Playlists

Almost 25 years after its original release, "How Low Can You Go?" by Darran Nugent under his Aruba alias remains a dancefloor weapon for underground DJ’s. The track has endured as one of Nugent's most sought-after productions and as one Discogs user noted “in my opinion - one of the best basslines, presses directly on the chest”.

Over the years, it has been championed by some of electronic music's most respected selectors, including Jamie Jones (featured in his legendary Time Warp set), tINI featured on her Cocoon Ibiza Compilation), Traumer, who featured the track in his set for the Resident Advisor, Chaos In The CBD, Mr. G, Laurent Garnier, Lee Burridge etc.

For this re-release Darran has completely re-recorded the original, refining it for more modern DJ systems. A tasty re-edit fills out the A side with a pulsating hi-hats that twist and turn the energy but remains true to the original.
Legendary German producer Losoul delivers the goods for the remix on the B Side with ten minutes of deep, dark hypnotic magic for fans of pure minimal done right.

SiriusB003 sits in that quiet zone between shadow and rhythm. Stripped back, subtle, and made to move without saying much.

Iacob, NØT TELLING, Miller, and Root. No filler, no noise — just pure intention on wax.

Curated by Jay Tripwire and Herman Saiz. Minimal, timeless, and strictly for the selectors.

Fantastic Planet marks its 10th release with Singularity, a solo transmission from Bassiani resident Newa. Built on firm, rolling techno frameworks, the record layers restrained vocal fragments that gesture toward broader philosophical themes. Rather than chasing immediacy, Singularity unfolds patiently, shifting perception from the present tense toward something more suspended and timeless.

2026 Repress

Italian-Iranian DJ/producer Sciahri lays down a deeply hypnotic seven- track EP on return to Mutual Rytm. Heading up the agenda-setting Sublunar label, which is one of Mutual Rytm boss SHDW's personal favourites, Sciahri has been deep in the scene for more than a decade ever since he turned heads with a debut on Ilian Tape in 2014. Well respected for his carefully balanced love of the classic sound with new school influences, always delivering cuts with a refined and personal touch, highlighted and showcased via his widely-loved ‘Pareidolia’ release series. Returning on the label following his appearance on the ‘Federation of Rytm IV’ compilation, he lands with a freshly evolved EP that kicks off with the much hyped ID, ‘Moonwake’. That cut is built on robust, rumbling drums and layered up with flashy synths that bring stark futurism to the dance floor. ‘Liminal’ follows a similar linear path with musical drums and synths that twist and twitch, firing your synapses while your body is locked to the rhythm, before ‘Night Sentinel’ transports you to a more eerie world of anxiousness and tension - the synths are spooky, and the sonar pulses keep you on edge as immersive drums race nonstop. ‘Unmoved’ lands heavy, the bulky kick drums coming on like a storm with howling synth winds adding to the all-consuming atmosphere. ‘Too Much Time’ closes out with a wall-rattling groove and subtle synth motifs that creep in the shadows. As always with the label, digital cuts ‘Silent Frontier’ - which gets dancers on their toes with a backlit synth glow - and ‘Louisiana’ - which brings a more psychedelic energy and hard, hammering groove, rounding out a stylish, meticulously produced offering.

Dungeon Meat and SlapFunk sit right at the vanguard when it comes to house music that truly kicks. It's deep but driving and never too much of a slave to tradition. This is a second collaborative outing that welcomes emerging producers to submit tunes for the chance to feature. Khun goes first with 'Prince,' a delightfully well-swung sound with subtle synth tones and room for the atmosphere to land. Nay Barr's 'Kidnapped' is a more hunched over slammer with a firmer groove, while Patrizio Scope's 'Terdiek8' gets more loose with squirming FX and liquid bass. Yugwan's 'Fungeondunk' is a razor-sharp garage, tech and house fusion to get the floor sweating.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic.

Lead single and album opener “Low Times” sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of “After All”, the haunting ambience and buried heartbeat throb of “Soft Collapse”, and the noirish atmospherics of “Blackout Dust”, which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on “Bombed Suburbs”, where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove.

Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track “Almost a Structure”, obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. Following Fiedler’s recent work scoring Sound of Falling, recognised at Cannes in 2025, Oblique finds Ghost Dubs shedding his influences and making it clear he has arrived at a sound entirely his own — essential deep listening and a bewitching dose of future shock.

The mysterious Pirka Vinyl Cuts series continues, digging deeper into the crates to reframe the classics. This chapter presents four broken-beat interpretations, blending deep textures with familiar samples. Features sophisticated reconstructions of material by Telepopmusik, Depeche Mode, Chemical Brothers and Limp Bizkit.

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.

The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.

WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF

For over 30 years the Midwest machine menace that is Paul Birken has been developing and exploring his love for the limitless potential that exists when you chain together synths, sequencers, samplers and beat makers, he is a true audio explorer communicating his own unique sonic exploration through his machines + odd dreams. Starting out back in the day merely with a Commodore 64 computer and a few synths, his studio gear arsenal has constantly evolved over the years into a myriad of unfathomable boxes, cables and bangin’ in his attic allowing him to freely manipulate his random audio creations into the most serious and fun grooves anywhere in the techno realms. Along-with his own imprint Tonewrecker Recordings, Paul’s appeared on a huge stack of the most impressive labels including Don’t Recordings, Fun In The Murky, Earwiggle, Mord and of course a plethora of remixes and tracks on our very own RIOT Radio Records.

From within a tomb in ancient lands comes this 'Bandage Boogie.' A hallowed homage to all things that are non-stop breakin'  n' stompin' n' boppin' to the RIOT beats that have now manifested themselves on a 'Mummificated' dance floor near you. This aint street life, this is tomb life, and you'll need as many sacred tanna leaves to keep you movin’ as your fiendish high priest will bestow upon you. This brewed techno fluid that we're administering will ultimately invoke 'The Curse of RIOT’ and you’ll be doomed to eternal bouncin' aboot to its 'Pyramid Pongo' beats that go mysteriously THUMP in the night. Each track on here, and especially in his infamously legendary live sets, are unique in that they get erased from his machines after their creation and won’t ever be spawned again, but ssssssssssssssh, Mummy's the word.

The full digital release also features two bonus immortal tracks delving you deeper into the life-giving sounds of this ‘Mummy Wrapsody.’

WARNING: THESE UNWRAPPED TECHNO BEATS CREATE A WONK-A-THON YOU WILL NOT ESCAPE FROM

Das Aufeinandertreffen zweier Pop-Ikonen: Madonna und Kylie Minogue veröffentlichen mit "Love Sensation" eine gemeinsame Nu-Disco-Hymne. Die Kollaboration erscheint als limitierte 7"-Single auf Coloured Vinyl und kombiniert pulsierende Synth-Basslines mit glamourösen Vocals. Neben der Main Version auf der A-Seite enthält das Release einen Extended Club Mix auf der B-Seite und kommt in einem veredelten Sleeve mit exklusivem Artwork auf den Markt.

The Rurals first love is DEEP HOUSE!

Deepest Rurals E.P dives beneath the surface to explore the essence of The Rurals' unmistakable sound. Rich in soul, jazz-infused textures, and deep house sensibilities, this release delivers a collection of warm, organic grooves crafted with depth, elegance, and musical integrity.

Flowing effortlessly between atmospheric keys, fluid basslines, live instrumentation, and intricate rhythms, each track captures the timeless spirit of underground house music. The Rurals blend soulful expression with dancefloor functionality, creating moments that are equally suited to intimate listening sessions and late-night club journeys.

Here’s the first instalment of some fine examples, previously only available digitally!

Few tracks carry the weight of techno history quite like Dave Clarke’s ‘Wisdom To The Wise’. Created in a damp basement flat in Brighton in the early ’90s, the track was produced on an Atari 1040 and micro-sampler, drenched in dubbed-out reverb and shaped by a young Clarke still honing the sound that would soon make his name.

‘Wisdom To The Wise’ became the centrepiece of Red 2, the second instalment of Clarke’s seminal three-release series. With Red 1 already making serious waves, it was Red 2 that sent interest in Clarke into overdrive. Within a year, the series had helped propel him from underground producer to global techno force, culminating in a major-label album deal and international recognition.

The track’s influence has endured ever since, earning celebrated reinterpretations from techno heavyweights including Robert Hood, Marcel Dettmann, Boys Noize and Steve Rachmad. Now, Spectrum adds another chapter to that lineage with a very special remix from label boss Joris Voorn.

Staying faithful to the spirit and unmistakable character of the original, Voorn brings his own weight to the classic, reinforcing its impact with a heavier kick and the subtle production touches that have become his signature. Originally created as a weapon for his own sets, the remix has been road-tested on dancefloors and is now ready to be unleashed beyond the booth.

There are collaborations that make sense on paper, and then there are the ones that feel like they were always going to happen. CHRIS STASSY and Interplanetary Criminal now bring their first recorded meeting to Up The Stuss with ‘Dangerous’, a four-track EP that sees two artists with unmistakable identities find common ground somewhere between house, garage, breaks and pure dancefloor energy. With the sounds of this collaboration having quietly made their way into the world long before the full picture was revealed, its arrival feels like the moment the pieces finally fall into place.

Across the EP, the chemistry is immediate. STASSY’s knack for infectious grooves and vivid synth work meets IPC’s breakbeat-driven energy and distinctly UK-rooted sensibility, with neither side disappearing into the other. ‘I Just Can’t Get’ sets things in motion with skippy rhythms, breakbeat drums and those unmistakable STASSY synths, before ‘Movin’’ accelerates the pace with punchy percussion and a more restless, breaks-heavy charge. ‘From The South Coast Mate’ pushes the meeting point further, bringing weighty low-ends and unmistakable UK touches while keeping both artists’ distinct approaches clearly in view. Title track, ‘Dangerous’, brings the journey to its natural conclusion. Bright and dark elements pull against one another as the two approaches lock into a shared rhythm, delivering a track that feels simultaneously euphoric, gritty and slightly unpredictable. It’s the clearest expression yet of what makes the collaboration work: two established sounds remaining entirely themselves while discovering what happens when those worlds meet.

For CHRIS STASSY, ‘Dangerous’ marks the first EP to arrive on Up The Stuss under his new name, following the release of the euphoric ‘U know me’ on CCS, adding to this new chapter with a collaboration of serious weight. For Interplanetary Criminal, it adds another dimension to the Manchester artist’s ever-expanding take on UK garage, which has seen him become one of the defining forces of its current resurgence. It’s the sound of two worlds meeting at exactly the right point - and one that many have been waiting for.

What is an edit? A correction, a confession, a DJ tool, a mild act of vandalism—or simply the result of listening to somebody else’s record and thinking: very good, but what if this bit went on a little longer?
For his contribution to the Running Back Mastermix series, Gilles Aiken aka Edward opens a folder that has apparently been filling up for quite some time.
The Giegling resident’s thirteen edits reach back through years of DJing, collecting and producing. Made for sets rather than release schedules, they form something like a musical autobiography told through other people’s records: Carl Craig, Roman Flügel, Motohiko Hamase, Kirk Degiorgio, Aubrey, Sven Väth, Michael Rother and more.
From Japanese ambient jazz and Detroit techno to dub techno, house, trance and kosmische music, these are not attempts to improve records that didn’t need improving. They are the small interventions that happen after living with music for a long time: a rhythm exposed, an entrance moved, a passage extended, the unnecessary made necessary.
“These records mean a lot to me,” says Edward. “They consist of edits I’ve gathered over the years, some of them going way back. In a way, they reflect my musical journey. All of these artists have been a huge influence on me as a producer and DJ.”
Usually, such edits remain on hard drives, USB sticks and in vaguely labelled folders. This time permissions were requested, publishers located and, somewhere, presumably, a spreadsheet became very important.
Miraculously, everybody said yes.
Thirteen thank-you notes to the music that helped make Edward Edward. Naturally, they require three records.
Mastermixed accordingly.
Also available on cassette,

Six tracks shaped by images of bats — dark, playful, and slightly off.

Kaveon launches on wax with an anonymous three-track transmission, drifting somewhere between the darker corners of minimal and the restless pulse of the UK underground. The A side moves patiently, carried by a deep, shadowy bassline, hazy pads, and groovy vocal fragments that give the track an almost cinematic tension. Turn the record over and the mood shifts gears - sharper, faster, and full of garage swing, with bouncing basslines, loose rhythms, and eccentric vocals bringing a playful edge to the floor.

Pressure Traxx Day-One artist Suciu returns with two trademark cuts from the vault.
Grimey !

BAR Musica never stops. Following the first instalment of our 10 Years Anniversary Various Artists series, which sold out within just a few weeks, we keep pushing forward, releasing music from artists we admire and who share our vision.

We’re very happy to welcome Vithz, a UFeel resident DJ who never stops sharing his music across some of the best parties around the globe.

Joining him on this release is another friend, Dan Ghenacia, who needs no introduction. A true institution in his own right, we’re incredibly grateful to have him on board for this new release.

Frankfurt-based DJ and producer Kuyateh launches his own label: PROVIDER.

With the first release on his new imprint, he provides you with three boldly honest tracks of his own, getting straight to the point.

Provider is the key to his hidden music box: now unlocked to gradually reveal new music over time.

Release the unreleased!

Work hard, play hard – it’s Elia Nafzger getting busy on PTX035.
Welcome to the club.

Human Endeavour returns with a new 12" from Don Khair, a name you haven't heard before, but should've. Moving between the ethereal and the belligerent, the EP thrives on opposition - contrasting views, moods and feelings that enrich its versatility and make it all the more essential. From midnight to midday, Don Khair captures whatever the hour calls for.

In the works for years, finally resurfaced from the depths of the sea, Unlimited Access getting the proper reissue including a fresh take on the sound by Vincent himself.

Grab it, pack it , spin it , repeat!

After a long time, one of Dropout’s most memorable releases is finally back on vinyl.

The Hitmen’s “Like I Love You” returns as an official repress on the iconic Dropout imprint, this time pressed on striking limited red vinyl.

A defining track from The Hitmen’s catalogue, “Like I Love You” combines their unmistakable melodic sound, driving energy and an unforgettable vocal hook, a record that has lost none of its impact over the years.

With original vinyl copies becoming increasingly difficult to find, Dropout is bringing this classic back to the turntables for longtime fans, collectors and a new generation of DJs discovering the track today.

Pressed on red vinyl.
A long-awaited return to wax.

theBasement Discos is back with another wax instalment, this time diving into the deeper side of house music.

Four carefully selected cuts from our catalog, bringing together some of our favourite deep house rollers from Naux, Heritage Listed, DJ Sandwich & Marc Pané, and Jansen.

Warm grooves, deep atmospheres and plenty of dancefloor soul. A little trip through the deeper shades of theBasement Discos, now pressed on wax for the first time.

AXIS GROOVE – AXG001
Pattern 01 / Pattern 02
Two cheeky edits of some very familiar material.
You’ll probably recognise them… but we’re keeping the names under wraps.
Stripped back, hypnotic and built for the dancefloor.
A couple of secret weapons, finally making their way onto vinyl.

Parisian producer, Hyacin steps up for the 7th edition of the AURUM series with 3 house tools that pack a punch on the dance floor and he is in good company as Triptil steps up for remix duties with his signature sound and style!

Tried and tested around the world from the industries finest!

Limited press, vinyl only.

2026 Repress

Acid Pauli knows where the shoe pinches: We all need more soul. Soul heals! So here’s a limited edition two-tracker including his still in demand and sought after „Marvin“ on the flip while the fresh “Roger” is bringing the heat on the A-side. “Roger” is an ode to our favourite artist from Minneapolis, merged with a strong Echonomist groove. This one’s made to set your dancefloor on fire. Must Have - Limited vinyl only!

Sorry We Play Vinyl makes no bones about their love of wax, and when they serve up music as worthy as this, then who can fault them? It's another anonymous offering with three cuts that traverse a wide world of sound. 'EDIT16' starts with an elephantine swagger and cow bells adoring a deep minimal sound next to woozy, aloof vocal musings. 'EDIT17' has a more ethnic groove that's clean and fresh, and this time the foreign-tongued vocal brings an exotic and eventually hypnotic charge that is sure to make this one a summer anthem with the heads. 'EDIT18' closes down with a psychotic melange of trippy vocals that are layered up in ghostly, spectral waves over a paddy rhythm. Brilliantly unusual.

20/20 Vision continues to flourish even well into its third decade. For its next trick, the Leeds label welcomes back Brett Johnson, who was last here 20+ years ago. Releases on Classic Records, DJ Heather collaborations and Derrick Carter championing his work all make him a bona fide house hero and 'Broken Machine' confirms it. 'Unstuck' opens with a mutating disco bassline that refuses to settle, while 'Juiced' dives deep into his signature boompty swing with a drop designed for pure devastation. The title track is the centrepiece - a trippy trip that stretches time entirely before 'iRemember' closes with starry-eyed ambient pads laced above a deep, slow, gorgeous groove. Sophisticated, playful and musical as always.

They say 3 is the magic number so here we are with Part 3 of our 'Back To The Old School' 12" series. Four cuts of the finest Disco-Rap remixes by Dave 'Love' Lee, we start things right off with some uptempo disco in the shape of Eddie Cheeba's " Lookin' Good" with it's clav stabbing & synth jabbing funk, ready to rock any dance floor with it's brilliant part-rapped, part-sung vocal play. Two versions are included of the B-Boys early 80's breakers anthem 'Rock The House'. First up is the breakbeat underpinned 'Magic Funk' mix that utilises one of the funkiest basslines of all time. On the flip the 'Roller Rink' mix is a mid tempo floor filler reprising a much loved 90s r&b jam to great effect. Finishing affairs is the 'Maximus Boogie Mix' of Maximus Three, leaning heavily into the classic disco-rap sound of fat Good Times bass, squelching synths under the bragging raps of TJ Swann and Pee Wee Mel.

We're proud to present our second release: Contemplation EP.

This release sees label owner Cavilla deliver a sound that reflects the label's vision. Blending Goa and psytrance with tribal influences, Contemplation EP represents the style and direction that Mind Racer Records is all about.

Cavilla is a DJ and producer from Gibraltar whose music combines progressive trance with psychedelic, goa and psytrance influences. A passionate vinyl collector and co-founder of Creatures of the Night EU, he has developed a distinctive sound built around hypnotic melodies, raw basslines, and driving energy.

Contemplation EP is Cavilla's debut release and his first EP on vinyl, introducing the sound that defines his artistic vision.

A1 Don't Sweat It focuses on ever-building energy, combining a rolling bassline with Goa-inspired leads and acid synths. Driving from start to finish, it pulls you deeper into the trance. A2 Danger Zone blends psychedelic textures with tribal influences, creating a dark and moody atmosphere.

B1 The Truth combines acid synths with psy influences, bringing a trippy and immersive feel to the release. Psychedelic details and evolving elements shape its distinctive character. B2 Catch Me If You Can" rides on ethereal textures, raw growling basslines, warping elements, and a hypnotic melody, laced with a seductive vocal layer perfect for late-night settings.

Terminal Recordings launches with a four-track split release.

The A-side, produced by Luis Malon, delivering two cuts driven by heavyweight basslines, broken rhythms and machine-controlled tension. Make Shoot sets the system in motion with relentless groove and low-end pressure, while Inside Your System dives deeper into a darker, more hypnotic environment where fractured percussion and synthetic textures take control.

On the B-side, Molen takes over the signal with a pair of electro transmissions. Pathcord unfolds through precise sequencing, robotic funk and evolving circuitry, building a dynamic journey across interconnected rhythms. Codec closes the release with sharper frequencies, coded melodies and futuristic electro architecture designed for late-night dance floor communication.

The sequence has started.
Enter the Terminal.

Tessellate launches their new white label series featuring edits and reworks of some older records. For the first edition they welcome Mike The Connector.

Presenting the 5th edition of the legendary West-Coast House label, Pacific Coast House reissue series. Here we bring The Coastal Commission / Boing – The Conversation / Currency back onto one 12” for the first time on limited Orange Vinyl.

Step into the backroom of the Bordello, the lights dim and the soundtrack adopts a different tone. L.F.T. leans against the wall. Nestled under his arm, Sonic Boom: four tracks of acid-inflected electro disruption. Love, Fist, Tears is no stranger to the more gnarled side of the machines, and that unadulterated rawness is evident from the needle drop of “Locked in My Head.” From its bent and buckled intro, the track launches a beat that punches before drawing the listener in for more. Vocoder lyrics are mangled with distortion, static soaked chords blighted by corrosive chemicals and industrial decay as the knives are drawn from the outset (and this is only the beginning). Blistered and cracked beats are doused in a pestilent haze for “Las Plagas” and a message of intent is firmly stated: there will be no let up on Sonic Boom, no reprieve. “Ningen” opens the flip. Grisly, petrol smeared beats splutter below a juddering synthline that coils and twists with serpentine menace. A probing tom is lanced before being set alight in the finale. Sinister and unsettling, “Schmutzig Personality” is as physically powerful as it is psychologically gripping. Barrages of drums rain down, barbed snares and sharpened claps, as an assault of acid is further weaponised by machined vocals. L.F.T. doing what he does with an EP that will leave bodies and speakers broken.