something new to play that would feel universal, positive and futuristic and this is what I came up with." "Since then I think more people have asked me about this track than for anything else I've ever made and I've had amazing times playing it to the best crowds you could ask for. It took quite a while to get approval for the vocal sample but it finally happened recently and now the music is out in the world for everyone." Limited edition promo version one-sider. 1000 only. Buy or Cry.

Junior Loves with a long overdue return! All tracks recorded by Junior Loves.

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.

Next up is Josh Brent - revered throughout the globe for releases on his own Schatrax label, Josh has been releasing records since 1994 and has built a back catalogue of exceptional consistency. Stepping aside from his habitual sound Josh turns in 'Then Again', a 4-track collection of tumbling Breaks and Garage shuffles that have been tried and tested on Fabric's system.

Jonas Landwehr & Felix Fleer, the minds behind R-Imprint, are back with their youngest
brainchild ‘Serial Sound’. They are starting the new label off with an expertly crafted five track
EP ranging from emotive 4 to the floor anthems, over ideosyncratically spaced out IDM
experimentation, to cutting edge UK-infused club weapons. ‘Secrets’ is opening the A-Side with
a raw vocal performance by LAINE, fused with an infectious groove, building up to a euphoric
climax of layered poly-synths, sample flipping and abstract textures. ‘Blinded’ is carrying this
vibe over into a more toolish format while maintaining an intricate narrative arch. ’Water Seven’
rounds off the A-Side with a more dreamy excursion into ambient territory. ‘Windows’ opens
the B-Side with a catchy theme of pulsing modulated chords supported by subtle, micropercussive textures. Aeon is closing off the record with an aggressive, synthetic rhythm,
featuring syncopated vocal slices, contrasted with enthralling pad sounds. With this release the
duo has opened up their sound into a more mature & eclectic direction, while staying true to
their signature brand of contemplative harmonies and detailed textural layering.

The first release on the brand new DigBig Records comes from prolific Swedish composer, producer and DJ Joey FDH. In Level 7, Joey steps away from the harder electro beats she's known for and goes inward to explore the depths and corners of her own shadow through four slow burners. The EP rides a soft yet sinister groove with two acidic workouts on the A side - the beautifully atmospheric Acid Girl and the cosmic-dreamy eponymous Level 7. B side morphs effortlessly onto heavier but just as funky vibes with Shadow Play that slaps in the face with infectious breaks and the hypnotically thumping Shift Shaper. Spending over a decade in Berlin honing her signature dark sound, Joey FDH has recently returned to her homeland to find new inspiration in the forests and moors surrounding her now, adding a refreshingly introspective layer to her productions.

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.

Jeigo dropped a thrilling debut album Cerulean back at the end of 2022, worked in a tune with Elkka for her DJ-Kicks mix and also remixed Bicep not long ago. Now he follows all that up with a firing four-track EP on Tread Records that again collides different club sounds, great samples and hooky melodies. 'Hatchet's Cave' is hands-in-the-air house euphoria with blistering drums and warped pads, then 'Move X' is a gritty tech bouncer and 'Compulsions' is a bubbly one with crisp hits. Nervous Horizons label boss Anunaku remixes the title track into a bass-heavy banger and four locked grooves feature on this 12" for adventurous DJs to play with.

Londoner Jeigo has always had a knack for intricate and melancholic production. His emotive sounds span breaks, garage and dub and gave rise to a superb album Cerulean back in 2022. This new outing on Air Miles is another sophisticated one that shows some different sides. 'Fig' is a dusty and lo-fi mix of knocking, woody broken beat patterns and pitched-up vocal snippets that bring a sense of pain. 'Act Like You're Strong' is heads down, lip-curling UKG with shuffling and weighty drums and naughty bass. '3-5 Working Days' is somewhere in between - both club-ready but also with post-Burial vocals that tug at the heartstrings. There is a blissed-out feel to the optimistic melodic bubbles and angelic vocals of 'Found Me' that means the EP closes in lush fashion.

James Bangura debuts on Mister Saturday Night Records with a six track ep of diverse sounds and emotions. From the far off sounds of drum 'n' bass absorbed through headphones in Alabama and onto his first experiences of parties during the blog house Ed Banger era whilst living in California, all the while hearing the sound of New York house sound at home, this is the sound of an artist taking it all in.

Spil Records makes its debut in the world of vinyl with a new 12" featuring fresh sounds from label head Jack Swift and one from Scott Diaz while remixes are taken care of by a pair of UK legends in Zed Bias and Jeremy Sylvester. Swift's 'Perception' opens up with some well swung and dusty garage-house beats and a nice warped bassline. It's then over to Bias for his 25 Years Deep Remix which brings some prickly 2-step vibes. On the B-side, Swift's 'That's It Mate' gets a Vintage Rerun from Jeremy Sylvester that is pure vibes and last of all, Diaz's 'Spil The Beanz' is a fourth and final floor-filling garage house classic.

he Trilogy Tapes get the best out of J. Albert in the Envy Turned Curiosity EP with four deadly cuts of coiled, Afro-cubed breaks and gloomy synth pads.

Picks of the bunch are the beautifully brooding hybrids of B-More, Dark Garage and UK Broken Beats with cinematic strings on Money Between Friends and the haunted swang of Envy Turned Curiosity, while Deepstate Riddim goes rude and rugged on a dubbed out breakbeat flex and Designer Life recalls the meditative blue pressure of Parris.

James 'Bursnki' Burnham aka Constant Sound label boss and garage head Instinct is showing no signs of running out of ideas despite having put out such a high amount of high-class club weaponry in the last few years. He goes big once more with this latest 12" which subtly features the iconic vocal cries from Moby's 'Go' but repackaged in a shuffling and banging garage groove with dark synths and wonky bass. On the flip is pure grade bassline track, 'Bassline Track.' It'll take you back to the days when this northern take on garage was all the rage, and why not?

A collection of hypnotic sounds to lose yourself in the clouds; the second physical record from Noire State comes from Indent, a four track EP ‘Transitory Memories’, featuring a remix from Bristol based Yushh.

Artisjok Records is happy to present you the second EP on the label of 'Hyas' - a Lyon based DJ / Producer who knows no bounds in merging different influences. The release kicks off with "Level", a fusion of broken beat and dub techno that creates a deep, textured sound, setting the tone for the entire journey. "Yellow Zushi" follows with a jazzier approach, weaving broken beat drums with smooth, melodic elements. For footwork aficionados, "Dontgiveashit" delivers at 160 BPM, blending a funky, jazzy vibe that captures the producer's energetic yet laid-back style. "In Walked Dub" then introduces the bass-heavy wobble of dubstep, featuring a homemade bassline that will shake any sound system. Finally, "Exclusive" pays homage to the early days of Skream with raw, dubstep-inspired grooves that will resonate with fans of the genre.

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.

Dark Machine Funk is delighted to welcome the first guest producer into the fold, Head Front Panel. A huge source of inspiration to DMF since those highly sought after HFP 12”s hit the record store racks in 2014, Head Front Panel delivers a superb well rounded 4 track EP titled ‘Tactile’ for DMF’s 5th release. The opening track 'Panama' opens with some otherworldly pads, sweeping resonances tickle the ear before signature HFP drums hit you with pure engaging energy. Broken kick drums and rattling percussion perfectly sit on this hypnotic tribal-esque sonic dream, a depth and area that we've not heard from HFP before. 'Tactile' brings the perfect tool, loopy rhythms that stretch the perception of time whilst getting lost in subtle rides and eerie door creaking atmospheres, deep listening will provide a new journey on every repeat. 'Surdo' open's side B, and we're catapulted into the fire with shaker/hi hat percussions that grab your attention immediately and vocal samples scatter across the stereo field. Shimmering pads take the track into deeper territory but all while keeping in a constant state of forward motion accented by the occasional double kick drum. A huge baseline swings the track to give it it's funk. 'Them' probably the most recognisable HFP track hammers with a thunderous kick drum and a subtle repetitive synth line, groove is king here where percussion elements are pushed and modulated to create enough interest to carry the track through till close. We are more than honoured to present ‘Head Front Panel - Tactile’ on DMF!