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¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light.
The title track of the EP, already known from the album (D1 - Extrawelt - ¡No Pasaran!) carries a commanding presence, pulses with a rolling, insistent bassline that anchors shifting rhythmic currents and evolving sonic layers. Between tension and release, shadows and melody, it's a track that moves like a living entity.
Arctic Dead Run hits like a surge of raw energy. Acid lines roll relentlessly, building tension that feels alive. Then a melody sneaks in - soft, almost fragile - cutting through the intensity, until hi-hats erupt and the groove snaps into full focus. Maximal yet controlled, every element finds its place.
Clipping Me Softly dissolves the pressure with a dark, playful groove. Precise rhythms meet spacious pads, opening into a dreamlike state where night slowly gives way to warmth and light.
A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.

aut drum science and steely atmospheres are the order of the day as Terrain deliver a moody, stripped-back four-track EP for Livity Sound. The partnership of Forest Drive West and Voytek has so far yielded sharply-focused releases for Delsin's Mantis series and Vargmal, finding the synergy between lean, intricate drum & bass and heads-down, experimental techno.

On 'Barossa Dub', the pair pitch down to a half-time, dancehall-angled groove to propel a heavily-dubbed soundscape and system-ready bass. 'Nica' maintains the low-slung swagger while steadily ratcheting up the dread. On the flip, 'Scatter' winds the pressure back up with a punchy broken techno workout that teeters on the edge of breakbeat. 'Hive' opts for a brooding, purring techno meditation that thrives on slow release and intricately crafted sound design, capping off a diverse trip through austere club modernism.

Presenting the 2nd in the series of Persian remix EPs, following the bumping Dub House remakes from Picasso, the label is joined by Yorkshire’s own young electronic folklore master, a fast-rising name, Miles J Paralysis.

Whereas Picasso took the first Dubplate ‘Space Within Art’, here Miles J delves in to the follow up ‘Smoke Dub’, turning out a selection of dubwise cuts that build on the dark electronics of his excellent debut releases for his Crying Outcast label.

Yorkshire born and based, with a love for the Moors, as well as the teachings of lore, magick and mysticism, this young producer has been emersed in music since a young age, with a penchant of Dub, Hip Hop and Reggae.

Starting with Survival Dub, the anthemic Ragga Dub original morphs into 2 parts, first heading down Paralysis’s alley of dark and brooding production marrying perfect touches of the vocal samples, before the amen break builds the track to the light.

Smoke Mari follows, the languid Digibreaks chugger, utilizing Linval Thompson’s iconic vocals, now comes as a deep meditative Dub excursion. Stripped back to a raw essence, the vocals whirl, while hypnotic keys and dub bass complete the psychedelic mosaic.

There Is No Love is modern dub style, off beat syncopation, reverb, tape delays and heavy vocal sampling all in the mix. The breakbeats of the original are jettisoned for a Dub (Drug) Chug, the atmospherics seeking the dark corners. “These are the last days; can’t you see the sunshine…”

Zatoichi’s Troubles ends the pack, the trip hop, Depth Charge dub bass cut transforms at the mixing desk of Miles J in to Dub Techno territory, haunting, melodic. Miles J’s love of the deeper side of electronic music expanded. Club music but not produced for clubs. Made for the discerning.

Paralysis the Mystery.

When Elder Island went into the studio to record the followup to their critically acclaimed 2021 album, Swimming Static, they were determined to "turn everything on its head". The trio are celebrated for their brooding indie-electronica that draws on their Bristol roots, creating vastly detailed and immersive soundscapes. But Hello Baby Okay marks a new era for the band, fuelled by a longing for transcendence and euphoria. An effervescent counterpoint to the current times, their new Music is threaded through with a liberated energy, lilting funk-Pop guitars, danceable beats and a renewed sense of play.

House and techno mainstay Steve Bug returns to Nu Groove with four-track EP ‘Let’s Work’, showcasing the sound of a true electronic pioneer on vinyl. Up first is title track ‘Let’s Work’, a bouncy club record with a cool, metropolitan feel. What follows are ‘Mr Wonders’ and ‘Not The First Time’, two tracks that highlight Steve Bug’s rhythmic expertise and mastery of tension. Closing out this vinyl collection of fresh house music is a collaboration with Los Angeles native and dance culture expert Juliet Mendoza; ‘Whispers In The Dark’ features Juliet’s magnetic spoken word over Steve’s brooding electronic groove.

2026 REPRESS + DOWNLOAD

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

For the ninth installment of his Hardspace series, Len Faki once again dives into his personal vault to present four reworks that bridge the gap between raw funk and modern, high-impact club dynamics. True to the project's ethos, Faki has selected tracks that have been reshaped through his specific sonic signature to maximize their energy on today's dancefloors.
A1. DJ Assault - U Can't See Me (Hardspace Mix) The release opens with a relentless edit of Detroit legend DJ Assault. Faki takes the raw Ghetto-tech energy of the original and embeds it into a massive, modern framework. While the iconic vocal hook retains its street-level grit, the Hardspace update provides a significantly tighter groove and a powerful low-end presence, propelling the track from the warehouse straight into the present.
A2. Myles Sergé - Trans Milenio (Hardspace Mix) With Myles Sergé, Faki explores more hypnotic territory. He extracts the driving, repetitive elements of the original and sharpens the rhythmic angles. The result is a prime example of the Hardspace sound: a deep, almost meditative loop that gains entirely new spatial depth through subtle filter movements and a crystal-clear percussion layer.
B1. Jad & The - Deep Dark Grimey Dancefloor Moment (Hardspace Mix) On the flip side, Faki leans into the brooding atmosphere of Jad & The. As the name suggests, this mix is crafted for the "wee hours". Faki amplifies the "grimey" textures and contrasts them with a stoic, forceful beat. The trippy, almost menacing synth elements are rearranged within the stereo field, creating an immersive pull that is impossible to escape.
B2. Deepchild - Baller (Hardspace Mix) To close out the EP, Faki brings the jacking spirit of Deepchild's "Baller" back into the ring. Through meticulous re-arrangement and quantization, he gives the track the "tightness" essential for a modern DJ set. The playful, bouncing synths remain, but are now grounded by a heavy-duty beat foundation.
H009 is a hand-picked collection that demonstrates how Len Faki unites diverse musical personalities and eras under the Hardspace umbrella. Whether it's raw ghetto vibes or hypnotic deepness, every track has been transformed with technical precision and deep respect for the original to meet the demands of global dancefloors.

SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu, saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist Gregory Uhlmann. Their second album, How You Been, finds the supergroup of prolific composer/producers pushing ever further into the hyperrealist, collectivist approach to music creation nascently explored on their debut Small Medium Large, which was lauded as "awe-inspiring" by Glide, "exuberant" by the Los Angeles Times, and "an exciting milestone" by Pitchfork. As SML has evolved and spread out in space-time, their fluencies, both as an improvising unit in performance and as a production team in the studio, have sharpened. At inception the band inspired disparate but distinctive artist comparisons like Essential Logic, Oval, Herbie Hancock"s Sextant, and electric Miles Davis, as well as assorted genre touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How You Been their work manages to both collapse and explode such derivatives, displaying a new, high resolution version of SML, fully-flowered into a new strain of sound, bound to incite its own copycats in due time.

Surrrealism label boss EdOne returns to HABITAT with the ‘Show Me Love’ EP, following the release of his track ‘Madness Diary’ on the ‘METAFLORA III’ compilation in April 2025. Dropping on 26th February,
‘Show Me Love’ is a striking four-track EP that captures the full emotional range of his meticulously crafted sound. With multiple top ten Beatport chartings and releases on respected imprints such as Innervisions, Bedrock, Global Underground, and Renaissance, EdOne now brings his signature intensity, tension, and melodic precision into one of his most complete and expressive works to date, with the package featuring a collaboration from Rotterdam’s Beswerda.

Title track ‘Show Me Love’ opens the EP, delivering a backbeat-driven, clap-heavy groove, with soothing maracas, sundrenched synths, and warm pads creating an inviting, melodic house cut. ‘DTS’ serves as a moodier counterpart; its thudding bassline, rattling central synthline, and atmospheric low-end strings build a deep, cinematic tension. On the flip side, ‘The Next Men’ leans into EdOne’s progressive, hypnotic sound, featuring preaching vocals, minor-key progressions, and steadily building emotional weight. Closing with ‘Lahn’ , EdOne and Dutch mainstay Beswerda descend into a raw aesthetic, blending industrial grit with dub-like textures for a brooding final statement.

Samurai Music offshoot SAIBAI welcomes legendary producer ASC to expand upon the label's widescreen strain of electronic music plumbing the depths between techno, electronica and broken beat.

ASC is the flagship project for James Clements, a prolific veteran of the scene who started releasing his distinctive twist on drum & bass back in the late 90s. Across a variety of aliases and many different label projects and collaborations, Clements has retained a strong artistic identity defined by steely atmospherics, rhythmic intrigue and precisely sculpted sound design. He brings those qualities to SAIBAI3.

On 'Raijin' the tempo prowls at 90 BPM, all the better to carry the bass snarls and haunted melodies hovering in the middle distance. 'Rasetsu' meanwhile hides its much sprightlier 150 pace behind a half time construction punctuated by a tactile, almost organic set of percussion. 'Kyubi' sinks into a deep, inky well of spatial sound design with just a light smattering of percussion and a weighty kick for guidance. 'Shigure' completes the picture with a mesmeric tapestry of shifting textures and brooding melancholy.

Clements has devoted much time recently to his ambient output, and it shows in the richness of the space he shapes around his needlepoint patterns, while his roots in more propulsive club music show their hand in subtle, understated ways. It's this balance that makes the release the perfect addition to SAIBAI's evolving story.

Limited to 200 copies

Bézier ripples their way back to Dark Entries with Decompose, an LP of doomed spa music. Multi-instrumentalist Robert Yang has made numerous appearances on Dark Entries for more than a decade, with releases spanning the stylistic gamut from hi-NRG disco floor-fillers to lush ambient epics. Decompose, Bézier’s second LP, is perhaps his most introspective work yet. It is an album almost ten years in the making, a deep investigation of life, loss, and the struggle of knowing oneself. If one were to pull a tarot deck for this album it would be the Nine of Swords. The album honors the lives of the fallen victims of Pulse Nightclub. It honors lives lost or suffering through the ongoing genocide in Gaza. The title track takes the form of a Buddhist chant, a brooding synth-driven meditation that scales steadily until breaking into John Carpenter-esque arpeggios halfway through. Tracks like “Egg,” “Marionette,” and “A Fading Citadel Atop Black Sand Bluffs” build on this soundworld, one in which intricate melodies and cavernous reverb induce in the listener feelings of both claustrophobia and free-fall. The album’s dancefloor-leaning moments, like “Codebreaking” and “Split a Path Towards the Thicket” are spartan, tunnel-vision techno tracks speeding towards ego-death. Decompose chronicles Yang’s journey to find peace with himself, as a gay Asian American. During this process, they learned to “repot” long-lost parts of their identity so they could grow forth in wholesome fashion. The sleeve for Decompose was designed by Eloise Shir-Juen Leigh, and features a photograph by Frankie Casillo of Robert laying on a bed of rocks in savasana pose, resembling an ascetic, evocative of the monastic vibes of the record.

Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum’s songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, we find Barenbaum waxing nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation.

The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, “Field Tone” transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. “Dragon Pine” darts from cosmic dub to cybernetic dancehall and back again. The uptempo darkwave-leaning number “Aeolian Crossing” dissolves into the void, like sand falling through one’s fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx. The digital version of Phase 5 will be released via Katabatik, a label and sound system that Barenbaum has had close ties to for the past decade.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

2025 REPRESS ON TRANSPARENT GREEN VINYL


Compiled by Philip King “And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang bang but with a cheap, synthesized, emasculating whimper.” NICK KENT, NME. All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels that exploded with the advent of punk music in 1976. While the music that sprouted out all over the globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms, ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course) these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother of invention. At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records). The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased track You Will See, released April 12th 2025. There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk / underground music that also featured The Petticoats. Selwin Image were from San Francisco and featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now. Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division instrumentation, previously only released on a long-forgotten and super rare, self-released EP. Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7” and lost until now. The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with doomed chord progressions and massive sounding drums turning into at least 3 different songs in the course of the track. Before you wonder what’s going on the song resolves with a glorious return to the main refrain. The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes imagined a computer programming people to dance - how prescient - and ended up with a propulsive, robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master demands the listener to “come to paradise!” In a frankly terrifying manner. All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School Daze Records describe a much more complicated world: along with the austere, Brutalist children of Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the two things are interchangeable. What if it’s all science fiction?

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.

Metalheadz and Quartz present Interloper, a body of work years in the making that captures the evolution and persistence of a truly singular producer. Sparked by an invitation from Goldie in 2018, the project developed organically into a statement piece, shaped by shifting environments and a relentless drive to refine his craft. Quartz, also known as Elliot Garvey, has long stood apart from the noise. A Welsh producer with little interest in visibility or self-promotion, he has built a reputation on substance alone. Interloper reflects that focus: textured, brooding, and meticulously detailed, balancing grit and clarity while maintaining the looming tension that defines his sound. The album’s title hints at Garvey’s place within the culture - present but never fully belonging - and the music carries that same sense of quiet defiance. Intense without theatrics and deeply personal without pretence, Interloper is a record that doesn’t ask to be seen, only to be felt.





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





e B3. One Last Word ft. Selena Jones (Posthumous) Outro





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[e] B3. One Last Word [ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]





[ft. Selena Jones] (Posthumous) [Outro]

DYSTORTION
Extrawelt's Latest and Longest-Brewing Album Lands This December on Cocoon

In this beautiful world marked by rising chaos, sometimes the simplest way to escape its troubles is through sonic relief. Germany's renowned electronic duo Extrawelt will offer exactly that with their 5th full-length album, DYSTORTION, via Cocoon Recordings this December.

For over two decades, the humble duo behind Extrawelt, who shy away from making music for clicks, have been a steadfast presence in electronic music. Known as serious studio and tour-focused artists who craft timepiece albums, each a work of enduring craft, that go on to create atmospheric, out-of-the-box live acts, they've been shaping and redefining electronica since their first release.


DYSTORTION is their most diverse and evocative album to date. Imagined over six years and shaped by a world in flux through COVID, political upheavals, social media, and AI, it reflects the contrasts and twists we've all felt while offering surges of serenity and hope. From brooding tension to playful relief, it moves through different states in an evolved Extrawelt manner.

The album's opening credit, "Grand Départ," as if a cinematic prelude, invites us into a world of creeping bass, an explicitly Extrawelt sound that's synonymous with the "anti-genre genre" they work within. The album's second track, "Clapland," sees Extrawelt joining forces with Jimi Jules, a name synonymous with excellence in electronic music, creating a rare collaboration that is felt in every note. Soon, the mood shifts into softer melodies as heard in "Surrounded By Miracles," "Hope Sounds Good," and "Sir Stringalot," which bring bright euphorics to balance the darker moments in an album echoed by industrial influences. Later, as "Dystortion" (the album's title track) unfolds, we're drawn into something few electronic artists can create: raw emotion. This is a gritty landscape as reflective as it is pulsing, glitchy, intense, and richly textured.

DYSTORTION is a reflection of a complex, divided world, carried through dramatically with Extrawelt's signature techno tension. Like the world right now, it is full of contradictions, surprises, and moments of introspection, an essential listen for fans of mature electronic music that may or may not need a reminder of why, after 20 years, we're still listening.

Matching brooding, tense undercurrents of drone with strained soulfulness, Malcolm Pardon makes a notable shift in his creative approach on his third album.

Leaving his piano behind, the Stockholm-based artist explores the richly varied tones lingering in the background of his past compositions.

Born from his extended live improvisation for Gustaf Broms’ Köttinspektionen exhibition in Uppsala, Flesh & Bonesbecomes a haunting suite of compositions focused on texture and spatial processing, mixed by longtime collaborators Aasthma (Peder Mannerfelt & Pär Grindvik). From Hidden Path’s cavernous wells of low-frequency tone to Under Over’s sustained synth blooms, and the woozy two-chord refrain of Speaking In Tongues, Pardon's seasoned approach to dramatic scene-setting leads his music into its own captivating, compelling sphere, where emotions entwine and conjure strange new plains of expression.

“Round and Round” is a tale of depression and the brooding repetitious inner thoughts that drain us. Dubbed by producer Daniel David as “emo boogie”–partly as a joke–this newfound genre illustrates familiar personal struggles of the current age. This A-side rides the fine line of unraveling deep emotions, ultimately coaxing you to FEEL the groove.

Conversely, the B-side “Finely” feat. B.Bravo is a smooth rolling vocoder jam, a laid-back anthem perfect for a cruise or warming up a fresh dancefloor: a high to offset the low.

Zackey Force Funk
Born into this wild world in Tucson, AZ 1974, Zackey Force Funk found himself in and out of prison at the age of 17. Once released for good, Zackey ditched a life of crime to focus on raising his family and writing music. He thrived in the golden era of Myspace, producing eerie, gritty music on pirated software, and swiftly grabbed the attention of Kutmah–soon to be followed by a plethora of formidable producers. Zackey forged many collaborations later with the likes of XL Middleton, The Egyptian Lover, Salva, Lazer Sword, Lorn, Brian Ellis, Baron Zen, Daedelus and B. Bravo, as well as forming the group Demon Queen with Tobacco, and Delta Weapon with his brother N8NOFACE. As these tunes were scattered across various labels and on their respective collaborator's projects, ZFF continued to hone his style, delving deeper into the psychedelic future funk realm of which he has created for himself.

Daniel David
Daniel David is a Bay Area born multi-instrumentalist, producer, and singer based in Dallas, Texas. 1/2 of boogie funk duo The Pendletons, Daniel’s solo music is a genre defying mix of organic and electronic elements including psych, dirty analog funk, hyphy, jazz, and more.
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On H008 Len Faki goes back to his crate for a unique journey through synth-led landscapes, carefully selected and bolstered up for the dancefloor.
Starting with 2000 And One - Edge Of No Return from the mid 2000s, when it was just a standout synth-line - no beats. The Hardspace Mix takes this masterclass in building tension, adds a driving beat and searing percussion while keeping the iconic synth-play intact -layered with big, booming bass for that full-bodied, dancefloor-ready energy.
The flip boasts two of longtime Figure-collaborator Viers' productions. Re-L, released almost 10 years ago, it delivered that unmistakable pulse of deep, dubby, shimmering synths. Hardspace picks up these potent elements and injects them with a new low-end, dramatic rises and tight rhythms, creating a high-energy yet hypnotic flow.
Equally energetic but much more brooding in atmosphere is the Hardspace version of Free Your Mind. An elusive original, this mix builds on dense percussion, subdued vocals and droning horns while carrying some seriously spaced-out acid synth textures. One for the wee hours and those special memorable moments in a set.