Buscar:assets

Berlin-based producer ZentaSkai returns with ‘Analog Assets Vol. 04’, a four-track vinyl-only EP focused on analog texture, dub-inflected atmospherics, and disciplined techno structure. Active since 1997 and operating Mask Records and its parent label, Zaijenroots, from his Berlin studio, he continues to refine a sound shaped by spatial control and steady, architectural pacing. Tracks unfold patiently, elements are introduced with intent, and nothing feels excessive.
Setting the tone with Cuddling Monsters’ partner, Laura Merino Allue, A1 features phased melodic textures and crisp percussion that gradually lock in the rhythm. A2 develops a filtered synth motif over a steady four-to-the-floor rhythm, revealing its full weight before pulling back. B1 is the most direct cut, driven by a firm, punchy beat and sharp rhythmic detailing built for peak-time focus, while B2 closes with rising string layers over a dub framework, balancing warmth and precision in a clean, measured finish.
With releases on Jerome Sydenham’s Ibadan Records and upcoming collaborations including Cuddling Monsters with Laura Merino Allue and a joint project with Thomas Grun for Rhythm Trax Austria, ZentaSkai’s work sits comfortably between minimal experimentation and functional dancefloor design.
Supported by artists such as Richie Hawtin, Joseph Capriati, Marcel Dettmann, Luke Slater, Laurent Garnier, and DVS1, he maintains a consistent presence within the underground without chasing trends.

2025 Repress !


Prepare yourselves for an electrifying journey as Temudo makes his mark on Sciahri's label Sublunar, with a mesmerizing EP that encapsulates the essence of the artist's multifaceted techno mastery.

Hailing from Portugal and renowned as the co-owner of Hayes, Temudo has left an indelible mark on the techno landscape, affiliating with illustrious labels such as Klockworks and Blueprint. With a distinctive sonic signature, this EP, unveils the various dimensions of Temudo's sonic vision.

The sonic odyssey commences with 'U where my first second choice,' a pulsating blend of energy and hypnotic allure. Transitioning seamlessly into 'Asset 2,' the track resonates with an authentic, relentless stomping groove that is nothing short of captivating.

On the flip side, the EP unveils the warmer and groovier sounds of '2029' alongside the minimalistic and unforgettable tones of 'Affection.' These tracks beckon listeners to transcend to an alternate dimension, where the boundaries of techno are pushed to their limits.

Originally conceived as a standard EP, the remixes of The Human & Assets' original composition Jugem Jugem have proven to be an eclectic array of high-quality tracks, ranging from warm and rounded minimal sounds to rumbling low-end rigidness - and a few classic techno bombs to round things off.

The project turned into a two-disc collection of remixes, each giving the listener a specific and original flavour of electronica. Remix duties were masterfully executed by Japan's own Ko-ta, known by his sly releases on DJ Nobu's Bitta label; rising underground marvel and Edit Select Record's household name Linear System, with his hypnotic syncopations - and to finish the release off in massive style, French heavyweight Moteka (Skryptom) brings his colossal version of the original.

Pingouin Musique, relaunched after exact 30 Years - Founder Zied Jouini
Started his musical career 1992 right in the growing House and Techno era -
Since then he dedicated himself to the underground - Past releases on AFU/ Wavescape/ Music Man
Italys famous dance Label Flying Records, Great Assets URL Underground Label, also a late Force Inc, Traum Schallplatten or his other Imprint Practical Toy and other Project just to name few.

Zied produced a safe House Track with nice portion of underground called Hymn-
He knows how to keep the balance between a Dance Underground rhythms, harmonies and short concise melodies
Very enjoyable on the Dancefloor and at home :)

A1 Original: A classic house bounce with modern finesse and hypnotic effects guide
A2 Jouzie's Give Peace a chance Remix got an electro beat with a slightly breaks touch - a full rich house vibe and a well known Vocal sample in it - Floor Filler
B1 Johnny D Remix - inter alia produced e.g. for Oslo, 8Bit und Cécille, bring up an Absolut rich full tech house groove monster - Johnny D at its best
B2 Danielle Arielli Remix - Founder of Tooflez Muzik delivers a Power House, warm and hypnotic roller with a touch of Acid Remix - Banger!

Macedonian artist Stojche kicks off Mutual Rytm Xs 2025 schedule with his blistering new EP, Stomping Ground.
Stojche is an exciting DJ and producer from Skopje, Macedonia, who is currently based in Madrid. He heads up his Tangible Assets imprint and has been making waves in the electronic underground for over 20 years. His music takes inspiration from the classic sounds of Detroit and dub techno, and in 2024, he impressed with his Metaphor EP on F.U.S.E. Following on from his superb contribution to Mutual Rytms Federation of Rytm II compilation, here, he now serves up his first EP of the year with a first outing on X, the sister label of SHDWs Mutual Rytm, w Stomping Ground.

This EP opens up with the powerful Stomping Ground, a scintillating blend of tightly programmed kicks and reverberating percussive lines. The textured percussion shimmers over the racing beats and cannot fail to sweep dancers off their feet. Oberheim is another high-class, high-impact sound with muted melodies thinking over the twisting and turning drums and bass which never let up and ooze warm machine soul. Consequence keeps the pressure on with tight drums and raw percussive layers softened by smeared dub chords. Digital bonus The Vault shuts down with thumping kicks and rave ready synth stabs that will erupt on peak-time floors.

Terrazzo is a new VA label formed by Northern Irish selector Holly Lester (Duality Trax) and prolic label entrepreneur/producer Steffan Todorović (Gestalt Records/Coymix/Hidden Assets/Abdul Raeva). The label’s debut EP journeys through a variety of club sounds with Dylan Forbes, Eric OS, Anderson and underground heavyweight Harrison BDP rolling out 4 cuts of euphoriainducing prog, broken beat-infused tech, heady minimal an contemporary Detroit techno.

In the early 21st century, a shadowy figure rose from the dust that settled atop forgotten record collections throughout Africa, leaving behind
a trail of clues in what seemed like a wild good chase, but in October 2013, Luaka Bop will unmask a phantom: the great William Onyeabor.

'...anyone out there making music at the moment will be quite excited by this...' Damon Albarn
'...a synth-slathered prog-funk killer...' - Pitchfork
"talk to @LuakaBop about details of the William Onyeabor comp they are working on today... gonna blow minds!!!!!!!!!' - Four Tet

Promotional Assets
Covers & Remixes by Devendra Banhart, Man Tear (DFA) & Hess Is More, Caribou, Dam-Funk, Justin Strauss, Scientist, Optimo, Prince Language, Illum Sphere, James Holden, Peaking Lights, etc.

Art collaborations with John Akomfrah, Njideka Akunyili, Harrison Haynes, Dave Muller, Odili Donald Odita, Xavier Simmons and music videos by Brian Baderman, Mike Sumner & Kindess. Partnership with Moog, Boiler Room, DubLab, Beats in Space & East Village Radio. Events at Moog Fest, Pop Montreal, Le Comptoir General

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks the project's return after a five-year hiatus. This album signifies a departure from the original rules and structures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retains the project's experimental roots in power electronics and noise while incorporating industrial and punk influences. The album stems from a profound disgust with humanity's dysfunctional relationship with the environment and other life forms. It explores the loneliness resulting from this broken bond and challenges us to acknowledge our personal and systemic responsibility. What peace can we make with privilege when the true cost of our comfort is not measured in dollars but in death? How can we reconcile with death when we impose the same hierarchical structures on it that we do in life? Is life worth living in the isolation of this self-imposed species loneliness? Humans often measure worth by accumulation _ money, assets, objects _ mistaking this for power and influence. Western heritage dictates a hierarchy, placing humans at the top, separate from the natural world. This delusion turns bodies into objects, land into property, and people into expendable tools. If our value were instead determined by our contribution to the ecosystem, who could claim that a human is more valuable than a maggot? Maggots recycle death into life, breaking down matter and nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth's flora. In contrast, humans pollute rather than pollinate, with a select few profiting from exploitation at the expense of biodiversity and the well-being of many. In grappling with grief and loss on both personal and global scales, Margaret sought solace in the idea of rebirth through death, celebrating the beauty of regeneration through decay. However, she had to confront the stark reality of the disconnection from the earth under oppressive systems. Pharmakon is here imagining a path where the final act is to give back what was received from creation, offering our lives and deaths to sustain existence. once I slough off this human skin I will find my home and ancestral kin_ in the coffin-birth of my cadaver's ecosystem

2025 Repress

A tale of paramount love for machines and the inextinguishable power of subjugation that lies in these button-studded boxes teeming with cabled bowels that feel so intimidating to the uninitiated, Italo Brutalo's longed-for debut album "Heartware" is a 12-track voyage across 25 years of intense synth collecting, fiddling,
composing and endless loving for audio synthesis and the art of how robots make human bodies jack.
Throughout the twelve cuts that compose "Heartware", a feeling of retro-gazing, candidly playful glee prevails. Looking right in the eye of the era when dazzling flipper visuals and static-filled VHS glitches
reigned supreme, Italo Brutalo invites us to witness first-hand his own textbook smorgasbord of fast-wheeling arpeggios and vocodized hoodoo ("Heartware", "Reach Horizon"), dystopian digital sunsets by the beach ("I Feel Lonely"), early hip-hop-informed whackin' n' thumpin' ("Analog Bars") and the slo but hard churn of a robot heist score ("Nobody Moves").
A lush tapestry of woozy exotic pads set in contrast with a deft and aggro drum programming ("As Above So Below"), followed by a new-beat oriented hammer-drop that shall leave no raver unscathed ("Heat of the Knight"), Italo Brutalo shifts the scope to radical effect whilst maintaining that cohesive headspace flush with the iconic 80s-to-90s-sourced assets. The hardware used in the making of "Heartware" is obviously the star here, and the inner sleeve pays tribute to that: the ideas behind the album have been there waiting to find their way out for over twenty years!
From adrenalin-boosting fractals of keyboard razzle-dazzle ("Chemical Element") to straight out pumping EBM primed for hi-octane mosh pits down the basement ("You Are Welcome"), via polyrhytmic percs-driven assaults and sizzling hot synth-smithery ("Into a Sampler"), the pressure levels never falter. Yet, Italo Brutalo sure knows how to weave further oneiric, softer narratives for your mind to frolic in unhindered ("Dream Machine") and rounds it all off with a total, space-opera'esque epic bound to have you spinning out of orbit into the great unknown ("Eternia").
"Heartware" is released in a neat double-vinyl gatefold package presenting the concept and machines involved in its making, including a twelve-page booklet featuring Italo Brutalo's key pieces of gear.

2024 Repress

There isn’t many who would disagree with the underlying sentiment that electronic music makes us feel something extraordinary. Much in the same way, the possibilities for creative discourse and cosmic interactivity are accessible to anyone with an open mind. It’s in this place where these possibilities materialise, and it’s in this space where SYNCROPHONE 39 operates within.

You see, you won’t find cleverly constructed adjectives or nonsensical descriptors for the music presented here. It doesn’t need them. The music speaks for itself, much in the same way the artists do. Stojche has been carving out timeless techno for two decades now, working tirelessly without fanfare to enrich a scene that sits close to his heart. Whether that be through releases on his own imprint TANGIBLE ASSETS or the ever expanding a.r.t.less, his trademark sound signature is synonymous with the soul of Detroit. You may be hard pressed to find anyone else who’s been as consistent with this sound over the years as he has. On the other hand, Gerard Hanson aka Convextion has been doing exactly that without fault his entire career. So the combination of these two artists on this release makes perfect sense.

Syncro39 is a celebration of core values in music. Of devotion to a singular obsession crafted over the course of decades devoid of trends or cheap influences, social or otherwise. It’s that unwillingness to compromise and to put everything on the line in the pursuit of the dreaming process that makes this a special release.

One thing is for certain. Those who are inspired by Stojche’s signature original and the timeless journey of Convextion’s remix,
will carry themselves through the smoke and haze into the sunlight as it takes some time for the rush to subside. That’s probably an apt abstract for this release thus far. For the most part though, the narrative for Stojche has only just begun.

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks the project's return after a five-year hiatus. This album signifies a departure from the original rules and structures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retains the project's experimental roots in power electronics and noise while incorporating industrial and punk influences. The album stems from a profound disgust with humanity's dysfunctional relationship with the environment and other life forms. It explores the loneliness resulting from this broken bond and challenges us to acknowledge our personal and systemic responsibility. What peace can we make with privilege when the true cost of our comfort is not measured in dollars but in death? How can we reconcile with death when we impose the same hierarchical structures on it that we do in life? Is life worth living in the isolation of this self-imposed species loneliness? Humans often measure worth by accumulation _ money, assets, objects _ mistaking this for power and influence. Western heritage dictates a hierarchy, placing humans at the top, separate from the natural world. This delusion turns bodies into objects, land into property, and people into expendable tools. If our value were instead determined by our contribution to the ecosystem, who could claim that a human is more valuable than a maggot? Maggots recycle death into life, breaking down matter and nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth's flora. In contrast, humans pollute rather than pollinate, with a select few profiting from exploitation at the expense of biodiversity and the well-being of many. In grappling with grief and loss on both personal and global scales, Margaret sought solace in the idea of rebirth through death, celebrating the beauty of regeneration through decay. However, she had to confront the stark reality of the disconnection from the earth under oppressive systems. Pharmakon is here imagining a path where the final act is to give back what was received from creation, offering our lives and deaths to sustain existence. once I slough off this human skin I will find my home and ancestral kin_ in the coffin-birth of my cadaver's ecosystem

For almost 10 years and with 3 albums on the clock, Voilaaa has established itself with a unique style, reviving African rhythms and atmospheres in the colors of Disco dancefloors and Funky arrangements, all often accompanied by lyrics and vocals tinged with humor and commitment.

As a result, the Afro-Tropical adventure launched by producer Bruno “Patchworks” Hovart today leaves behind a host of hits (“On te l’avait dit”, “Spies Are Watching Me”, “Ben Bene La”, …), as well as trips around the globe and as many gigs and festivals, but also and above all numerous and lasting collaborations with singers like Lass, Pat Kalla, Sir Jean, Ayuune Sule, Rama Traore, or Fouley Badiaga, the latter which also marks its great return on two tracks of the album.

With C'est tout, Voilaaa returns to us without revisiting this unstoppable recipe, while seasoning things with a more Latin and Caribbean inspiration, brought back in Bruno Hovart's suitcases after several stays in South America in recent years. Introduced last spring with the release of a first maxi single, this new opus once again delivers hit after hit.

As on the already famous “Faché” alongside Pat Kalla, which displays all the classic assets of Voilaaa’s sound: punchy Afrobeat horns, woozy chords and crunchy clavinet licks rising above a low-slung, hypnotic, dub disco-meets-Afro-boogie groove. The rest of the album is not to be outdone with a total of 14 wild tracks entirely composed by an unstoppable Bruno Hovart.

Two exceptions confirm the rule, a beautiful interpretation of the song "Love and Death" by Ebo Taylor, where Voilaaa's Afro skills perfectly melt with Angolan and Brazilian vapors, beamed by Joao Selva's lovely vocals; as well as a magical cover of “Too Young to Die”, transporting Jamiroquai to the crossroads of Africa and the Antilles, carried by the superb vocal performance of singer Olivya (Dowdelin) for a first collaboration.

Well, Voilaaa is back as its best, “that’s all” (C’est tout).

1998 was a fertile year defined by juggernaut projects from Black Star, Lauren Hill, Outkast, and others, all of whom synced experimentation with foundational tenets that made the 1990s ferociously groundbreaking.


Out of Oakland, California, a collective known as Hieroglyphics were positioning away from industry control, to helm their own assets in manners more suited to their own marketing self-vision. While artists have certainly went solo prior, this came at a critical juncture for the crew during a spiraling and newfound Internet world. Born out of this independent spirit was the crew’s first official studio album 3rd Eye Vision.


The album spans twenty-two songs, all featuring beats by Domino who manned the lion’s share of production. A-Plus, Opio, Del, Casual, and Phesto also contributed beats. MCs each had their own song, short interludes highlighting their individuality through short verses, a clear espirit de corps statement.


Even among standouts like “Oakland Blackouts” or “At The Helm,” perhaps the most celebrated song off the release is “You Never Knew,” a track that propelled 3rd Eye Vision to #88 on the Billboard Top 200, not an entirely easy feat as a new label competing with the late ‘90s’ abundant onslaught of classic material.


In celebration of 20 years of 3EV, Fat Beats and Hiero Imperium are proud to present this CD/Vinyl reissue in deluxe packaging, expansive liner notes and the full original album tracks and a bonus for the very first time in one package.

Limited Edition Reissue numbered run includes iconic Banksy artwork collectors piece highly sought after high value vinyl assets. Reissued on coloured vinyl. Limited press numbered

2023 Repress

Translucent Orange Vinyl
The San Francisco Legend, Larry June, returns with the aptly titled Orange Print, which maps out his own vision for success. With themes of health, wealth, numbers, and diversifying your income streams, Larry June flexes the philosophies that have helped him go from street hustler to made man. With production from heavyweight producers such as Jake One, Sndtrak, Cardo, & Sledgren, features include Money Man, Trae The Truth, & DeJ Loaf.

Militarie Gun aus Los Angeles kündigen ihr Debütalbum ”Life Under The Gun” an, das am 23. Juni über Loma Vista Recordings erscheinen wird.

Außerdem kündigten Militarie Gun für den Juli zwei Deutschland-Shows mit Rival Schools an. Zuvor brechen sie zu einer Reihe von weiteren EU- & UK-Terminen auf, darunter eine bereits ausverkaufte Show in London.
Es ist fast unmöglich, ”Life Under The Gun” zu beschreiben, ohne sich in Widersprüche zu verstricken. Ist es ungewöhnlich aggressive Popmusik oder ist es ungewöhnlich eingängiger Hardcore? Ist es zutiefst intellektuell oder ist es befriedigend urwüchsig? Ist es ein verletzlicher Versuch, lebenslange Verletzungszyklen auszupacken, oder ist es eine Sammlung von weltbewegenden, absurden Punk-Hymnen? Die Antwort liegt auf der Hand: Es ist alles davon. Es ist Militarie Gun.