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Operation_PPRCLP kicks off release SUB010 asking how far will we go in the race for technological advancement, and at what cost? Have we forgotten our humanity as a result? Should we be more focused on how to expand human consciousness rather than trying to command, control and obfuscate or is this just in our habitual nature?

41 Minutes Past Midnight investigates painful emotions around losing loved ones without being able to get any closure, how do we move forward without answers in the face of unexplained, heartbreaking tragedy.

6EQUJ5 aka the Wow! signal first detected on August 5th 1977 shifts the perspective out into the constellation of Sagittarius from where the signal is thought to have originated. In 2022 we learned that 3 distant Sun-like stars within the original antenna-pointed coordinates may provide the answer but at a vast distance of 1800 light years from earth, since then, it's all gone quiet... What world reached out from the cosmos, intentionally or mistakenly...

The final track Celestial Beings asks the age old question of what other life exists across the universe, how advanced are these civilizations that may already be exploring distant galaxies with our shared sense of curiosity and when will we be able to connect collectively with such conscious entities.

Repress of the 10 year anniverssary vinyl reissue of “The Empyrean” By John Frusciante cut for the original analog tapes at Bernie Grundman’s mastering. includes hi res audio download card. THE EMPYREAN is the eighth solo album by JOHN FRUSCIANTE. It was originally released in January of 2009, reaching number 151 on the US Billboard 200, 105 on UK Albums Chart and number 7 on the Top Heatseekers. It contains contributions from RHCP bandmate FLEA and former guitarist of The Smiths Johnny Marr. John Frusciante is an American guitarist, singer, composer, and producer. He is best known as the guitarist of the rock band Red Hot Chili Peppers. He recorded five studio albums with them and was recently inducted into the ROCK & ROLL HALL OF FAME. Frusciante has an active solo career, having released twelve solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new wave and electronica. He has also recorded with numerous other artists, including the Mars Volta, for whom he was a studio guitarist (and occasional live performer) from 2002 until 2008; Josh Klinghoffer and Joe Lally, with whom he released two albums as Ataxia; and various collaborations with both Klinghoffer and Omar Rodríguez-López. He has also produced and/or recorded with Duran Duran, Wu-Tang Clan, Swahili Blonde, Black Knights, The Bicycle Thief, Glenn Hughes, Ziggy Marley, Johnny Cash, George Clinton, Johnny Marr, Dewa Budjana and others.

Over a decade has passed since this was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of intrusion, mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape master. The first incarnation of "A Gentle Embrace" came in the form of three extended reshapes from cv313 & variant and now we're proud to offer the original work on beautiful crystal/silver mixed clear 150 gram wax! :)

On side A the most pristine of dub techno is on offer here, this is Detroit techno stripped down to its most minimal core. A gorgeous subtle ambient soundscape exploring the deepest end of dub and house with gentle surges of organic elements, field recordings and modular movements simply out of this world. The "Reduction" mix on side B captures those chilling glacial soundscapes, trademark basslines and mesmerizing gaseous atmospheres subtly layer into the mix. Otherworldly to say the very least, this is music to swim in, breathe in and to pray to - for the spirit and the soul. Essential!

Over a decade has past since this was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters. This EP features two equally seductive cuts opening with "Fading Lights" which finds its pulse in the rhythmic elements while floating in a world of vaporous mist and resynthesized stardust. On the B side "Magenta" fills the space with ghostly apparitions and a rather hypnotic hook; pushing the boundaries of the spiritual principles found in the power of repetition. Close your eyes and drift into 14 minutes of endless flotation as modulating low frequencies massage your brain and mind, dive deep into a fathomless analogue world!

• “Guerrilla Girls!”, Ace Records’ much-anticipated first release of 2023, takes us on a thrilling ride from punk’s mid-70s origins, via the left-field post-punk groups, jangly female combos, grunge bands and vigilante Riot Grrrls of the 80s and 90s, to the she-punk bands of recent years – a five-decade alternative to the macho hegemony of rock.

• The collection highlights songs that emerged out of a dynamic underculture of female creative expression. What unites the featured artists is a healthy disregard for the way the music industry ties up its female performers into pretty, neo-liberal packages. From Patti Smith, universal mother of the punk movement, to the Bags, Bikini Kill and Skinny Girl Diet, this music is anti-A&R. Including lesser-known names such as San Francisco street punk Mary Monday and London-based experimentalists pragVec, it shows that, rather than being a few novelty bands existing on the margins, these performers represent a stronger, more three-dimensional version of the female experience.

• Glorious resistance was on display in the first wave of UK female-fronted punk bands. Poly Styrene’s charged vocals on X-Ray Spex’s ‘Iama Poseur’, for instance, were a deliberate refusal to be a pretty punkette. With 15 year-old Lora Logic on saxophone, X-Ray Spex epitomised a fearless, self-defined agency that was at odds with the pastel shades and flowery, submissive Laura Ashley version of 1970s girlhood. By the early 80s, there was a hugely vibrant scene propelled by the diverse rhythms and voices of post-punk feminism. Lora Logic had left X-Ray Spex to form the interweaving textures of Essential Logic, the Mo-dettes mangled ska and off-kilter pop, and Birmingham band Au Pairs sliced political rigour into their lyrics and funky guitar work.

• Some female artists took that elemental energy into pop, creating pop-punk with a twist. We’ve Got A Fuzzbox And We’re Gonna Use It!! made a statement on music technology and female power with a cheeky play on words. Their song ‘Rules And Regulations’ shows that what Guerrilla Girls do well is debunking – taking genres of popular song and turning them inside out – like the way the Pandoras and the Pussywillows would amp up the driving beat and high vocals of the 60s girl group style, and subvert it with a DIY garage element.

• In its fanzine culture, use of montage and DIY music, 90s Riot Grrrl bands such as Bikini Kill and Bratmobile drew direct inspiration from 70s punk, articulated through the prism of Third Wave feminism. Too often, Riot Grrrl gigs were invaded by men intent on heckling “the enemy”. Liz Naylor, manager of British Riot Grrrl band Huggy Bear, says that their concerts became war zones. From the US grunge and Riot Grrrl scenes emerged more female instrumentalists, with bands such as L7 and Babes In Toyland proving that it was possible to recruit cutting-edge drummers, bass players and guitarists. Lori Barbero, whose relentless power drumming is a major element of Babes In Toyland, took the one instrument that has been a staple of male rock’n’roll and made it her muse.

• In the 2000s a new generation of girl-punk bands drew on the Riot Grrrl underculture to form their own sound. London trio the Tuts refashioned C86, Riot Grrrl and lush dream pop on songs like the ironically titled ‘Let Go Of The Past’, while the Regrettes injected shots of ska and doo wop into their explosive West Coast pop-punk. What began with Patti Smith and 70s punk has grown into a vast, spikey infrastructure of girl music. Many take inspiration from their foremothers, like Skinny Girl Diet whose vigilante feminism and punk distortion has been championed in return by Viv Albertine of the Slits. As long as these female artists stay aware of their musical vision and what they are trying to express – in a sense, A&R themselves – the underculture will continue to grow and flower. And this “Guerrilla Girls!” compilation is a celebration of that power.


• The back sleeve of the release features a scene-setting introductory essay by Lucy O’Brien (author of She Bop: The Definitive History Of Women In Popular Music). Each of the two discs come in a swanky inner bag containing a track commentary by compiler Mick Patrick (Ace Records’ long-serving champion of female artists of all persuasions) and exclusive interviews with many of the featured artists by Vim Renault and Lene Cortina (founders of the Punk Girl Diaries webzine).

Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi- instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC & producer now based in Bremen.

Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beatmaking project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes.

Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects.

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

Caçador de Horizontes is the fourth and most ambitious album by Brazilian composer and songwriter Raphael Gimenes. Conceived as an expansive double album, it brings together voice and acoustic guitar with richly arranged strings, brass and a wide palette of percussion, engaging with the tradition of Brazilian songwriting while evoking the harmonic sensibility of artists such as Milton Nascimento, alongside elements of modern classical music.

Inspired by travels across the American continent, the album moves between intimate moments and large-scale instrumental passages, creating a cinematic and emotionally resonant atmosphere. Produced by Lucas Delacroix, Alexandre Andrés and Gimenes himself, it features more than 30 musicians from different countries and was supported by the Danish Arts Foundation (Statens Kunstfond).

James Ruskin's Blueprint Records continue the 30th anniversary with another label stalwart as Mark Broom returns with his new EP, "Reality Check".



Mark Broom is a renowned British techno DJ and music producer whose career spans over three decades. Throughout his career, Broom has released over 150 singles, showcasing his versatility across various sub-genres of electronic music. He has collaborated with esteemed record labels such as Defected, Rekids, Warp, Ifach, M-Plant, Cocoon, Glitterbox and his own Beard Man (launched in 2009).



In addition to his solo projects, Broom has engaged in numerous collaborations. He partnered with James Ruskin to form The Fear Ratio, exploring experimental sounds that blend elements of hip-hop, IDM and techno with four albums (to date) on Skam Records, Tresor and of course, Blueprint. Another highlight has been their "Ruskin & Broom" EPs which have peppered the label's roster.Now based in Norfolk (England), Broom continues to be a driving force in the techno scene.



His work has been described as ranging from "club-ready techno and house to left-field electro, downtempo and IDM" highlighting his adaptability and broad musical range.? Returning to his driving Techno roots, his "Reality Check" EP is an essential release for fans of both Broom and Blueprint.

Cold Union emerge with “Lost In Black”, a coldwave signal suspended between haze and motion. An early glimpse of their upcoming album, where restraint becomes atmosphere and every element is reduced to its essential form. Icy guitars drift over deep, driving basslines, while distant, delayed vocals hover in slow, almost spectral, hypnotic atmosphere. There’s a clear understanding of the genre’s lineage here—echoes of classic post-punk codes reinterpreted with patience and intent. Minimal, precise, and emotionally distant, Lost In Black channels the core of post-punk into something colder, sharper, and built for the finest late hours goth parties.

Shot Caller present 1000 Lamentos, a promising debut without artifice.

Three different cultures and paths converge here for stripped-down songs, unvarnished, where every element feels immediately exposed, the simplicity as its best. There is neither easy nostalgia to lean on—only instinct, balance, and a sensitivity that cuts through the whole listen experience without raising its voice, echoing some of the label’s most defining releases and hinting at a strong path ahead.

The structures are simple, almost primitive. Bass guitar, and rhythm move with quiet urgency, leaving space for what truly lingers: a voice that doesn’t demand attention, yet stays with you. Fragile, intimate, and deeply enveloping—as if each line could break or reveal too much.

1000 Lamentos doesn’t aim for impact—it settles slowly, and refuses to leave. A debut that will leave its mark on the scene.

Mystic Letter K presents Occulimus. Behind this alias stands Cari Lekebusch, one of Europe’s most respected and prolific techno figures, with an undeniable legacy and historic releases on labels such as Missile, Hybrid, and Planet Rhythm, among many others.

With Mystic Letter K, Lekebusch steps into a parallel, more mature and conceptual universe—one where he fully explores a mental, tribal, deeply hypnotic and highly danceable strain of electro. His sound is built on constantly shifting patterns: elements that repeat, reconfigure, and sequence themselves in multiple ways, creating a continuous sense of motion that drives the listener into states of trance and altered perception. Occulimus captures this essence with surgical precision: an unmatched groove, raw yet refined, designed for the dancefloor but equally suited for full immersion. Each side of this double vinyl acts as a powerful and versatile tool, allowing any DJ to build, sustain, and transform energy with a single record in the bag.

A direct, functional, and absorbing work that reaffirms Lekebusch’s forward-thinking vision and his unique ability to sculpt sound in motion.

Mark Reeve starts 2026 in prime form with ‘Body Drops’, a quick-fire follow-up to his recent A-Sides contribution ‘My Mind’.The veteran artist has an inimitable touch in the studio going back over 15 years and can always be relied upon to deliver high-impact techno creations. Tracks such as ‘Run Back’, ‘Distance’ and his collaboration with Adam Beyer ‘Nine of You’ make thrilling reference points.‘Body Drops’ found its way onto Drumcode via Bart Skils. “Bart and I have a very good musical understanding and we really respect eachother. So, when he said I think this would fit to Drumcode, I was like ok let me send it. Adam came back to me with a massive yes, and it went from there.”He continues: “I can see that a new peak-time sound is evolving. Very modern and groovy sounding, which is exactly what I like. I guess all the other tracks on Drumcode that have come out recently got me very inspired.”The track is a gem. Driven by an otherworldly stomping riff, it immediately strikes you with its unique sonic character. Huge without being banging, watch this fit a variety of high-impact moments.‘Feed My Fire’ is a rolling big-bodied track that sees elements of prog,techno, psy and silky chords combine for a chugging dancefloor cut.“This is a personal favourite of mine simply because it’s so groovy andfits more intimate sessions. But I also tested it in front of bigger crowds and it really does the job.

Let Me In is a sweet drop of musical sunshine, a song of love and yearning distilled in the southern hemisphere and elevated by the dulcet tones of Dub Princess.

The bones were first created by Isaac Chambers in 2015 as a rough sketch, and over the years more elements were added, including a woodwind section played by Jarrod Bremerton and a guitar solo by Prosad Freeman. It stayed as an instrumental until 2020 when Dub Princess added her stunning vocals to lock the tune into its final form.

“I love the long journey this song took to reach the finish line. Some tunes are created quickly and others need to marinate for years before all the ingredients come together” (Isaac Chambers)

On the flip, International Observer is on stellar form, weaving an accordion melody in to the original to create a taut, bass-forward dub mix.

Longtime Observer observers will recognise many of his distinctive production trademarks, originally developed in the eighties and honed further still since his debut release on Different Drummer in the early noughties set audiophiles ears aflame.

"What a pleasure it was to take a deep dive into dub with Isaac and Dub Princess” (Tom Bailey)

During a job in Cologne, I stayed in a room with a loft bed that had no electrical outlets at the top. Every night, I would listen to my TB303, which runs on batteries, through headphones to help me fall asleep. I loved the sequences, it was like meditation. The TB-303 bassline is iconic in acid music, so I created the Acid Lullabies to bring these two elements together. In 2017, the label Doom Chakra Tapes released ten of the Acid Lullabies on tape. Last year, I felt the urge to rework the tracks, so I mixed them again and created some new ones. I also
asked friends to contribute their own versions.

I’m very glad that the following artists contributed the Acid Lullabies: 47IN4 (Pudel Produkte, Doom Chakra Tapes), Museum of No Art (Séance Center, Cosima Pitz), N:in and Philipp Otterbach (Music from Memory, Offen Music). Two violinists from Ensemble Resonanz performed my piece 'Afternoon Lights' for Acid Lullaby 6. Alex Solman designed the cover, which captures the essence of the project perfectly. Have fun with the Acid Lullabies!

2026 Repress

We feel like Frank & Tony and Smallville have been on the same musical wave-length since forever. Our musical paths have crossed back and forth over the years and we have always shared a lot of the same values- steadily putting out quality music, that stands the test of time - growing consistently - never stop following our very own way - always not-following trends forever..
Frank & Tony is the collaborative guise of Scissor & Thread co-founders Francis Harris and Anthony Collins aka Grant. Both have long been staples of the underground with material under their own names and numerous other guises shaping the musical landscape of House Techno and beyond since the turn of the millennium. Both lived together in New York and as Frank & Tony the pair have delivered multiple albums and many EP’s on their own label, Tokyo’s Mule Musiq and Pacific Rhythm- now they are warmly welcomed onto the Smallville Records roster with their latest collection of works.
‘Ways Of Mine’ leads on the A-Side and showcases the pairs signature deep hypnotic house style via soft billowing pads cascading metallic chimes psychedelic spoken word and dreamy dubbed out keys floating atop a robust bouncy rhythm
section.To open the flip-side title-track ‘After All’ lays down a subtly blooming chord sequence shuffled drums and bumpy bass stabs at its core all subtly nuanced while the latter half introduces more dynamic rhythmic elements and intertwined melodic touches. ‘Dimension’ then concludes the release diving deeper with saturated ethereal pads and bubbling resonant arpeggio lines alongside heavily swung crisp drums jazzy keys and delayed vocal chants.
After All comes with a full cover artwork by Stefan Marx.

All tracks written & produced by Francis Harris & Anthony Collins
Mastering and Vinyl cut by Helmut Erler at Lathesville

dgoHn (pronounced “John") is the moniker of John Cunnane, who hails from somewhere between London and Essex. ‘Tessares,’ his fourth album but his first for Planet Mu, is playful, unconventional drum & bass that contrasts sparse effects and melodic elements with complex drumfunk and breakcore. He often uses unusual time signatures and head-spinning polyrhythms inspired by jazz and math rock, sometimes within the same track. Somehow he makes it sound effortless, and occasionally pretty as well, keeping a fine balance that never feels punishing; exploratory without getting lost.

He's built a name for himself over the last two decades performing live at festivals and events around the world, while collaborating with fellow artists such as Macc, Nic TVG, Jodey Kendrick and Badun as well as solo releases.


The album opens with ‘Waiting For’ which combines complex breaks with melodic fills, spacey effects and dubbed out vocals that feel like snatches of lost conversations - a combination he uses throughout the album giving it an eerie touch of humanity. Lead single ‘I Couldn't Remember So I Made Something Up’ is in 15/8 time. It feels like a conventional melodic drum & bass track, but the time signature disrupts the listeners’ expectations, while the detuned melody eases its sense of dislocation. ’Whistling On A Tuesday’ opens with a light echoey piano countdown into bass stabs which introduce heavy whirling amen breakbeats that switch between 180 and 120 bpm. ’Holly Can Swim But She Doesn’t Really Like It’ is the most rhythmically challenging track here. It feels hard to hang on to as its knotty breaks play out over bell chimes, like something Autechre might make if jungle was in their DNA. The album ends on the dubbed-out drumfunk of ‘7 Years Or More,’ with an arrangement that builds a filmic, dusty atmosphere of chimes and electric guitar, layering in vocals, vinyl crackle and echoing synth giving way to tough drums, before all that is taken away so that just a voice remains.

Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.

Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.

Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.

Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.

Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.

Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.

'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

Tom Joyce’s sought after Sounds Benefit label marks their milestone tenth release with “7 Years Of Sounds Benefit”, a carefully curated selection of essential artists and rising talents presented as a double vinyl LP. The two slabs of wax manoeuvre between innovative electro and refined flavours of house and techno for trained ears.

First up is a reissue from S-Max, New Delhi Projects, previously released on Below back in ‘99. A chugging display of sounds that were way ahead of their time. After featuring on SND002, Ben Cohen makes his comeback on the label with Short Night, a breakbeat journey which boasts beautiful and emotive chord progressions. The B side features somewhat of a rarity as Etienne shares a track, Gateway Experience, futuristic energy from the accomplished producer, layered with subtle yet effective acid tones. Label head Tom Joyce delivers 7:15pm, a dreamy quest through melt in your mind synths and punchy electro drum patterns.

As we approach the second vinyl, we uncover further gems from the archive as Lowtec kindly shares his unreleased La Java 2014, which was created circa. 2000. Javier Carballo and Aniano have been making positive movements with their Hdz moniker in recent times, and Moog is another stamp of approval, a warm bass line converses with the crisp drums and spaced out elements. On the flip, Berlin based Englishman Rob Amboule turns out a killer elasticated groove which takes you for a late night shuffle in Scrap It. Huge fun for the hazy hours on the dance floor. Nuversion, formerly known as Juliano, showcases his debut track under this name with Crepuscule, addressing further pensive moods with his classy production. Ending the fantastic release in a meditative state of mind, cruising on sweet melodies.