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Kapote presents: ITALOMANIA Vol. 4.

Toy Tonics Italomania Vol. 4 is a compilation dedicated to new ITALIAN DISCO. Not ITALO DISCO.

10 new tracks made by young producers from Italy, exclusively made for Toy Tonics. All songs with Italian vocals.

Made with a lot of love by

Cleeeo, Giorgio Lopez, Magnolia, Juan Soto & Sam Ruffillo, KOKO, Luca Averna, Ricardo Baez, Euro Nettuno, The Cube Guys and Paccone.

The Italomania compilation was initiated by Mathias ‚Kapote‘ Modica. Creative mind behind Toy Tonics and half italian producer himself.

The series is a manifesto to show the status of Italian disco of today.

Kapote invited the most relevant producers to show different new styles of modern Italian disco and house music.

With a wide range of influence: Live disco, indie dance, italo pop, and italo house.

Italian disco is not Italo disco. The last few years saw a big revival of the trashy pop music of the 1980s called Italo disco, mostly with English lyrics.

But this compilation is about something else. It is about this new Italian disco. Toy Tonics wants to show a new way to combine Italianity with dance culture.

The Italomania Vol. 4 Artists

Cleeeo - Come Tocchitu: A sexy and sophisticated disco house track by 22 year old newcomer DJ and producer Cleeeo. Driven by a warm, uplifting groove and strong dancefloor energy. The record is dedicated to Brazil. The vocals move between Italian and Portuguese. This creates a natural bridge between two cultures.

Giorgio Lopez - Italiani Brava Gente: Giorgio Lopez is an important player from the much talked about new music scene from Napoli.

For "Italiani Brava Gente," he teams up with Los Angeles artist Sueño. The track is a tongue-in-cheek take on the stereotypical Italian male. It pays homage to late Italodisco legend Pino D’Angiò. The story unfolds from the perspective of a foreign tourist navigating the contradictions of self-proclaimed Casanovas.

The Cube Guys - Saper Ringraziare: The legendary italo house duo shows their Italian vibes and musical taste with “Saper Ringraziare”. The track captures the warmth of summer and the infinity of urban nights. A combination of early Italo disco elements mixed with their typical groovy beats.

Magnolia - Vesuvio: Magnolia’s “Vesuvio” is a cover version of a song from the 1960s by artist E’ Zezi. While the original is more in a folk vibes, the new version is an irresistible piano house track with groovy, sun-soaked vibes. It is made for the dance floor. This track blends Mediterranean roots with the euphoric energy of modern house. Some might know the vocals already from another cover version by Nu Genea from the previous album.

Juan Soto & Sam Ruffillo - Italomexicano: What happens when a Toy Tonics artist hangs out in Mexico city and teams up with the local scene? The result is here. A blend a Toy Tonics sound and tons of vintage synthesizers and some additional production by Mexican producer talent Juan Soto.

You get "Italomexicano". A fuse of the mystique of Mexican mariachi with the magnetic pulse of Italo disco.

KOKO feat. Elena Moroder - I Can't Understand: This melancholic piano house track is a serious floorfiller! Goosebumps! Italian DJ and producer KOKO teams up with Elena Moroder on "I Can’t Understand". Elena delivers a captivating vocal performance. The track explores the misunderstandings of a relationship where emotions were never fully expressed. It blends an iconic piano melody with warm, uplifting grooves.

Luca Averna - Le Luci Della Pista: Luca Averna is a DJ, producer, and resident at the iconic Pikes Hotel in Ibiza. "Le Luci Della Pista" is an energetic track designed for peak-time Ibiza moments while keeping a strong groove and a playful spirit.

Ricardo Baez - È Venerdì: Ricardo Baez is an Italian-Venezuelan DJ and producer. He is known for his distinctive blend of house, dark electro, italo disco, and leftfield electronics. Well respected in Italy's contemporary electronic scene he has been releasing on labels such as Running Bag, Permanent Vacation, Bordello a Parigi, Correspondant, Mule music, Live at Robert Johnson.

Euro Nettuno - La Notte Chiama: These guys are hot! Part of the Polyamore Crew, one of the rising italian new disco collectives their sound mixes Italo house from the 1990ies, electro and Pop in a very cool new way.

Paccone - J'Adore Napoli: Vincenzo Paccone is a DJ, producer but also very renowned graphic designer. He is co-founder of NSS. A fashion agency that is by now one of the leading italian fashion crews. He has been also working as a designer for Circoloco Ibiza for many years and organizes some of the hottest parties in Napoli currently. He makes his official debut as a producer with “J’Adore Napoli”. It is a vibrant tribute to the house music culture born in Naples. The track draws inspiration from the late 1990s and early 2000s. And is part of a NSS campaign about the ’new coolness of the city of Napoli“.

Im Jahr 2026 feiert Big Crown Records sein zehnjähriges Jubiläum. In zehn Jahren kann viel passieren, und das ist auch geschehen. Aus sehr bescheidenen Anfängen hat sich Big Crown zu einem der angesehensten Independent-Labels der Welt entwickelt - mit einem unglaublich talentierten internationalen Künstlerstamm und einem unvergleichlichen Katalog zeitloser Musik. Leon Michels und Danny Akalepse gründeten Big Crown im Jahr 2016 mit einem einfachen Leitgedanken: gute Musik zu veröffentlichen, an die sie glauben - unabhängig vom Genre. BCR10 - Ten Years of Big Crown ist eine Mischung aus Retrospektive und Aktualität: bewährte Perlen aus dem Backkatalog, gemischt mit grundsoliden Stücken aus den neuesten Alben. Eine Doppel-LP mit ausgewählten Titeln von Bacao Rhythm & Steel Band, Lady Wray, Brainstory, Derya Yildirim & Grup ímcek, El Michels Affair, Thee Lakesiders, Dave Guy, Les Imprimés, Homer, Thee Marloes, Lee Fields & The Expressions, Bobby Oroza, Marco Benevento, The Shacks, Paul & The Tall Trees, Thee Heart Tones, Surprise Chef, 79.5, Liam Bailey und Holy Hive. Einen tieferen Einblick in die Geschichte von Big Crown vermittelt auf perfekte Weise der Begleittext des einzigartigen Journalisten und DJs Jeff Mao.

PISS ist eine laute, genreübergreifende vierköpfige Band aus Vancouver, B.C. Durch die Kombination von Punk, Poesie, Soundcollagen, Performancekunst und bildender Kunst schafft die Band ein multidisziplinäres Gesamtwerk, das die Grenze zwischen Persönlichem und Politischem verschwimmen lässt. Angetrieben von durchdachter Musikalität, energiegeladenen Live-Auftritten und einer kristallklaren künstlerischen Mission schreibt PISS Punkmusik, die darauf abzielt, die Grenzen eines etablierten Genres zu überwinden. Ihre Arbeit schöpft Inspiration aus einer Reihe unerwarteter Einflüsse: literarische Größen, Philosophen, Filmemacher, Maler, Psychoanalytiker, Aktivisten, Kinder, Mitglieder einer deutschen anarcho-feministischen militanten Gruppe und Gespräche mit Zuschauern. Diese Stimmen repräsentieren unterschiedliche ideologische Überzeugungen zum Thema geschlechtsspezifische Gewalt und ermöglichen es PISS, Kunst zu schaffen, die herausfordernde und kontroverse Themen wie sexuelle Gewalt und verinnerlichte Geschlechternormen darstellt - ohne Vereinfachung, Romantisierung, Polemik oder Dogmatismus. you made me / skin on linen ist das Debütalbum der Band. Es schildert eine Kindheit, die von struktureller, systemischer und intimer Gewalt geprägt ist. Auf dem gesamten Album dienen Motive aus der Kunst als Metaphern für die unzähligen Arten, wie wir die Auswirkungen dieser Gewalt in uns tragen: Jede Erfahrung hinterlässt einen Eindruck und formt oder verzerrt nach und nach das Selbst - ganz wie ein Stück Ton, das durch jeden Abdruck, den es erhält, geformt wird.

PISS ist eine laute, genreübergreifende vierköpfige Band aus Vancouver, B.C. Durch die Kombination von Punk, Poesie, Soundcollagen, Performancekunst und bildender Kunst schafft die Band ein multidisziplinäres Gesamtwerk, das die Grenze zwischen Persönlichem und Politischem verschwimmen lässt. Angetrieben von durchdachter Musikalität, energiegeladenen Live-Auftritten und einer kristallklaren künstlerischen Mission schreibt PISS Punkmusik, die darauf abzielt, die Grenzen eines etablierten Genres zu überwinden. Ihre Arbeit schöpft Inspiration aus einer Reihe unerwarteter Einflüsse: literarische Größen, Philosophen, Filmemacher, Maler, Psychoanalytiker, Aktivisten, Kinder, Mitglieder einer deutschen anarcho-feministischen militanten Gruppe und Gespräche mit Zuschauern. Diese Stimmen repräsentieren unterschiedliche ideologische Überzeugungen zum Thema geschlechtsspezifische Gewalt und ermöglichen es PISS, Kunst zu schaffen, die herausfordernde und kontroverse Themen wie sexuelle Gewalt und verinnerlichte Geschlechternormen darstellt - ohne Vereinfachung, Romantisierung, Polemik oder Dogmatismus. you made me / skin on linen ist das Debütalbum der Band. Es schildert eine Kindheit, die von struktureller, systemischer und intimer Gewalt geprägt ist. Auf dem gesamten Album dienen Motive aus der Kunst als Metaphern für die unzähligen Arten, wie wir die Auswirkungen dieser Gewalt in uns tragen: Jede Erfahrung hinterlässt einen Eindruck und formt oder verzerrt nach und nach das Selbst - ganz wie ein Stück Ton, das durch jeden Abdruck, den es erhält, geformt wird.

As Eerie Enterprise, upsammy and Piezo have funnelled their singular styles into a classic-feeling but ultra-modern album of elegant, angular electronica. With a strong melodic sensibility and a highly developed palette of playful sound design in their toolkit, the unexpected pairing grew spontaneous jams into a considered collaboration, and Places Remember Events is the end result.

Individually, Thessa Torsing and Luca Mucci have carved out strong identities within contemporary electronic music. As upsammy, Torsing has applied a delicate precision to ambient and uptempo approaches alike, building up a striking catalogue of releases including her 2020 LP for Dekmantel, Zoom. Meanwhile, Mucci has taken a wayward path through contemporary bass music and techno that matches edgy sound design with playful unpredictability. As Eerie Enterprise, both artists tap into their respective creative instincts while arriving at a unique sound with a nurturing quality they were both missing from modern dance music.

Having appreciated each other's work for some years, in July 2024 Torsing and Mucci seized an opportunity to carve out two days in the studio. There was no expectation of an end product, but the sketches conceived during those open-ended, hardware-oriented sessions felt worthy of a deeper exploration developed and finalised over the following year-and-a-half.

Places Remember Events has an unapologetically nostalgic streak, calling to mind the warm glow of melodically-charged, golden-era electronica. The twitchy rhythmic make-up of tracks like 'Decay + Collapse' and 'Folding Origin' speak to the duo's shared affinity for ravey energy, but even within faster frameworks they lean into half-time space to maintain a light-footed agility that allows the relatively busy arrangements to feel grounded and patient rather than frantic.

There's an appreciation for mystery in the emotional make-up of many of the tracks, not least in the slithering textural exploration and spatial tension of 'Capsule', but elsewhere fragile melancholia guides the melody direction of 'Superradiance' and 'Things Fall Upwards'. The final impression is crisp and modern while delivering an accessible experience that seeks to soothe rather than shock when so much contemporary club music tips towards uneasy intensity.

Finding malleable approaches to their chosen sonics and applying them to intentional song structures, Eerie Enterprise collectively land on a sound that promises a lasting reward for the repeat voyager — satisfying headphone gear in the grand tradition of introspective electronic music, but also with a physical immediacy that will manifest in the live set upsammy and Piezo have put together to perform later in the year.

Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.

A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.

Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.

Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.

Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.

The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.

Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.

Continuing its mission to bring classic records to a modern audience, Tresor Records celebrates the 30th anniversary of The Infiniti Collection with a remastered & expanded edition of this classic compilation from Infiniti, an alias of Detroit originator Juan Atkins, available on vinyl for the very first time.

First gathered together in the mid-'90s, The Infiniti Collection draws together tracks Atkins cut under the Infiniti name across a number of labels into a single, cohesive listen. Where his Model 500 work pushed toward the electro-funk that built Detroit techno's foundation, Infiniti was always the deeper, more
playful persona concentrated on what was then a nascent yet burgeoning techno sound. The collection stands as a document of Atkins at his most exploratory: futurist, hypnotic, and unmistakably human despite its machine architecture.
This collection brings together some of Atkins’ most essential work with tracks like "Sunlight", "Flash Flood", fan favourite "Game One", and the deep dub of the Moritz von Oswald remix of "Think Quick". Alongside Infiniti's Skynet reissue, a significant part of the Infiniti catalogue now lives in Tresor
catalogue, forming the ultimate archive.

The Infiniti Collection will be available from 30th October on triple vinyl and digitally with a cassette version being available exclusively through Tresor.

2026 Repress

Small repress of this rare Cat in the Bag jungle-cracker !! Don't miss this one !

Floating dubby synths and layers of improvisational percussion collide in a freaky swirl on 'Magnolia'
Jazz-influenced chords and broken beat sensibilities quietly move the low-slung groove of 'Patchouli'.
On 'Vine', kecak-like rhythms intertwine with spacious synths, creating a cosmic jungle atmosphere through a leftfield dub house approach.
Steel pan echoes dissolve into space and slowly ascend throughout 'Hydrangea'.

A fusion of tropical Asian moods and the chaotic spirit of Western free jazz.

The third private session from RYOTA OPP.



High Praise indeed from Japanese legend Chida (see below)

"Four fresh, deep tribal tunes that transform the dancefloor into a misty forest. I love them all..." - CHIDA (Ene/Mascaras)

,In Glorious Times", das dritte Album von Sleepytime Gorilla Museum, verbindet avantgardistischen Rock, experimentelle Kompositionen und theatralische Elemente zu einem ebenso komplexen wie mitreißenden Werk. Inhaltlich kreist das Album um Transformation, Chaos und die ständigen Veränderungen des Lebens, die sich in ebenso dramatischen wie humorvollen Songs widerspiegeln. Die nun erstmals in den USA auf Vinyl erscheinende, von Dan Rathbun remasterte Neuauflage würdigt eines der zentralen Werke der Band. Mit ihrer einzigartigen Mischung aus Progressive Rock, Avantgarde und Performance-Kunst festigen Sleepytime Gorilla Museum hier ihren Ruf als eine der außergewöhnlichsten Experimental-Bands ihrer Generation.

Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.


The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.


The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.


Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.


She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.


The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.

Hell is empty and the salsa is all there is.

Chúpame el Dedo are BACK! After years of terrorizing the avant-tropical underground with their manic, mock-satanic metal-cumbia madness, the legendary Bogotano duo of Eblis Álvarez and Pedro Ojeda have officially scrubbed the pentagrams off the drum kit. They aren’t worshipping the dark lord anymore; they’ ve found a much more chaotic deity. Please lower your expectations and raise your instruments: Chúpame el Dedo are now officially Geobah Witnesses.

Forget everything you thought you knew. This new record is a high-octane salsa-altín exorcism. It’s not your abuela’s dance music; it’s a fever dream—like Waka Waka played at double speed through a frying mixing desk that’s caught fire mid-verse.

The Chúpame delirium remains terminal. We’re talking classic, hard-swinging Caribbean breaks that trip over jagged psych-synth riffs, all tied to those signature “broken” vocals—jumping from gutter-low growls to manic, helium-choked chirps. It’s twitchy, heavy, and lyrically, the most blasphemous shit they’ve ever committed to tape. It’s a holy, nonsensical collision that’ll leave you wondering if you’ve been saved or just brainwashed.

Put down the pitchforks, pick up a maraca, and surrender to the frequency. Geobah is watching.

Double pack, album of FAT tribe tekno from Interface 68 !

Banger newskool.

The C & D Side of ITF 68 HS 01.

„Continue Here“ ist das Album, das es bisher noch nicht gab. „Continue Here“ schließt die Lücke zwischen „Begin Here“ und „Odessey & Oracle“ und enthält die bei den Fans beliebten Titel „I Love You“, „Leave Me Be“ und „I Want You Back Again“. Zum ersten Mal auf einem Album vereint, dokumentiert „Continue Here“ alle 18 Nicht-Album-Singles und B-Seiten aus den Jahren 1964 bis 1967 in ihrer ursprünglichen Mono-Mischung. „Continue Here (Mono Remastered)“ ist das nächste Kapitel in der Reihe der Zombies-Neuauflagen über das bandeigene Label Beechwood Park Records, mit demselben Team wie bei „Begin Here“ und „Odessey & Oracle“ – erneut unter der Leitung von Matthew und Jamie White, gemastert von Reuben Cohen bei Lurssen Mastering, mit brandneuem Artwork von Darren Evans und Liner Notes des legendären David Fricke. Die CD enthält einen Bonustrack: „I’m Going Home“.

Hailing from Mexico City, Dellarge delivers L.I.E.S. a double lp jam packed with New Beat industrialized electro-wave on "Futuro, Futuro". These tracks go back to the days of the Belgium classics crossing over to the coast of Valenica crashing head on with the funkiness of something similar to Delgado's Delkom project. Don't worry, there is no trance cheeze within, head right to Mambo Especial for some latin New Beat piano anthem driven dance floor chug. Estado Alterado jumps into the 727 funk with some 101 acid leads and sleaze vocals, again making for a perfect floor filler. The album opener "Alien Body Music" is just that; a complete vocoder driven, slow beat acidic club burner. Dellarge hits all the angles perfect over these 15 tracks. Do not miss!

Pure loveliness. Proper music-making,
DIY Classical, but nothing slapdash or posey. Intimate and tentative, seamed with risk, occasional mis-steps, dodgy tuning, minor technical fuck-ups; but driven by gripping, stilled dedication and deep musical understanding.
Double bass, electric guitar, flute, melodica, singing; recorded at home in NYC, on dodgy gear, with snug, woody, shhshh-ing, analogue-style ambience.
The trio hovers between cheerful relish - who’s that giggling at the back - and hushed, humble reverence, basking in the processes of musical communion and learning. They play like they are gingerly passing on a precious, fragile gift; but without prissy conceit.
Luminous selections from the last six hundred years - John of Dunstable meets Friedrich Nietzsche - are lovingly arranged by the group, with a bent for stripped-to-the-bone, emotionally restrained sublimity, steady as she blows.
Very warmly recommended. Soul food.

This is Timmy Stewart & Jordan Nocturne's debut single together as TNI, a raucous percussive club weapon designed by The Night Institute residents to reflect the pair's shared history & energy as DJs.

First up on remix duties is Shit Robot. The Dublin-born, DFA mainstay cranks the energy right up, driving things further forward with punchy drums and bright insistent synths built for the peak of the night.
Irish collective LA Dysto have been on a roll recently, with their unique brand of chugged-out electronics. Here they get psychedelic, dubbing out the vox and adding a driving hypnotic bassline,
The finale belongs to fellow Belfast artist Viper Patrol, who strips the track back to its bare bones and heads off on a tripped out breakbeat mission with even more middle-eastern twists.

A full Irish with eastern promise!