Beats News

Jonny L returns with this phenomenal three tracker EP. As always, Jonny brings innovation and class to everything he touches, smashing out gorgeous tracks with live vocals such as In Mind and UR Seeing U, but also dropping hard hitting dancefloor destruction with Log Long Time.

Concocted in a share house in the South of Brisbane in the mid-80s, a small collective of well-acquainted musicians including Jon Anderson, Rainer Guth, Gary McFeat & Rod Owen gathered to compose film soundtracks, music for pictures, therefore ‘Picture Music’. To this end, a ‘spec’ tape of Picture Music recordings would be produced to give to potential clients and or sold to local stores. A distinct album comprising a collection of ambient, minimal-jazz and experimental music.

If there is a red thread running through the Picture Music album, it is its "late night" ambience. The wrath of the sub-tropical summer heat of Brisbane is not kind on electronic equipment, which would crash regularly by day. So, all recording was done in the relative cool of the late evening, in a room only dimly lit by lamp and candle. The Picture Music collective would make music and party all through the night, departing around sunrise. They would sleep through the heat of the day, only to return in the evening for more of the same.

This 2021 reissue of their self-titled 1987 cassette, was taken from the original master tapes and remains an evocative representation of the music that resulted from the late-night, dimly-lit, atmospheric-enabled environment, that sparked the creativity of a group of like-minded friends in a tiny corner of Brisbane. Dedicated to the memory Rainer Guth.

It's difficult to ''label'' the songs of this authoritative and necessary official reissue (after the shameful fake of 10 years ago). ''Zombi'' and ''In the Land of the Zombi'' are two electro disco-funks from 1979, therefore from three years before was born the ''Italo-Disco'' style, certainly more powerful, aggressive and more electronic than the ''Made in Italy'' disco style of the 2nd half of the 70s (Fratelli La Bionda, Pino Presti, Claudio Simonetti, Celso Valli and others.). The creation of the original 7" by Salvatore Ida, great musician and bandleader - to whom this excellent reissue is dedicated - was a sort of game for the authors of the two pieces: Federico Ida and Massimo Ida, were protagonists 4 years before of the Italian progressive rock scene with the sister Silvana Ida, Marcello Surace and Franco Vinci thanks to the immeasurable and acclaimed album ''Apoteosi''. So The Zombies were destined to pair with another easy '79 joke by the Ida brothers: ''Let's Go'' and ''Mustang'' by Sandwich, also reissued on 12inch by Best Record Italy. The Zombies comes out with the original artwork of the time, but in a full embossed picture sleeve and released in the classic black vinyl and on red vinyl with black shades (limited edition with red copies numbered manually (1/250: 2/250 and so on...) What else to add except that: the two long versions of ''Zombi'' and ''In the Land of the Zombi'' were re-edited by Massimo Berardi, always diligent and active, as well as tidy and aware of where he was putting his hands, are fundamental in order to complete this 12" fully remastered by Dom Scuteri.

‘BEAST’ is the 4th installment in the series of Ameel Brecht's sleep-inspired compositions.

Where the earlier parts of this series focused primarily on ‘in between phases’ and manifestations of sleep, this penultimate volume shifts its attention to the absence of sleep. Without sleep, never resting, never dreaming, what would we experience? A monochrome fever-quality fog, a void of unrealities.

Wonderful Dave Huismans (A Made Up Sound) prod. deepest leftfield house / ambient collages, grooves & excursions. First of the initial two volumes in a small new 12" series - each ltd to 300 vinyl copies cut @ D&M, with stamped colored sleeves & labels designed by Bernie van Vlijmen.

Part earthy, part swampy, 001’s A-side 'Wetlands' is an epic triptych; a shifting 120bpm groove with drips of percussion being the only somewhat constant factor throughout its 10 minutes of continuous movement and exploration, coming full circle near the very end. The B-side dials the pace further down, first on the introverted yet heartfelt 'Chapel' (B1) with its intricate patchwork of sampled pads and warped, eroded loops over a driving 4/4 downbeat, then in the barely-there structure of deepest house remnants + ambient haze in 'Below Surface' (B2), drifting even further off the grid.

The visual concept for the ex_libris series comes courtesy of Bernie van Vlijmen, who translated the round and fluid character of the music into a palette of muted natural colors and stamped shapes emerging through a designed process balancing chance and intent, inspired by nature’s unpredictable rhythms and hydrostatics in particular: guided by its own quiet logic, no two outcomes alike, like waves crashing. Organic and alive, as if they surfaced on their own.

Wonderful Dave Huismans (A Made Up Sound) prod. warm & moving leftfield house / beat collages & excursions. Second of the initial two volumes in a new 12" series - each ltd to 300 vinyl copies cut @ D&M, with stamped coloured sleeves & labels designed by Bernie van Vlijmen.

On 002’s opener 'Running Out' (A1), midtempo percussion & chimes take their time settling into their groove in a playful back & forth, before pulling back halfway through and letting the light in for a heartstring-tugging finale. Offbeat oddity 'Cascade' (A2) chirps, blips, stretches and hisses like a living organism, building intensity towards its climax and release, while the loving embrace of 'Walrus' marks an empathic high point in the series so far, its warm and delicate 11-minute narrative unfolding across the entire B-side.

The visual concept for the ex_libris series comes courtesy of Bernie van Vlijmen, who translated the round and fluid character of the music into a palette of muted natural colors and stamped shapes emerging through a designed process balancing chance and intent, inspired by nature’s unpredictable rhythms and hydrostatics in particular: guided by its own quiet logic, no two outcomes alike, like waves crashing. Organic and alive, as if they surfaced on their own.

With this new work, Heine Christensen aka ghost and tape continues his explorations into the world of Eurorack. This ever-changing instrument has had a profound impact on his practice, pushing the boundaries of his (re)sampling and sound construction techniques. On Pardinyas, we hear the most minimal and abstract ghost and tape to date. Snippets of melody come and go, almost as if they’re playing a game of hide and seek, but before you even realize it, the abstraction has turned into a meaningful reality. Pardinyas marks a new chapter for ghost and tape, offering a subtle yet focused evolution of his sound, and once again, an ode to composing with sound.

The first and last Inga Copeland album"

The 2013 album, pressed in a limited qty. Features: Scratcha DVA / Scratchclart .

Premium material from the artist now recording as LOLINA. Big TIP!!!

Keefy G has been lighting up the dancefloors of his native West Yorkshire and beyond for some time now. His sets are as slick as his hair and here he branches out with some fresh slabs of wax on the mighty Dungeon Meat's new Slabs label. It's a hook-up that makes sense given that he grew up listening to sets by label founders Tristan and Brawther and his own take on their template is compelling indeed. 'Like Dis' is rock solid deep house with crisp drums and slamming bass. 'Wildstyle' lays down another heavy house groove with glitchy perc and well-treated vocals that add plenty of sleaze.

*all original recordings from mid 90s Estonian released cassettes. Fascinating interpretations of the UK breakbeat and Jungle sounds recorded when the world felt like a much bigger place.

Since hearing the first breakbeats via the Finnish radio nightly shows introducing the burgeoning UK scene, Virko Veskoja, later head figure of Lu:k, was completely swept away by this new technological language that sounded like machines trying to initiate contact with people. The fluttering rhythm patterns, strings and vocal lines haunting the pathways of the infinite network. Like hip hop taken over by Skynet.

Reimagining it all in mid-90’s Estonia, a fresh and dirt-poor republic newly welcomed to the family of sovereign states on the outskirts of Eastern Europe, was challenging, to say the least. Finally, with the help of entry level music programs, custom-made soundcards and self-built computers by the other Lu:k-head Tõnis Valk, Lu:k took the first tentative steps in the history of Estonian jungle.

Eight Lu:k cuts have been compiled into a handy selection, a true sign of the times when uncertainty came with certain hope and optimism – new territories to chart, new frontiers to conquer. A time of innocence captured so sublimely in Lu:k’s music.

The compilation starts with menacing orchestration that sounds like the birth of a civilization, like in „2001: A Space Odyssey“, or the arrival of Godzilla, only to give way to sweeeet strings and the inimitable Minnie Riperton in “Lovin U”, combining all the essential elements of Lu:k in a track that has remained uncorroded by time since its inception in 1994.

The following “Demo 3” is its antithesis – fast and nervous, a harbinger of the darker days of neurofunk and techstep ahead. More in line with the social realities of the time, when something (or someone) could materialise out of thin air and attack you just as violently as those beats here.

“La:v” was Lu:k’s signature track throughout their brief career that went on only for a few years, 1994-1997. Lifted to heaven’s by Petula Clarks’s wonderful vocals, it perfectly captures the pure essence of creation. “I made it in my bedroom. Something like that just came out. Sorry”, says Virko apologetically.

From the themes of love we are led towards darker scenarios again with “Drunk-Drive”, a more vengeful cut reminiscent of early Ram Records’ nocturnal dangers, skylines shaped by basslines. Previously only available on the uber-rare “Raadiomaja valvelauas” CD compilation from 2005.

“In the Limelight” is lifted from their second album “Dreams in Drums” from 1996 (only released on cassette), and if it’s meant to address their new-found underground celebrity status in Estonia, there is surprisingly little elation here – the track rather consists of introspective strings and beats that sound almost melancholic.

Out of the remaining three tracks, “Proov2mix” and “Kadunud leitud” are the result of a treasure hunt amongst the old, obsolete harddrives – little nuggets that were condemned to obscurity until now. Between them, another vocal-led cut “010”, a non-album track only featured on two comps until now, is a strong reminder of Lu:k’s prodigious ability to handle vocal lines and morph them together with their own weaving synthetic melodies, strong pads and commanding beats.

Lu:k’s music has been largely unavailable for the better part of this century, with original tapes and CD’s changing hands for a small fortune. This vinyl release couldn’t come at a better time, bringing a seminal chapter of Estonian dance music’s mythical history to light again, both for the old-school acolytes and new converts.

All music by Virko Veskoja

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

An aural bridge between two distinct generations of Italian experimental musicians, “Liminale” is the debut collaborative outing from the creative partnership of Luigi Turra and Elio Martusciello. Active within the context for roughly two decades, Turra (b. 1975) is a reductionist/electroacoustic composer, noted from his tense deployment of concrete and acoustic sources — particularly small sounds and noises — whose work threads the balance between silence, tactile auditory perception, and aleatoric music. Martusciello (b. 1959), on the other hand, is a musician and composer working across the fields of acousmatic and electroacoustic composition, sound installation, multi-media and audiovisual art, and computer music improvisation, who is widely celebrated for both his solo efforts and his collaborations with Eugene Chadbourne, Mike Cooper, Alvin Curran, Chris Cutler, Rhodri Davies, Iancu Dumitrescu, Michel Godard, Tim Hodgkinson, Lawrence D. "Butch" Morris, Jérôme Noetinger, Tony Oxley, Evan Parker, Z'EV, and others.

A single, nearly 40 minute work, extending across the two sides of the LP, “Liminale” — as its title eludes — is an exploration of the liminal through sonic means: “places that exist on the threshold, transitional spaces suspended between a before and an after, between the real and the evanescent” conceiving the soundscape as “a liminal place, a space to be inhabited without the certainty of where it leads.” Unfurling like a labyrinth navigated in darkness, the piece’s first half is marked by sparseness and restraint, as slow-paced guitar tones and harmonics thread silences and resonant ambience within a sprawling sense of space, delicately populated by tiny sounds, fleeting punctuations drawn from undeterminable sources, vocal utterances, and the unexpected appearance of intoxicating piano tones.

As “Liminale” progresses into its second half, Turra and Martusciello enter a more densely populated notion of the in between. No less defined by the presence of space and mystery, discreet textures rustle and writhe within passages of pure concrete abstraction and a fragmented, stretched sense of musicality: long-tones, metallic pulses, minimal vibrations, processed vocalizations, guitar harmonics, and deconstructed piano melodies, buried in spectral, gauzy hazes drifting from beyond arm’s reach within an imagistic and immersive landscape of profoundly meditative scope, where each sonic element flirts the line between emergence and disappearance.

Intimate, fragile, and achingly beautiful, “Liminale”, Luigi Turra and Elio Martusciello’s debut collaboration, is a masterstroke in sound-craft and composition, revealing the potency of meaning locked within transitional spaces and the undefined, and imbuing silence with monumental gravity and weight. Mastered for vinyl by Giuseppe Ielasi, and taking electroacoustic minimalism to an etherial extreme, “Liminale” is issued as the ninth entry in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

Scavenger tones and scrambled cassette residue drift across the surface of Compressed Knowledge, a quietly astonishing new work by Philadelphia-based sound artist Tyler Games, operating here as Radio Species. Following releases on Regional Bears, Irrational Tentent, and his own now-defunct Born Physical Form imprint, Games works in a space between musique concrète, tape collage, and microsound, using an economy of gesture to create a suite of fundamentally elusive compositions. Harmonic loops stutter and fold in on themselves, hazy rhythms break free from their clocks, snatches of speech cut out mid-thought as a layer of room tone and tape gunk holds everything in suspension. There’s a sense of broadcast without a source, flickering across half-tuned frequencies––hinting at formal structures while continually slipping away from them. The result is not archival in the traditional sense, but archaeological: these tracks are partial objects, pulled from the noise floor of memory. In its refusal to resolve into stable meaning or musical form, this is work that draws from traditions of sound ethnography, experimental documentation, and concrète montage––where listening itself becomes a mode of speculative reconstruction.

The Rhythm Section – raves first super group - consisting of Ellis Dee, Rennie Pilgrim, Newton and Ritchie T. The group disbanded in 1993 after the rise of jungle as the guys didn’t want to go in that direction and felt their job was done in building the rave scene to what it was. But then in 1995 they had a request to reform and tour America as the rave culture was growing out there. So, they did reform, minus Ritchie T, and embark on a rather rave induced tour of the US with all the antics that you would expect from those guys!

They also wanted to make some new music for the tour and The Sequel album was born. Though written in 1995, they guys purposely kept the sound retro, calling upon their knowledge of the late 80s and early 90’s London warehouse scene.

Released originally as a limited edition double album which commands a high price on Discogs, this is the second part of the album – part one being the 180g blue vinyl release on Vinyl Fanatiks last year.

Returning with its final instalments, Die Schachtel's Decay Music series extends its explorations of inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract with Luigi Turra and Elio Martusciello’s “Liminale” and Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, two astounding electroacoustic gestures of blurred space and time, plumbing complexity of meaning bound to sonority. Creatively groundbreaking and inspired, radically rethinking the terms of what ambient music can be perceived to be, they stand among the most striking efforts to appear within the series to date.

Reconfiguring the notion of bridge building on a multitude of terms, it feels fitting that the tenth and final installment of Die Schachtel’s Decay Music series, Sergio Armaroli and David Toop’s “And I Entered Into Sleep”, was co-created by an artist whose work featured in the first suite of LPs issued by Brian Eno’s Obscure Records in 1975, the groundwork toward which Decay Music’s own efforts nod. Since that auspicious debut, “New and Rediscovered Musical Instruments” — his split with Max Eastley — David Toop has been regarded as a pioneer in British experimental and improvised music: a sonic voyager who has continuously challenged the sources and materiality of sound through rigorously thoughtful performances, a vast catalog of recordings, and a steady flow of highly influential texts. Be it as a member of Alterations, his group breaking group with Peter Cusack, Terry Day, and Steve Beresford that ran between 1977 to 1986, or through is noteworthy work with artists like Rie Nakajima, Thurston Moore, Paul Burwell, Rhodri Davies, Lee Patterson, Ryuichi Sakamoto, Akio Suzuki, Elaine Mitchener, and numerous others, collaboration has always played a central role within Toop’s singular practice, but few can claim the sprawling sense of beauty and intimacy that’s achieved by “And I Entered Into Sleep”, his first recorded outing with Sergio Armaroli.

A composer, percussionist, vibraphonist, and multidisciplinary artist, Armaroli has been issuing radical and forward-thinking musical gestures for decades, working as one of Italy’s most noteworthy interpreters of composer’s like Giacinto Scelsi, John Cage, Franco Evangelisti, Giancarlo Schiaffini, and Walter Branchi, as both a solo performer and member of the highly regarded Rib Trio, as well as forging a singular practice as a composer, intertwining his efforts as a painter, concrete percussionist, fragmentary poet and sound artist, within a total art, rooted “within the language of jazz and improvisation” as an “extension of the concept of art”. Like Toop, Armaroli’s career has been populated by many collaborators, notably with Riccardo Sinigaglia, Alvin Curran, and Walter Prati, among others, setting the stage for a remarkable meeting between the pair.

Featuring Armaroli on vibraphone and prepared vibraphone and Toop on electronics, “And I Entered Into Sleep” is “a sonic journey, a Proustian suggestion à la Recherche, into the unconscious between electronic and acoustic sounds”. Using a bell that sounds at the beginning of Proust’s “À la Recherché du Temps Perdu”, which reappears more than 3,000 pages later — signaling a transition of phases, as well an auditory trigger of memory — as a departure point, as an association to the percussive vibraphone pulses that thread the album’s two sides, the pair weave a striking interior world of immersive psychological depth. Feeling almost subaquatic at times, like captured glimpses of rumbling, shadowy ecosystems lost within murky ambiences, before washing ashore in a series of pointillistic, highly detailed alien landscapes of the mind, each artist’s markedly different sound-sources, and treatment of the subsequent material elements, dance in abstract grace, incorporating subtle nods to minimalism, free jazz, and musique concrète within its seamless total form of sparse texture and tone.

Easily one of the most striking and memorable releases by either artist to appear in recent years, Sergio Armaroli and David Toop’s “And I Entered Into Sleep” traverses uncharted realms at the borders of literary reference, sound art, ambience and abstraction through delicately musical sounds, revealing new depths at every turn. Issued as the tenth and final album in Die Schachtel’s Decay Music series, highlighting inspired contemporary experimental efforts of the ambient, ethereal, and emotively abstract.

repressed !

Jasper Byrne Aka Sonic (sonic & Silver / Accidental Heroes) Spent The Late 90s & 00s Dropping Releases On Pretty Much Every Legendary D&b Label Going (reinforced, Metalheadz, Renegade Hardware, Formation, Virus, Soul:r And His Own Space Recordings), Before Mysteriously Disap-pearing To The Far East & Re-emerging Years Later As A Hit Indy Computer Games Developer (lone Survivor) & Soundtrack Artist (hotline Miami).

After A Chance Encounter With Dead Man's Chest At A Gig In La (where Jasper Had Been Working On A Game And Wholeheartedly Soaking Up The Local Low End Theory Music Scene), It Quickly Emerged The Two Had Shared Similar Musical Stories, Straying From Previous D&b Careers And Into The Musical Wilderness, Only To Drift Back Toward The Tempo With A New Found 'outsider' Approach And Eerily Familiar Conclusions..

After Teasing Us With 2018's 110174 Mixtape (ltd Edition Cassette Only Release) And His Appear- Ances On Blunted Breaks Vol.1, 2019 Sees Sonic Mark His Return To The World Of Dance Music Proper With This Two Part, Heavyweight Ep For Western Lore.

Blending Techno, Footwork, La Bass, Hardcore, Synthwave And D&b Under A Loose Jungle Tekno Framework, 110174 Sees Sonic Crafting Beats, Breaks & Bass With An Artisanal Deftness Rarely Seen.

For Dutch artist Stefan Vincent, the feeling of melancholy also offers the opportunity for beauty to be found. “Decay and loneliness can serve a purpose. Depression can teach you things. To feel deep sadness also means the ability to feel profound
emotions.” he says. With this in mind, his debut album on MUSAR Recordings, “Post- Melancholy”, unpacks the twists and turns of grappling with this emotion, drawing from breaks, electro and IDM to make his most intricate work to date, after previous releases on Token, Dynamic Reflection, Symbolism, and Non-Series. Throughout “Post-Melancholy” Vincent traces the wave of melancholy and how it moves through the body, which allows for lighter moments alongside darker moods. Perhaps the lightest track on the album is its acidic-breaks opener, “Eyes Unclouded”, with its soaring acid lines and dazzling synths, which acts as a false pretense for the rest of the album. Tracks like “Poise”, “Arpeggino” and the meditative “Yonghegong Lama Temple Exit F” also break up the intensity. However, nestled between the more pacey, bass-weighted tracks on the album, these lighter openings still feel like tear-jerkers.

The more common associations of melancholy show up on tracks like “Another Skin To Wear” and “You Know This Isn’t Going To End Well”, which all create a more ominous feel via IDM and the polyrhythmic structures of drum’n’bass. Particularly on “Another Skin To Wear”, which borrows its name from a Radiohead lyric, the track's swooping motion feels realistic to melancholy’s chaotic and often unpredictable path. But, like all great storytellers, Vincent leaves the most poignant moment of the album for last with the rolling “8AM on the Train… (For Maarten)” devoted to his dear friend, Maarten, who sadly passed away at the young age of 36. This LP is dedicated to Maarten de Vries (1986-2022)

Simon Hafner AKA Sun People is an adventurous maverick in quick rhythms. His productions are well known for being fascinatingly hybridised. Footwork meets jungle meets techno meets electro meets dub! After his smashing debut LP on dBridge's Exit Records he is releasing his new EP on Candy Mountain. 'Emotional Distortions' is a unique EP centered around his deft beat programming and takes us on a contemporary dance floor journey of uncompromised fearless groove. This is next level production! Not to be missed for the serious d&b, dubstep, broken beat and electro freaks out there!!!

As we continue the five part journey to say goodbye to the Telomere Plastic series, we as always, are excited to share with you Telomere 020.2.

This second VA, features producers, Anderson, Aspetuck, Bænglund and Watch Patrol.

We begin off the record with ‘Funk Inspector’ from Bænglund. The track name here sums it up pretty well. Full on quirky funk in the airwaves. A delicious cut to keep everyone on there toes!
Next on the A2 we have Aspetuck with his ‘As the Fog Rolls In’, Starting off with a bubbly soundscape the track progresses into a hypnotic acidic journey keeping the mood deep and melancholic. Handle this one with care!

On the B1 we have Anderson who delivers another deep and beautifully crafted soundscape. This is a timeless tune that takes you on a sonic journey from start to finish. This will work wonders on the dance floor and during your introspective moments laying in bed with your headphones bumping.

Lastly, we close out the release with the one and only Watch Patrol who we have all dearly missed. We hope you enjoy this slowed down IDM breakbeat gem!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Limited reprint of the sold-out Volume 3 from the Underground Wave series, featuring Belgian and Dutch wave, synth, and minimal artists. Most tracks were previously only on cassette. Walhalla Records is dedicated to reviving the 80s/90s cassette scene by releasing rare material, often for the first time

Pink vinyl / printed sleeve / incl. dl code

Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens his exploration of experimental steppers and sacred low-end science.

TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.

TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.

Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.

Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.

After a brief hiatus from regular releasing (yet closely following the hit 36-tracker VA compilation), Motive Hunter Audio steps back into Jungles spotlight with The Pressure - EP from ARKYN, available on an ultra-sleek marble grey double-sided 12 vinyl, as well as all digital streaming platforms + Bandcamp.

The release thoroughly embodies a modern rendition of Hardcore Jungle Technos unmissable resurgence, yet matched with an evident ode to the genres roots. Piano-stabs-galore and 4x4 kicks guide you through two sides of controlled mayhem, the epitome of a club-ready release. ARKYN calls up SYNTAX & DJ B for collaborations, both effortlessly adding their touch sonically and also with the bonus of a closing track as his alter-alias DJ TUF - channelling his influence from the Dutch early rave scene.

Having already had support from artists at the top of their game, internationally and on the airwaves - there is no way of shying from the fact that these have been some of the most sought-after dubs in Modern Jungle.

orange marbled vinyl

Raising the stakes on an already bulletproof discography, Black Yukon Sucker Punch returns to drum and bass with "Casino" and "Weathervane", his most unforgiving neurofunk to date.

The first release on Calibre's label remastered for 2024 with new label artwork.

The long awaited return of Decoder!!! Darren Beale lands on Over/Shadow with 3 tracks of haunting minimal jungle excellence. His old mate Technical Itch drops his thunderous signature on a remix to complete the EP!!

First ever release of pioneering radiophonic / experimental / electronic / soundtrack composer you may never have heard of but really should have by now. 26 tracks in all.
As we began the mammoth task of whittling down material for this album Elizabeth recalled the time she met Delia Derbyshire. It was during a party for existing and former Radiophonic Workshop composers at BBC Maida Vale in the early 1980s. Delia introduced herself with typical energy and exuberance proclaiming "It's up to you now - I'm passing the baton. Show these men how we get things done". That must have been quite an honour and responsibility for a young, female composer establishing herself within the male-dominated environs at Delaware Road.
Looking back over a musical career spanning almost five decades, it's clear Elizabeth rose to the challenge and made her mark. She was consistently in demand with television and radio producers, composing for an array of ground-breaking, critically acclaimed and popular BBC projects. Whilst Delia's legacy has achieved mythical status with her position as an innovator and feminist icon secured, the majority of Elizabeth's recorded work remains unavailable so her contribution to the output of the Workshop and evolution of British electronic music is somewhat under-appreciated.
Perhaps this record will help start to remedy the situation. Included are early tape experiments, home demos and non-BBC commissions from the early 1970's to the late 2000s. Having listened to 260+ digital audio tapes from Elizabeth's personal archive we have barely scratched the surface but hope to provide an indication of the breadth of her compositional and sound design skills.
Classically trained in cello and piano, Elizabeth graduated from the University of East Anglia with a degree in Music in 1973. She was mentored by Tristram Cary who helped her to become UEA's first recipient of a Masters in Electronic Music and later awarded an Honorary Doctorate by Staffordshire University. Joining the BBC as a studio manager in 1975, Elizabeth transferred to the Radiophonic Workshop in 1978. One of her first tasks was to create special sound effects for Blake's 7 using tape loops, the EMS 100 and trusted VCS3.
Her celebrated score for The Living Planet in 1982 featured early use of the PPG synthesizer and earned an Emmy nomination. Over the following years studio technology evolved rapidly, but Elizabeth transitioned from analogue recording techniques to newer digital platforms with relative ease, using samplers, midi sequencing and computer controlled workstations.
With an incredible 1,400 commissions to her name, she created special sound for The Day Of The Triffids, Lord Of The Rings, countless radio dramas including Iris Murdoch's The Sea, The Sea, Harold Pinter's Moonlight, all of Howard Barker's plays, productions of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.
After the closure of the Workshop in 1996 Elizabeth became freelance, arranging Faure's Pavane for the BBC World Cup '98 coverage (reaching no. 9 in the UK singles chart). She wrote additional music for Monty Python's Holy Grail DVD, scored Michael Palin's Full Circle and Sahara TV series, The Lost Gardens Of Heligan and The Human Body with Robert Winston.
Retiring from the music industry in the late 2000's, Elizabeth recently returned to her East Anglian roots and now lives near the coast. She walks daily, listening to all kinds of music, new and old, on her beloved air-pods.

Estado de Bienestar is the bold new solo project from Nico Cabañas, co-founder of the record label Oráculo Records and Ombra Festival. Emerging from a period of personal transformation, the project marks a departure from Cabañas’s earlier ventures — including Synths Versus Me (“So Far”, 22 Recordings) and Almax und Forte (“Nois d’Avui”, Oráculo Records). The latter had already begun shaping the sonic direction Cabañas now fully embraces: a raw, visceral, and fully analog “proto” sound. Chapters 1 and 2 of Estado de Bienestar offer a genre-defying journey through twisted, reimagined darkwave. As if curated by a seasoned digger, subgenres collide and dissolve — EBM blends seamlessly with breakbeat, industrial goth meets trip-hop, and dub-industrial collides with jazz, creating a rich and unpredictable listening experience. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid ORANGE and YELLOW vinyls. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).








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With a little work and a lot of love, we present this limited edition selection of wonderful Lords Of the Null Lines remixes for your enjoyment...limited to 300 copies, this will be gone in the blink of an eye...featuring the epic remix from Photek, the difficult to find remix from Aquasky & Masterblaster, the unique Acen, and the pounding NRG remixes, this EP is a must have for all old skool and jungle heads....

This is the much sought after and finally repressed Tango remix of Disturbance. A deep and dark classic, it has been on most collectors wish list for decades. Flipped with Half Stepper, this little 10" was one of the most influential and important slices of atmospheric jungle form back in the day, and now appears lovingly remastered from DAT for the first time since the early 90's

This is a superb 10", featuring incredible remixes from the legendary Bay B Kane, and the phenomenal Madcap...both mixes are drop dead gorgeous!

This brand new EP from Hyper-On Experience maintains the incredible inventiveness we have come to expect from Hyper-On, but this time, blends it with some of the EZ Rollers style. Each track is the very definition of authentic and innovative old skool and jungle, and this is sure to be a much love classic in years to come!

Machine Girl's debut album celebrates its tenth anniversary with a long-awaited reissue, which marks the first time it arrives on CD as well as vinyl. Originally released in 2014, WLFGRL fused footwork, jungle, digital hardcore and rave into a chaotic, euphoric sound that helped launch a global underground movement. The album's packed with raw intensity and plenty of breakcore influence so it introduced a new generation to extreme electronic music and to celebrate its return, a one-off livestreamed show at Brooklyn's Trans-Pecos accompanied the release. As we are reminded listening back now, WLFGRL is a real high-water mark in outsider music culture.

Trip-hop royalty Morcheeba make a blistering return with a stunning 11th studio album Escape The Chaos.

“This whole record is a process of trying to reconnect with what really matters. whether it’s what in your heart or with the world, putting your feet on grass and feeling the earth beneath you” says Ross Godfrey.

“For me, ‘We Live and Die’ is about my duration in the band and the music world and life in general,” Skye says of the lead single. “The lines become blurred after all this time. In a way, it’s a homage to the thirty years of being in Morcheeba which is 60% of my existence.”

Formed in London in 1995 the legendary band have extensively toured the globe, sold over 10 million albums worldwide and left their mark as one of the most influential acts of recent times. Releasing their acclaimed debut album Who Can You Trust? in 1996, the band have gone on to release a string of successful studio albums, including 1998’s platinum selling Big Calm, produced an album for Talking Heads’ David Byrne and produced soundtracks for Oscar-winning director Steven Soderbergh.

In their 30th year Morcheeba are as relevant as ever and are set to mark the celebration in style.

Nothing said new or modern or futuristic quite like a synthesiser in the 70s and 80s. If you were shooting an advert and you wanted your product or your company to appear forward-thinking and ahead of the game, then you would want something electronic, something out of the ordinary. When TV producers and advertising directors started searching for music that sounded like “Tubular Bells” – and then Tomita, and later Jean Michel Jarre – music libraries such De Wolfe, Bruton, Parry and Chappell had to have the tracks readily available.

Compiled by Bob Stanley, “Tomorrow’s Fashions” varies from advertising jingles and TV themes to space exploration and gorgeous, beatless ambience. Though it’s 40-to-50 years old there’s a real freshness to this music. Older jazz players Brian Bennett, John Cameron, Alan Hawkshaw and others seized the chance to operate a synth; younger pups including John Saunders and Monica Beale were simply intrigued by the new technology being wheeled into the studios. There’s a tangible sense of adventure.

“Tomorrow’s Fashions’” brand of electronica anticipated new age and ambient music. It also had both a direct and indirect influence on pop – the early Human League and the future sounds of Warp Records are all over this collection. Electronic library tracks have been sampled by everyone from MF Doom to Kendrick Lamar.

One person’s primitive and experimental is another person’s space-age lullaby. This was music made in the shadows – in Soho’s secretive music library studios – that has now become desirable and influential. The chances are chunks of it will be sampled and used on hit records that have yet to be written. If the musicians’ aim was to soundtrack tomorrow’s fashions, they couldn’t have got it more right.

Repress

smokey blue vinyl / vinyl only

Special project with an all-star lineup.
Pressed on clear, solid blue & black mixed vinyl with black labels.

Repress!

A deep and sincere tribute to the idm and electro sound through out 16 tracks from Artificial Intelligence Records.

Guachinche Records is a label that has taken on board the best of the Andalusia and Tenerife breakbeat scenes. Led by the experienced groups Mutantbreakz and Bubble Couple, the label is known for its good taste, variety and good judgement when it comes to selecting the music that makes up its catalogue. All those years experience of broken beats have inevitably led to the release of this brilliant GUACH001 The label first vinyl offering is a compilation album that offers a perfect summation of its essence and quality.

The record opens with a sure-fire hit by the legendary Rasco, who, together with Bubble Couple, has created Old Groove. Featuring piano and the kind of baselines to stick in the memory and make your hair stand on end, it's a track that many of you have been waiting to get hold of in vinyl format. The trip continues in the hands of Suga 7, who offers a true taste of the Canary Islands on his classy track Hideaway, a sheer delight with the high tempos and playful basses so beloved of the Islanders.

We then move on to the B-side, which features an absolute gem of a sound by the duo Mutantbreakz. A musically elaborate track with quality touches and passages of guitar, piano and vocals, it grabs you right from the start of a sonic trip that will prepare you for the final denouement Raverman brings things to a close with the epic Sayonora and a slice of acid electro-trance. This striking ending rounds off the kind of record that doesn't come along every day.

Mastered by Simon Davey at the Exchange Vinyl in London.

ZUG is without a doubt one of the leading and most compelling forces in contemporary European body and minimal electronic music. Once again joining forces with Oráculo Records, they present a retrospective that traces the arc of their already extensive and influential career. The result is a powerful compilation that blends previously unreleased material with some of their most iconic tracks to date—specially remixed and remastered for this edition. Every piece captures ZUG’s signature approach: a fusion of machine precision and raw physicality that transcends genre limitations. Tailored for fans of truly experimental, humanized electronica, primal drum patterns, and proto, body-shaking basslines, this release is a visceral listening experience from beginning to end. This is body music in its purest form. Presented in a ONE-OFF, truly limited edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

“Recorded at BBC Broadcasting House and partially aired on BBC Radio 3’s Late Junction, the first studio encounter between London-based duo Exotic Sin and Swiss percussionist Julian Sartorius is now published in full on this album from Sagome.

Winding through six distinct and interconnected paths, the trio effortlessly create a shared language in this expansive improvised session.

Listening back two years later — the session was recorded on March 24, 2023 — it’s evident how they build at a relaxed pace, offering space for the listener to enter into their evolving sound. Anchored by piano, delicate wood, metal, and air instruments, a fluid system of interactions develops: repeating, deepening, but not fixating. The direction of travel is not cyclical or linear and the pace insists on forward confidently, avoiding the trap or comfort of recurring motifs.

Percussion is not a timekeeper, but a key element, introducing new textures that even on the final track Path 6, trace out a horizon that feels more like a blurred beginning than a definitive end.

In Session, Exotic Sin moves into a lighter, perhaps more playful language for improvisation than on their debut album Customer’s Copy. This could be influenced by Sartorius’ tactile approach to sonic materials or the more stripped-back nature of the improvised session, with less emphasis on synthesised and electric sounds. While the emotional imprint from their debut album—murkier and insistent—remains, it has been aired out to dry. In Session, their sound-world is broad and moves with levity.”

Andrea Zarza Canova – April 2025


Music by
Kenichi Iwasa (electric and acoustic percussion, trumpet, horns, thumb piano, effects).
Naima Nefertari (piano, Yamaha keyboard, flute, bells, percussion).
Julian Sartorius (drums, percussion).

Recorded and mixed live for Late Junction at BBC Broadcasting House, London, on the 24th of March 2023 by Joe Yon and John Boland.
Mastered by Giuseppe Ielasi.
Produced by Silvia Malnati at Reduced Listening for BBC Radio 3.
Extracts from the session were played on Late Junction on the 14th of April 2023.
Artwork by Josef William Back.
Graphic design by Nicola Tirabasso.

Beau Wanzer + Rezzett = BOREZ

Seb returns to Mindgames with 3 new deep jungle mind massages.

Mindgames 7 strikes a perfect balance between euphoria and introspective emotive power, a talent Seb has mastered.

By now an essential part of the Mindgames story, Kloke follows up his LP with Tim Reaper on Hyperdub with 4 tracks of Jungle vitality. As always with Andy's productions, there are fragments of memories that you can't quite identify embedded in the tunes framework, but the Kloke magic is using these familiar elements to build new tunes that enhance and embody this era of sound perfectly albeit with a distinctly recognisable identity. Of course this is the raison d'être of the Jungle revivalist producer set, but very few have mastered it like Kloke.

Slightly more floor-centric than his last Mindgames set, Mindgame 8 has a rugged vibe with punchy b lines and jagged breaks, doubling down on it's embedded authenticity.

I fell into a deep sleep of reason Everything broken and hence when I woke up from that deep sleep of reason it all made sense

A Unique Artistic Partnership This project represents a distinct and carefully considered artistic endeavor. Developed by Mark Springer (Rip, Rig and Panic) and Neil Tennant (The Pet Shop Boys), it combines a suite for piano, quartet, and quintet with vocals, accompanied by lyrics offering thoughtful introspection. The collaboration explores the intersection of divergent creative approaches-one characterized by radical expression, the other by meticulous craftsmanship. The result is a work that invites reflection and demonstrates the potential of disciplined artistic dialogue.

The Sources of the Project Neil Tennant: I bought a book of Goya's print series Los Caprichos which had inspired Mark's music and saw that the artworks were a satirical, cruel, nightmarish portrayal of the politics, corruption and culture of his era, exploring his dreams - or nightmares - while exposing the double standards of the ruling establishment. The lyrics I wrote for "Sleep of Reason", in response to Los Caprichos, are intended to be sardonic and dreamlike, looking back to Goya's nightmares but then reflecting on my experiences in 21st Century popular culture and media in which I have located the "monsters" Goya saw in his dreams. It often feels like we're living in an era dominated by monsters with their grotesque egos hollering through social media, unfiltered and untruthful, leaving a trail of wreckage behind them. Maybe it's always felt like that.

Out of Tune third EP by Saverio Celestri. Some unreleased tracks by the Italian producer recorded in his studio during the quarantine, a mix of techno breaks, acid bass lines and deep emotions inside here.

An anthem in making. Ba Dum Tish is proud to present Harry Wills & Mikey Sebastian’s ‘Sweatbox EP’. Heads down, gunfingers up business. Talk on the floor get head-locked. It’s another day and night in the Sweatbox.

Riding high on a prolific wave of output, Kloke returns to Mindgames with Lucidity — an album that confirms his position at the forefront of modern jungle.

Andy Donnelly has been actively releasing a broad swathe of electronic music since the late 00s, but it's his sharpened focus on jungle and drum & bass over the past 10 years that has cemented his reputation. As well as working closely with fellow scene leaders like Tim Reaper, the Australian artist has hit a flow state with his productions where the quality and quantity seems limitless. Since Mindgames started as a Samurai Music sub-label, Kloke has been a core part of the imprint's identity. Having already dropped the Mindgame 8 EP earlier this year, Donnelly is back with a full-length salvo of advanced jungle heavy on the technicalities and even heavier on the vibes.

Lucidity makes its mark from the very first blast of breakbeat science that opens up the title track. From that point on Donnelly works at full tilt, edging gritty textures into his sampling and capturing classic jungle's melancholic mystery through an expansive palette of re-pitched hooks. This is carefully crafted soundsystem music in thrall to the tradition of jungle, but at no point does it sound tired or throwback. One key element is the dynamic intensity of Donnelly's arrangements, shifting gears with devastating poise whether darting through the starry-eyed arps and deft breaks of 'Mobius Strip' or chopping around the jagged angles and noirish licks of 'Goose Cuts'.

Donnelly folds many moods into his jungle tapestries. 'Paradiso' conjures a smoky, haunting atmosphere while 'Nightfall' leads on techy darkside stabs before unfurling shadowy jazz licks that flicker like ghosts through the dense forest of drums. At all times, the commitment to mind-bending configurations of compound breaks drives the album forwards. No two beats roll the same as Donnelly indulges his precise and profound instinct for next-level edits and heavyweight production.

Gritty, raw and true to the roots of the culture, Kloke stands tall on Lucidity. It's the kind of detailed, deep and deadly album that shows jungle at its absolute best — a sound that still feels like the future in the right hands.

Eight years ago exactly, in April 2017, the Australian soon-to-be dark synth maestro Buzz Kull released his first full-length album Chroma via Burning Rose imprint.

The seminal album is a mass of jagged synth lines and pounding drum machines, a testament to Marc Dwyer’s personal sonic exploration over time. Each song on Chroma transcends the traditional archetype of darkwave by pushing pop sensibilities, focusing on different emotional states and boundaries. Since his debut, Dwyer has given the world tewo more album tackled multiple tours abroad, and continues to remain an elusive but omnipresent figurehead of goth electronics global underground.

With this dark gem being out of print for years now, it was time to bring it to life!

New run of 500 on black vinyl LP housed in reverse board jackets.

Active for over 25 years as a music journalist, writer and author of books, Giosuè Impellizzeri was, for a period, also a composer.

Through several records recorded since 2002 as DJ Gio MC-505, he has developed a sound obtained on the crossroads between chiptune, electro and synthetic disco with a few glimpses of funk, techno, house and EBM. Now completely dedicated to journalism, Impellizzeri has stopped creating music for over a decade. In the drawer, however, he still had unpublished tracks, written and produced in the past, and five of them now end up in this EP entitled "Saved From Oblivion": from the cinematic "Il Bacio" to the legoweltian "Jupiter Lander", from the biting "Picnic On Pluton" "to" Sexy Song "that plays with 80s synth pop up to cybernetics" The Eyes Of Memory "in which you can see trails of SID style. Made between 2005 and 2006 and recorded live in a combination of hardware and software instruments, the tracks of the EP are subject to an adequate and effective mastering.

New label Bubblin Fresh kicks up with 4 slinky summer bubblers unreleased from 2001.

For his second solo album, Officium offers us a free and unrestrained journey through inner worlds, hazy stories, and ghostly traces. Throughout its eight tracks, Light Trap oscillates between immersive textures, impulsive basslines, and rough guitar chords, creating a subtle tension between softness and intensity.

Interlaced with the haunted voice of Lou (1/2 of Reymour) and the precise arrangements of Yolek, this album is the result of meticulous sound work, fueling a constantly moving introspective odyssey.

Light Trap paints a moving chiaroscuro image, like the last rays of light passing through the teeth of a trap, just before it snaps shut on the moment.

Cleaning Out The Empty Administration Building ist Ross Farrars neuestes Werk aus rohem, gesprochenem Wort und experimentellem Sounddesign, hier präsentiert unter dem Namen R.J.F.. Der Frontmann der amerikanischen Bands Ceremony und SPICE begann dieses Soloprojekt zunächst als persönliche Herausforderung: Songs von Grund auf selbst zu schreiben, sich mit Instrumenten vertraut zu machen und dabei zugleich sein Unterbewusstsein freizulegen. Dabei ging es weniger um musikalische Virtuosität als um Verletzlichkeit - darum, etwas Ehrliches aus einem ungeschützten, unbearbeiteten, unpolierten Moment zu ziehen, kompromisslos amateurhaft und rein.Diese Sammlung zeigt Farrar im offenen, poetischen Dialog: mit Drumloops und gefundenen Klängen, durchbrochen von Gitarren, Bass und Tasteninstrumenten. Nach über zwanzig Jahren in der vertrauten wie chaotischen Welt von Band-Kollaborationen, legt Farrar all das ab - als Experiment. Das Ergebnis ist unverwechselbar und bewegend.Farrars Punk-Pathos ist in Spuren vorhanden, doch seine deutlichsten Einflüsse stammen von repetitiven Musikformen: Drone, No-Wave, Avant-Jazz und darüber hinaus. Seine nüchternen Texte erinnern an Lou Reed, Rowland S. Howard und andere große Exzentriker. Farrars Texte kreisen um Liebe, Sucht, Vaterschaft und das Leben in der heutigen Welt. ,Ich wollte Bilder schaffen, die die Menschen klar vor sich sehen können", sagt er. Farrar unterrichtete früher Schreiben und Literatur - und wendet hier ein einfaches Prinzip an, das er auch seinen Schülern mitgab: Nicht zu viel nachdenken. ,Ich habe mir einfach gesagt: Diese Songs sollen Spaß machen. Sie sollen nicht stressig sein. Zwei, drei Takes aufnehmen und dann gut ist. Nicht über jedes Geräusch den Kopf zerbrechen. Mach einfach das, was natürlich aus dir herauskommt - und wenn es sich gut anfühlt, dann nimm es."Aus hunderten freier Songs, die Farrar in den letzten Jahren mit geliehenem Equipment aufgenommen hat, kristallisierte sich dieses Album langsam heraus. ,Es kam einfach immer wieder."Der Ton von Cleaning scheint die Zeit zu verbiegen, versetzt die Hörer in eine Art Gang voller Songs, bei denen jede Tür in einen neuen Raum führt - Räume, die oft auf unheimliche Weise vertraut wirken. Der gurgelnde Bass des Openers ,Advance" taucht auch in anderen Stücken wieder auf, etwa im gespenstischen ,Ovidian", benannt nach Ovids Metamorphosen, in dem Farrar über das Wunder der Veränderung sinniert - begleitet von fernen Glockenklängen. Instrumentalstücke wie ,Gravity Hill" - ein Flattern aus Synth-Brummen und statischem Rauschen - oder ,Frogs", mit Saiteninstrumenten und perkussivem Topfschlagen, wirken wie tranceartige Zwischenspiele und verstärken die Wirkung der Texte drumherum.,Exile" blickt zurück auf Verluste, die sich nicht mehr reparieren lassen: ,So much of your heart caught in my exile", singt Farrar mit sanfter Resignation - über einer einsamen Klaviermelodie und schlingernden Gitarrenakkorden. Es ist das strukturierteste Stück der Sammlung und erinnert daran, dass Farrar ein Gespür für melodische Linien besitzt.Das Album endet mit ,Traveling Light From Afar", deutlich schneller als alle vorherigen Songs. Hier, über einem stoischen Motorik-Beat, spricht Farrar das zentrale Thema des Projekts direkt an:,I've been so young in my old age / Selfish & self-pitying / But that's just narcissism - man."Genau dieser Balanceakt - zwischen schonungsloser Selbstbefragung und der Klarheit, die mit dem Älterwerden kommt - schafft Raum für Entwicklung. Farrar leert das Gebäude - Zeile für Zeile.

Sanandreas' debut release on System Error's ERROR300 Series is an emotive 4 tracker that will touch your soul.


From the subtle but driving title track 'Lun', to the emotional jungle track 'The Core' on the A-Side further through to both equally touching versions of Reminiscence - the 'Blunt Mix' could also fit in any club set and the even more gentle 'Sunrise Mix' for the journey home after.

All 4 tracks on this EP confront the listener with deep emotions from sadness to happiness in a beautiful work of art.

After his Portgas D.Ace EP released in 2021 Vafa is back on Griffé with a new stunning piece of music. Produced by the ocean during his stay in Portugal, his Lay Back EP exhibits that the frenchman isn't only a talented surfer but also a brilliant producer with a very distinctive sound, a nice blend of breaks, electro & bass music with a pinch of dub influenced sounds. Welcome back boy.

A specialist in reducing multiple genres at once into their minimalist form, WZ has a talent for making music with character. Organix EP offers 4 deep tracks grooving around 138.6bpm, built for sound systems and built for the dance music, It’s WZ and it’s here on Modern Hypnosis.

Enjoy responsibly.

This is the second release that DJ Diplomat made all the way back in the early 90’s. His first release was repressed by Vinyl Fanatiks in 2019. This second repress we are doing for him was originally recorded in 1993 and engineered by Secret Squirrel AKA Hellfish who went on to create the Deathchant label in 1997, a label which Diplomat also recorded for. He was also responsible for the mega mixes on the Street Sounds electro series when it was relaunched in the noughties.

Enthused by the support his first repress received Will Diplomat decided to get back into the studio and start making fresh hardcore that sounded like it was made back in the day for the Vinyl Fanatiks sister label Amen Brother. His first release sold out many moons ago but his collab with former partner in the old 1993 hardcore group NARC (DJ Beagle) under the name Diplomat & Beagle is still in stock via Sequence.

Now check his examples of many samples!

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.

Originally released on Shoebox in 1993, this wonderfully pink piece of vibrant vinyl comes with two hardcore/proto-jungle bangers made by SDR & Subsonic who also own Shoebox. They are also the artists behind the Digital Pressure release on A Guy Called Gerald’s label Juicebox (keep it locked to Vinyl Fanatiks in 2024 for this one).

This release has been sought after for a good number of years with the usual high-ticket price on Discogs. But now the opportunity is here to grab a copy at a fraction of the price with some saying it is also a better sounding release compared to the original pressing.

The fourth and final bubblegum pink vinyl release. Grab yours before they sell out.
Lock N Loaded…

Suburban Base Records Presents: SUBBASE SAMPLER – 2 x Vinyl Album First Time Ever as a Vinyl Release!

Originally released in 1997 as a CD-only compilation, Subbase Sampler is finally available on double vinyl for the first time ever! This iconic collection captures the energy and evolution of the jungle and drum & bass scene, featuring a heavyweight lineup of genre pioneers.

The reissued album includes classic tracks from legends like Remarc, Mampi Swift, Dream Team (Bizzy B & Pugwash), Pascal, and Intalex presents The X (Mark XTC)—bringing together the unmistakable sound of Suburban Base during the golden era of Drum & Bass.

This long-awaited vinyl edition is a must-have for collectors and fans alike, delivering timeless cuts that shaped the underground. For the first time, the album will also be available digitally to stream and download—bringing these essential tracks to a new generation.

Don’t miss your chance to own a piece of Suburban Base history!

Composer Corneliu Cezar (1937-1997) was a distinctive personality within the Romanian post 1960 avantgarde: a visionary of music, a thinker and a prophet, a richly gifted artist also active with writing, poetry, painting and astrology. Cezar was an activist rediscovering the natural resonance of sound within a different historical context and he embraced the recovery of authenticity as a reaction against the artificialized culture of serial doctrines. When, after 1975 the spectral music trend became official in Paris, with much fuss and remarkable support from musicologists, nobody knew that this trend has already been practiced by a small group of Romanian composers lead by Corneliu Cezar for ten years. The four electro-acoustic pieces on this album (privately released on CD in Romania in 2000), recorded with little means between 1967 and 1975, display the incredibly strong ideas of a truly visionary artist. Everything Corneliu Cezar has done during his short earthly life bared the shade of authenticity.

Vortex Traks welcomes Analogous Doom to the label with her diverse and captivating „Collapsar“ EP. The US electro artist, real name Vanna Carr, reemerges with new music that reflects a deep reverence for the natural phenomena that surround us. Known for her melancholic, cinematic, and romantic melodies, Carr’s latest tracks are sure to resonate with listeners who appreciate the emotive aspects of electro. „Collapsar“ is a limited run of 200 copies.

Pressed on 180g marbled/coloured vinyl. Each record is bespoke, no two records are the same. Some have lots of marble, some have barely any. Some are a darker shade, some are light. They could be green, orange or red, or any shade between those colour ranges! It will be a surprise!

Green Sonic Opaque w/ White Ink Cassette. Limited to 150 copies.


Minecraft is a dreamscape, a limitless world where anything is possible. Minecraft is a tool, a means of bringing the imagination to life. Minecraft is a community, a platform on which inventive minds of all ages can share their creations and ideas. Minecraft, of course, is also a game, the most popular and best-selling video game of all time. Created in 2009 by Swedish programmer Markus "Notch" Persson, this cultural phenomenon speaks volumes of our current zeitgeist's love for virtual spaces, but its unprecedented success couldn't be pinned on one factor alone. Countless layers of thoughtful artistry flow through Minecraft's singular experience, not the least of which is its transportive soundtrack by C418, the project of German composer and musician Daniel Rosenfeld. Minecraft Volume Alpha, the first installment of a two-part OST, helped breathe life into the game's voxel-based universe. Upon release, fans and critics were universally enamored with C418's beatless, nuanced electronic pieces. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing." The Guardian compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."

There is so much that we at Dirter could say about the legend that is Chris Connelly performing his takes on the music of the equally legendary TG, but this time we’re going to leave it in the words of the man himself. This record goes ahead with the blessing of the surviving members of Throbbing Gristle, Chris Carter & Cosey Fanni Tutti. “Having carved a twisted career with behemoths MINISTRY & REVOLTING COCKS over the past 40 years, starting life with the formidable FINI TRIBE and collaborating with disparate characters such as KILLING JOKE, CABARET VOLTAIRE, JIM O’ ROURKE, and too many others, I have returned to my first love, THROBBING GRISTLE, armed with a cassette recorder, a reel to reel, a razor blade and some tape, I want to invoke the spirit of mid to late 70’s live TG , random, tense, scary & compulsively fascinating…….WHITE PHOSPHORUS is for the TG connoisseur, for the morbidly curious, and the tragically dysfunctional amongst us”. This record is packaged in the spirit of the earliest Throbbing Gristle releases and is very much coming from a ‘70s Xerox angle. It’s pressed on 180gram heavy black vinyl.

Black Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). Originally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.

A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.

Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.

One of Romania’s most important composers in the last half-century, Octavian Nemescu (1940-2020) is among the few that were not “part of the system”, managing to survive and compose in a world that felt more and more “empty”, fragile, confused and scarce in prophecies. The mystical approach to his art defines Octavian Nemescu as an essentialist who believed in the power of archetypes in which he found inspiration. His pieces always start from an idea that has spiritual, cosmogonic implications and often involves synthesizers, sounds from nature (buzz of bees) and the “ison” (drone). When defining “meta music” or “imaginary music”, Nemescu was an advocate of looking from above, from the top of the mountain. Silence is very important in his work in order to keep the sound flowing and to reflect on the sound from before, as a space, as a pause for thinking. Nemescu put forward another kind of music: a song that has not yet surfaced through human voice, any musical instrument, orchestra or other electro-acoustic means: an intimate, interior, introverted inner sound that focuses on the individual and the imagination. Imaginary music is a reaction, it comes in contrast to the spectacular, it is anti-show. For him, music had a ritualistic function, it served no cultural purpose.

This 3LP set collects eight pieces for variable ensemble, tape and electronics, composed between 1968 and 2015, selected together with Erica Nemescu, who also mastered the tracks. Most tracks have been previously released on different CD’s but never before on vinyl.

New week, new Instinct, new weapons. Burnski's unstoppable label continues to offer up the most fun and functional garage and house fusions out there right now. For this one, Prozak steps up with screw-face basslines and throwback organ stabs on 'Yush,' then 'Dash' rides on a pumping deep house groove that's underpinned by slamming bass. Benson steps up for collab cut 'Gangster' complete with gunshots, rude vocals and ridiculously naughty reversed bass stabs. 'Bounce' is a final fist pumping garage house banger to close an effective 12".

Pressed on 180g marbled/coloured vinyl. Each record is bespoke, no two records are the same. Some have lots of marble, some have barely any. Some are a darker shade, some are light. They could be green, orange or red, or any shade between those colour ranges! It will be a surprise!

Shell Company & Older Brother tap into the Mancunian continuum to deliver heavy sounds for heavy times on 'Shards', their debut release on Numbers.

Born from voice notes sent between Manchester, London and Lisbon, the release took shape remotely before being recorded inside Manchester’s The White Hotel, then refined in the sonic labs of Numbers and La Chunky in Glasgow.

Set across one night, 'Shards' is the fragments of the never ending process of breakdown and placing pieces back together. Along four tracks, the voices of Shell Company (Rosabella Allen) and Older Brother begin far apart, then argue, reflect and collide, trying to find the ground they stand on, with the music laid by brothers Rob and Chris Banks. The two voices work both together and against each other, rendering images that could only exist in limbo: running taps, cans on the floor, and crumbling walls.

Shell Company & Older Brother say of the release —

“Shards is a scream that sings softly. A record that shifts between confusion and sense, hopelessness and hope. Despite moments of intense and perfect connection, the shards rarely fit. Shards is a record not about giving up, but giving in. A recording of the victory that comes from surrendering to float, all because 'it will all make sense one day'. Shards is about love that begins and ends with broken pieces."

WRWTFWW Records is very excited to announce its third release from visionary Japanese ambient/experimental/environmental composer/producer Yutaka Hirose, this time with brand new album Voices, available on limited edition heavyweight-sleeved double LP as well as double CD, both with liner notes from the artist.

Voices finds Yutaka Hirose expanding his signature spatial layering into a three-dimensional videography of sound, blending field recordings, electronic manipulations, and abstract narratives. The 12-track album is a journey through a crumbling library where books whisper, history collides, and sonic textures weave new realities. Chaos, memory, and transformation – Hirose’s voices echo throughout the space, creating a fully immersive sonic experience.

The pioneering experimental and abstract electronic piece with deep hints of ambient and IDM is beautifully represented by the original artwork by Koji Shiroshita and Mifuku gracing the double LP and double digipack CD sleeves.

Voices marks Yutaka Hirose’s third full-length release on WRWTFWW Records, following his kankyõ ongaku classics Nova + 4 (an expanded version of his genre defining Soundscape 2: Nova album) and archival compilation TRACE: Sound Design Works 1986-1989, both available in vinyl, CD, and digital formats.

This is an epic and rough jungle EP from Ruff Guidances very own XBass, featuring heavy amen workouts and incredible dancehall vibes!