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Following many visionary outings such as "Inhuman Series Vol 1.2.3.4" released on New Flesh Records in 2012, "Days of Dissent" released on Killekill in 2016 (repress soon) talking about the rebellion of the World and the moving "Abandon In Place" LP released on New Flesh Records in 2018 telling about the destruction of Earth by the Humans, French producer Umwelt presents his very first cinematographic yet conceptual album on his own label New Flesh Records.

Titled "Subversive Territory", this much anticipated opus sees the founder of Rave Or Die imprint exploring a post-apocalyptic world via twelve haunting songs spreading their infectious melodies and gloomy atmosphere throughout.

Don't expect any beat here as this experimental-ambient manifesto will dive you into the famous tense and dystopian universe Umwelt is building year after year. As visual as auditive, this heartbreaking masterpiece comes illustrated by Yann Legendre. This French illustrator and art director is the father of numerous beautiful illustrations for magazines, books in the movie & music industries. He is the brillant creator of great comic "Flesh Empire" edited by Casterman in 2019.

Working on his forthcoming comic "Vega" anounced for 2022 by Albin Michel, Yann Legendre joined Umwelt for this perfect matching of two arts and two artists offering us this esthetic collaboration. At the end who can say who is illustrating who: the illustrator or the musician? "Subversive Territory" sounds like the perfect soundtrack of a frightening and nottoo-distant future where humanity has collapsed! Fans will appreciate to collect two coloured vinyls in a trifold sleeve.

Limited hand stamped copies..

Limited hand stamped copies..

Mike Parker delivers two heavy cuts from his personal archives; 'Reduction', taken from the 2001 'Dispatches' album, never released on vinyl before with 'Spiral Snare', a previously unreleased fast paced techno missile dating from 1998 on the flip. Remastered by Neel.

After his 2012 'Starpatch' release on Red Rack'Em's Bergerac imprint it seemed Seetheroad has retired from music. Now he is back - as the very first UK artist in the history of Tape Hiss - with four twisted pieces halfway between techno and electronica. It's a kind gesture to the label he gave a Hungarian title to the EP. 'Cédrus Út' means Cedar Road, what was his previous location and inspired his artist name at the same time

Repress
Slam continue with the highly acclaimed Soma Track Series with volumes 5 & 6

Limited hand stamped copies..

After ten editions of Secret Weapons we are set to continue the series which brings together fourteen artists with divergent styles of electronic music. From energetic frequencies to thoughtful melodies, the Secret Weapons Part 11 provides a mixture of different approaches to the musical creative process by new and familiar faces.

Repress

Vinyl Only

Acid Resistance is Back!

Uktura returns with a powerful 3 track ep, the 6th release on the label.

A great rounded ep offering different flavours with raw, dirty and deep cuts.

I am more than excited about that new release of Alex Stein. Last year I felt in love with „The Phoenix" and „Rise“ just made that single a true summer highlight. (Monika Kruse)

Paula Temple, Lee Gamble, Perc, MInor Science rmxs)

Having already proven that he is capable of maintaining sonic quality and distinction over the course of a full original program, Chevel (a.k.a. Dario Tronchin) now makes his LP debut for Stroboscopic Artefacts. His other S.A. contributions (including the inaugural entry in the label's singular Monad series, the "One Month Off" EP, his participation to the label's five-year retrospective series) have already hinted that a more complete exposition of his unique inner world would surface, and here it is at last.

Over the course of his young career, Chevel has gained a mastery over several compositional elements: Polaroid-like slow melodic fades, sharp ricocheting beats, and simply making one's headphones feel like a viable means of physical transportation. All of these elements come into play shortly after the needle hits the grooves of (Track A1), a euphoric introductory track marked by a spectral panning sequence and by beats chopped with a culinary expert's sense of elegance. The drum kit sounds that feature throughout are used sparely but - either because of this or in spite of this - provide maximum impact upon the listener's nervous system. The almost 'far Eastern' use of 'block' percussion on (Tracks A2 and B1) perfectly complements the synthetic sheen produced by fuzz distortion, radio static and bandpass-filtered sound bites, taking us to a terrain where a palette of decay effects provides just as much aesthetic inspiration as the presence of technological advancement.

There is more than enough humor and playfulness at work here, too, helping to once again banish the persistent stereotype of the modern techno producer as a sterile technician: the queasy melody line, sliced-and-diced whistling and gelatinous bounce of (Track D2) evoke a child's wonderment at playtime more than they do the rarefied rigour of the laboratory. The less pulsating numbers like (Track C3) and the closing (Track D3) will engage the listener as well, being like short audio films of abiogenesis (i.e. spontaneous generation of life from 'non-living' material) taking place. These tracks are not so much 'interludes' or contemplative retreats from the action as they are enhancers of it, utilizing fluttering cycles of melody to engage in a kind of conversation with the more driving tracks. As to the 'driving' tracks themselves: the places that they drive the listener to are satisfyingly beyond customary experience.

In other words, despite Chevel's keeping the sonic toolkit and overall atmosphere consistent from track to track, there is a rich variety in the emotional affectivity on display here. The net effect is like a dream state that leaves strong impressions even though one can't pinpoint exactly why they are doing so (and which leaves one wanting to dive back into the dream pool and experience something similar again.) This is a talent that unifies the diverse constellation of Stroboscopic Artefacts producers, and one that makes Chevel in particular one to continue watching, listening to, and experiencing.
Wire (USA/Germany/UK) - ''Very intriguing, can/'t wait to dive in.''
Pitchfork (USA) - "Nice use of space, though do find the atmosphere a little one-note. Percussion really pops."
RBMA - "Thanks for reaching out. Having a listen now and the album sounds really good. Happy to give it a shout on RBMA Twitter whenever is best for you."
Paramount Artists (UK) - "20/10 top effort!"
NTS Radio (UK) - ''Nice IDM music with fine textures and bass frequencies..''
Groove (Germany) - ''Very interesting delicate structures. Suggested for review in Groove.''
Exclaim! (Canada) - "I like this. I'll float it to my team and I'll let you know if anyone's interested in covering it."
Big Up Magazine (USA) - "Absolutely epic album."
Vicious Magazine (Spain) - "Great sounds, for our september issue, thx a lot!"
Little White Earbuds (USA) - ''Fantastic album from Chevel. I have unfortunately been at work today without my usual headphones but even listening on very poor quality ones, the rich sonic mastery comes through. Can't wait to get home and listen to this properly.''
Cone Magazine (UK) - "Thanks for sending this through. Looks great, and always interested about a new Stroboscopic release. I'll let you know when something goes up."

The third release for Stroboscopic Artefacts in 2014, SA22 is the new cut from Italian producer Chevel. 'One Month Off' is an EP built around the abstract themes of construction, starting with demolition and ending on perspective. Opening track 'One Month Off' combines a warm thump with skittering percussion. Ragged cymbals build pressure. As the track continues to strut, through insistence as much as confidence, it gives out. 'The Wall', next up, is perhaps misleadingly a more unsettled affair. There is little linear impetus, a panoply of syncopated beats and foreign noises from the undergrowth. This is a wall of multitudinous surface, a front concealing the unsettled and unsure within. 'Cave Dwellings' is a more organic construct, building from the traditional basics of a kick drum and hi hat. Like the opening number this is a confident piece, but the Caves resonate with greater darkness and menace. The kick squelches at the bottom, the snare drips; glistening echoes bound through the chamber. 'Marker Shop' is fourth up, uniting disparate urges and glorious moods. The beat is uncomfortable, and repeatedly gives way. The record closes on 'Viewpoint', a piece of warmer perspective. It is not, however, a calm scene: in many ways this is a view of something more unsettled than what has come before. It is both jungular and industrial, an uncompromising marriage of nature and noise. Chevel lands, then, on SA, with a discussion of construction and constructs.

At the center of Dadub's SA020 lie the myths of the ancient Greek goddess Demeter - her search for daughter Persephone, the drink at the Eleusinian Mysteries ceremonies in her honour, and the fungus which gave the drink its psychoactive properties. The opening track is 'Mistresses March', a thumping narrative of Demeter's search for her abducted daughter Persephone. At the fundament lies a test of a new generation VST - 'Diachronic' - which is used to manage audio samples. The textures which merge during the near 12-minute march scrape and plummet, raining down upon the ominous marching band beat. This is an odyssey, unhappy and unflinching. Based on the handmade modular synth system from Nicola Buono and Lino Monaco, the representation of ceremony drink 'Kykeon' is on one hand a flowing narrative and on the other a demonstration of intense artistic scrutiny: a perfect, unremitting thud. There is, at five minutes, a subtle key pattern, light but not impermanent under the cacophony of chaos. This is indicative of the ceaseless self-examination. Little details, significant differences. Powered by a sound and groove generator invented by Daniele de Santis (Grün), 'Ergot Kernel' is a chemical cauldron. It's a beat continuously emerging from the undergrowth; an imperious column rising; a train ploughing on, coursing through an arid landscape. Conversely, the atmosphere is bright, full of electricity and warmth, with moisture descending. Dadub's SA020 is a journey through a Greek myth, with textural magnificence and technological innovation.

Chicago’s HIEROGLYPHIC BEING’S “BLACK HANDS VOL 2″ features off kilter filthiness, techno fusion style breaks & distorted acid vibrations only he can do. “BLACK HANDS SOUND 5, 6, 7 & 8″ is included on this limited & & stamped release.

It is with undoubted excitement that Stroboscopic Artefacts can present the new release from Irish duo Lakker as SA019.




This comes hot on the heels of Lakker's recent work for the label through the dark trappings of Monad XIV. 'Harbour' could imagine a vessel out to sea, battling a tempest. Heavily distorted rhythms build like the swirl of a storm, a distress signal popping on, radio distortion. As implosion seems near a moment of calm sets in and a less maniacal beat assumes control. But the unpredictable hammers resume once more, thumping above a sheet of glinting and sharp precipitation. The storm eventually ceases, abruptly, and the 'Harbour' is left still. 'eeAea' is a different experience. It is based on surer footing, concrete beneath the limbs. A thump, incessant, pounds in the background, giving clarity to a winding sigh and dissonant percussion. Yet there remains melody in the madness, with beautiful hi ends peeking through the atmosphere and a strut which surges towards conclusion. The conclusion ends (unresolved) at 'Valentina Lane'. It is a street of mystery, set upon a gas of syncopated flashes and airy scrapes. An uncomfortable synthesiser hums in the background, darting high and interjecting low. And it meanders thence, pausing for the odd moment of reflection. It is as deliberate as 'Harbour' is chaotic; it is a tight, cogent finale.

To start the year 2014, Stroboscopic Artefacts bring you SA021 - a remixes selection of tracks from Lucy's forthcoming LP Churches Schools and Guns. In presenting four of the album cuts in altered impressions, SA021 helps the label keep on re-examining the timbres, tones and textures of techno.

First up is the unsettled edit of 'Catch Twenty Two' by the young Italian producer Shapednoise. The infamous Heller novel of the same name (though in numerals rather than letters) was a satirical rampage through the futility and tragedy of conflict; this is also a rampage, littered with opaque utterances of sonic thrust, stood stoutly on an unpredictable and emotional structure of aural dissonance. Following this is the Italian maestro Donato Dozzy and his presentation of 'The Illusion of Choice'. The track bounds along like a train through the jungle, powered by a distant rumble and purring synths. Skittering and melodic percussion sounds a little like birds; the drums are made of rawhide, strong, insistent, controlled. Third in line is the remix of 'Laws and Habits' by Milton Bradley. This cut is hypnosis with little regard - not an accident, but effortless. Metallic distortion buzzes like bees across your head, zipping across the top of delicate hi-hats and an elastic groove. This is a walk through the 4am night, appreciative of the glimmering streetlamps, and fearful of nothing. Last is Eomac's rework of 'The Self As Another', bringing the record to a resonant conclusion. One half of label favourite Lakker, the Irish producer begins with a melody line cut from razor-sharp cloth. The pulsating beat is dressed in metallic shimmer, confidently pursuing a dangerous course. And yet there is a pause amid this brief insistence, a moment of perspective, perspicacity. The record considers its place, and asks for contemplation.

With a selection this strong, and of such ideas and identities, this contemplation is surely a worthy vice. This may be a prelude to the full record, but it is a cut made of vehement conviction.

SA015 is a split vinyl taken care of by long term label artist, Pfirter, and by a new voice that's been adding to the SA story across the summer, Kangding Ray. Pfirter's 'Caos y Orden Superior' is a weighty odyssey spread across nine minutes. Its opening is languid but somehow relentless as strange synthesised sounds are interrupted by insistent beats. Across the arc of this track 'chaos' and 'order' lose their static definitions, and played over a large club rig this has the potential to throughly disorientate. From here Kangding Ray takes over duties with 'Wars', a fragmented meditation on the darkest side of human nature. Created from hues saturated by the pain of mistakes and regrets, it pulses, rocking gently, swooning in and out. This stunning slice of electronic music acts as a balm for the very wounds that conflict leaves behind.

- 2LP: Schwarzes Doppelvinyl inklusive Downloadcode und Artwork von Lee Marshall

Labyrinth Music, das Label der "Labyrinth Club" Partyreihe aus der brodelnden belgischen Techno-Szene, feiert nach zweijähriger Pause seinen Relaunch mit der ersten Vinyl-EP des belgischen Duos Senses Of Mind. "Origins" iat ein fantastisches Exemplar von modernem Progressive und kommt mit Remixes der belgischen Superstars Joyhauser, die kürzlich Amelie Lens auf Second State remixten, sowie Kevin de Vries, der die Tradition legendärer belgischer Techno-Helden wie CJ Bolland und Yves Deruyter fortsetzt.

2 x 180 gr heavy weight vinyl in deluxe matte-finish Gatefold cover + Download Card) Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. Silvia Kastel, Andrea Belfi, Marco Shuttle, Ninos Du Brasil, Alessandro Adriani, Chevel, Lucy, Lory D, Caterina Barbieri & Neel Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within its four album sides, reminding us that historically 'decadent' times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the 'floral' theme that has remained a consistent feature of S.A.'s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future.Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with 'Errori,' deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi's 'Spitting & Skytouching,' and then by the resolute electric bass patterns and luminous fog of 'Lux et Sonus,' from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos du Brasil open the B-side with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani's 'You Will Not Be There For The End,' showcasing his distinctive take on the 'paranoiac breakdance' aesthetic of classic EBM. S.A. veteran Chevel rounds out the first record in the program by interlacing several percolating synth lines together into a richly conversational piece.The journey continues with 'Starving The Mind,' an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of 'PRV-HH3-X', by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of 'Virgo Rebellion,' designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing '4G' from Spazio Disponibile co-founder Neel - a crepuscular serenade that accurately sums up much of the foregoing activity.

Gathering sounds from the experimental frontiers and outer edges of electronic music, Stellate 3 collects together Kangding Ray, NSI, Xhin and Reformed Faction's visions. The polished tracks are layered to the -nth degree, filled with minute details and whispered asides. These productions use an array of analogue machines and the most cunning digital means to vividly render disquieting questions.

- 2021 repress -

Belgian label Rave Alert have always been on the forefront of a fresh breed of techno, rave and trance which they call 'Neorave'. With 'The Definition Of Neorave' they bring their statement about their vision of the future of hard dance music.

The Tel-Aviv centered Yotam Avni officially joined forces with Stroboscopic Artefacts last year, turning in a sensual an invigorating entry for the Monad series. Thanks to his personalized fusion of esoteric and worldly sound elements, Avni immediately made a case to deliver more work to the label, and now he has done so with 'Perlude to Dybbuk,' the second in a new series of S.A. releases to feature the Oblique Artefacts visual team's distinct, elegant portrayals of scanned foliage. As with Avni's previous Monad contribution, the new Perlude to Dybbuk makes references - both in title and in sonic content - to the ancient Hebrew folklore of his homeland (a 'dybbuk' being a kind of limbonic spirit attaching itself to the body of a living human until it has successfully reached its final destination). However, the atmospheric, rather than overt, use of these references gives this record a level of dignity and quality as well as a premonitory feeling that hovers over the proceedings.The opening 'Avka (New Life)' opens with the twin stimuli of chthonic, rolling percussion and ambience that has become a modern Stroboscopic tradition, but ever so gradually deviates from the realm of the easily anticipated. Some of the surprises to be found here are sharp, organic drum fills and sighing strings that have an uncanny vocal quality to them. By the time a surgically clipped acid synth sample comes into the mix, the track has reached a simmering level of excitement and the listener's imagination will have license to reside in a virtual world seamlessly combining elements both ancient and futuristic.Dybbuk' temporarily situates listeners back in brutal modernity, with the first sounds heard being something like insistently slicing helicopter blades. Avni merely uses this as the foundation, though, for a genuinely unique construction whose shamanic beats, throttled horn and undertow of frenzied electronics combine to give the feeling of being menaced and eventually overtaken by a spirit entity. This piece shows just what Avni is capable when operating in a more aggressive, 'post-industrial' mode, and the result stands up with some of the best exponents of that genre.The finale 'Modern Matters' is the most readily club-friendly selection from the disc. This potent, floor-shaking and perspiration-inducing number superimposes resonant vocals from traditional Middle Eastern folk song onto this alchemical mixture of machine oil and sweat, and provides a romantic flair without resorting to naïve, touristic 'ethno-techno.' Avni's skillful dedication to counterpoint, and determination to make a finished form is more than the sum of its parts, shines through here and throughout the duration of this record.

Zeitgeber is a project that sees Lucy and Speedy J exploring roots and limits. The duo have both indulged their experimental sides from time to time. Perhaps most notably Speedy J with his mid-'90s run on Novamute, and Lucy on his 2011 full-length for Stroboscopic Artefacts. But Zeitgeber is something more, with two artists pushing each other to go further. SA018 is a single that gives only a slight hint as to what is to come in the shape of a complete LP. 'Body Out' is floor-ready techno with a twist. The textures that lie beneath feel like they're just as important (if not more), slithering and twittering away in constant dialogue with the just-slightly-off-the-grid beat. 'Body In' is the inverse of the A-side, a slow-moving chorus of indescribable ambience. As a precursor to the forthcoming album, it's a perfect taster of the uncompromising sounds yet to be heard. - Zeitgeber is a new project run by Lucy (Stroboscopic Artefacts' label head) and Speedy J (Electric Deluxe's boss). ' - 'Body Out Body In' is the Single that precedes Zeitgeber upcoming Album.

Zeitgeber is a German word that, loosely translated, means 'synchronizer.' It's also the new project of Electric Deluxe head Speedy J and Stroboscopic Artefacts' boss Lucy. Both artists make some of the most forward-thinking techno around, but Zeitgeber sees them pushing together even further into uncharted territories. Freed of dancefloor considerations, the duo have constructed an album that breathes with life and rewards close listening. That's no surprise when you consider the artists involved. Speedy J has been around from techno's very beginnings. Based in Rotterdam, his Electric Deluxe label has consistently released techno that has gleefully tugged at the constraints of the genre. Lucy, on the other hand, is a newer name to most techno fans, but his Stroboscopic Artefacts label has quickly made a name for itself as one of the leading purveyors of the stuff. That's by design, however. Because when Zeitgeber do let the light in, it's all the brighter. You'd expect nothing less from two of the most talented producers in the techno world. The culmination of 18 months of work, Zeitgeber is an album that is a collaboration in the best sense. Two artists urging other to new heights and new sounds. Words: Todd L. Burns

Italy’s Bakked debuts on UTTU with a heavy handed EP of houze flavours as USER HLIvry says on Discogs "Bakked is on an absolute tear. Don't sleep before this one sells out.

Livity Sound is proud to present a 12” of lean, refined club tracks from UK stalwart Beneath. The Mistry and No Symbols boss has spent the past 10 years exploring a sound which nods to the legacy of bleep techno, dubstep and UK funky while leaning forwards into its own distinctive space.

His stripped-back blend of crisp drums, sprightly hooks and sub bass are instantly identifiable, but across four new tracks Beneath displays the versatility within his reach. Stomping four to-the-floor rollers on the A side face-off with minimalist dub and weighty, synth-rich expressions on the flip that move beyond the demands of the dancefloor.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

splatter vinyl

Portuguese artist Lake Haze (Goncalo Salgado) makes his return to Shall Not Fade with an album of spacious club music. Salgado is a key player in Portuguese musical exports, delivering masterful blends of techno grooves and retro melodies, and released his debut LP on E-Beamz in 2019. This second LP is titled Sun Rising On Concrete Landscapes.

This record explores further the atmospheric, slightly melancholic timbre to Salgado's music. The use of reverb across the LP elucidates a sense of looking back to the past; "The Rave That Saved My Life" sounds like echoes from a distant memory. It turns the sounds of the rave into something sombre, expansive and scattered with space age breaks.

The title track feels dramatic, starting with melodic loops and scattered percussion but building into an untamed electro banger. The sci-fi theme develops in a gorgeous soundscape of minimalist synth stabs in "She Took Me To Her Favourite Club", while "Always By Your Side" lingers in echoing percussion; the purposefully dated snare gives it some hints of an 80s ballad - deeply retro and deeply emotional.

Salgado turns to more raw, club-ready sounds like the scattered breaks and electronic sound effects of "Neurotoxins Dancing On My Tongue" or the punching kick and creeping acid trills of "Liquid Serotonin". His skills as a producer are clear as he constructs the cavernous "Digital Petals" with reminiscences of classic trance sounds. The expansive LP closes with "Emotional Encore". It's an industrial retro chugger with the dust of lofi sounds across it, eclectic and headsy.

YWF is one of those producers who is capable of bringing a twist to his dedicated genre with every release. His cooperation with the TDS crew truly undermarked the concept of technodub.

The second release of TDS Records is dedicated to a forgotten TV show character, this sets the dynamic and emotional focus. The original track was written and named by the Danish producer, and it starts the vinyl with a twisty opus, followed by some jolly dub vibes from Garpo and beko. On side B Krisz Deak brings his stirring, metallic sounds back to the table, and the season ends with the ambient style closure that we all deserve.

With TDS02 the label continues to pay its respect to the timeless sounds of dub & techno, by keeping this kind of raw minimalist aura alive.

IARLTD012 belongs to our Split EP series called "No Boundaries" and for this second edition we present you a
collaboration between Illegal Alien Members Fixon and DJ Saint Pierre and as guest artist from Netherlands DJ Surgeles
which recently signed on Jeff Mills Label Axis Records.

Early supported by Alderaan, Aleja Sanchez, Alex Dolby, Allen, Amotik, Antonio De Angelis, Arnaud Le Texier, Dasha Rush,
Denise Rabe, Dimi Angelis, Electric Indigo, Exium, Fixeer, Florian Meindl, Jeff Mills, Joton, Leiras, Marco Bailey, Mari
Mattham, MTD, Norbak, Paula Temple, Ricardo Garduno, Slam among others.

"I Hate Models makes his debut on Monnom Black bringing his trademark sound and style, anthemic ebm, acid, rave, techno killers. Absolutely Essential!"

Jos & Eli return for their second outing on Watergate with esteemed vocalist Alex Clare, as they follow up last year’s outstanding Mozar EP. The Israeli pair possess a distinct sound signature, crafting beautiful dancefloor creations, imbued with chunky percussion and sonic inflections from their homeland. ‘Mayhem’ EP sees them at their beguiling best. ‘Inner Sky’ is characterised by flowering synths that bloom and recede in giddying formations, backed up with a heady array of noises which buzz in the background, all the while a steady groove is maintained throughout. Afterlife wunderkind Stephan Jolk is recruited for remixing duties and brings swells of dreamy melody and subtle washes of Balearic to Jos & Eli’s original. A name familiar to many after his single ‘Too Close’ was nominated for a BRIT award in 2011, Alex Clare blesses the EP with his vocals on ‘Mistake’. Driven by a gutsy guitar-driven bottom end that gives the composition a distinct Americana vibe, it’s a cut big on vibes that’s begging to be played at a dusty festival as the sun sets over the horizon. The title track ‘Mayhem’ rounds out the four-track package, a persistent synapse-tickling synth driving the track throughout.

(limited red splatter vinyl) Oscar Mulero returns to Token. Titan follows up 2018's Electric Shades EP and marks the Spaniard's fourth appearance on the label. A brace of uptempo, dance-floor focused tracks in the artist's inimitable style, the EP showcases the veteran producer's knack for memorable sonic motifs and enviable studio prowess.

White Vinyl

Truncate returns with release #20 and a new look. No more hand stamped white labels. To kick off the labels advancement, Truncate delivers 3 heavy cuts and invites one of Mexico’s finest Luis Flores to toughen up the EP with his dark & heavy rendition.

7x12" LP. Herdersmat - Morderstwo - Rotterdam.

Following releases and collaborations from Maurice Fulton, DMX Krew and London’s JRMS, the fifth installment on Peggy Gou’s Gudu imprint introduces another new artist. Brain De Palma is the fresh alias of compulsive crate digger Alexei Versino, who - as one half of cult duo Stump Valley and solo as Panama Keys - has released on labels including Rush Hour, Dekmantel and Off Minor.

Born in Ukraine, Brain De Palma’s parents chose to leave the area following the fallout from the Chernobyl nuclear disaster. Settling as a child in Turin, the Italian ‘motor city’, Versino was immersed in the local techno scene in his teens and many more since, navigating Europe for decades, immersed in disparate musical corners, from the squat raves of early-noughties Bristol to the laid back charm of the Balaerics and the cultural contrasts of Egypt. Much as his life has changed, a heart-on-sleeve love of both music and cinema have informed Versino’s often spontaneous journey, just as they inform ‘Call Me By Your Nail’, his assured and sophisticated four-track debut EP for Gudu.

Recorded with imagination and much-needed optimism during the initial stages of 2020, ‘Particle Fever’ begins in earnest as a detailed introduction to the liquid smooth sonic aesthetic of Brain De Palma, with a warm, slow-trance atmosphere evolving to generate the sort of melodies that would sit front-and-centre on less refined productions. Instead, the intent is quietly anthemic, an understated approach that equally informs the blissful electronics found on ‘Farout’, an almost psychedelic exercise that finds ethereal tones and rhythmic peace in the analogue extremes of De Palma’s studio.

These impulses switch from fluttering to fantastical on the title track, ‘Call Me By Your Nail’. Undoubtedly taking inspiration from Middle-Eastern styled arrangements and naturalistic sounds, De Palma’s adaptation, influenced by his time on the Sinai Peninsula, creates a refreshingly innovative sound palette in this offbeat machine translation. Finally, riding on only the slightest percussion, Versino creates a compelling, acid-tinged trip across ‘Clockroom’, rolling out suspense, tension and subtle euphoria often with only the subtlest of oscillations.