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Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

By the late 90s the independent music scene in San Diego, CA had become synonymous with noisy, post-hardcore bands that were pushing the boundaries of what it meant to be punk. Camera Obscura were one of those bands. They cut their teeth on the angular and abrasive sounds of Antioch Arrow, Clickatat Ikatowi, and Heroin, and incorporated synths and electronics to create their own dark, jarring, experimental rock sound.

The band’s musical output was sparse. In addition to two 45s, the band released their only LP, To Change the Shape of an Envelope in 2000 on Troubleman Unlimited. The album runs the gamut sonically with dark, high energy songs like “Twenty-Five Diamonds” and “Sarasota”, the early industrial sound of “Something About a Nightmare”, and the shoegaze influenced “Cinematheque”.

In October of 2024, the band announced a partnership with Solid Brass records to begin work on reissuing their long out of print album. To Change the Shape of an Envelope has been completely remastered by Pete Lyman at Infrasonic Mastering with new artwork by Sonny Kay (The VSS, GSL Records).

To Change the Shape of an Envelope will be available digitally for the first time ever as well as on limited edition transparent red or opaque white vinyl on 2/7/25 from Solid Brass Records.

HTRK step into their 21st year on reflective terms, launching a series of collaborations, covers/remixes, installations, and performances alongside the new repress of their full-length debut, Marry Me Tonight. First released in 2009 via Blast First Petite, the album saw its first vinyl pressing in 2015 via Ghostly International and has since been out of stock. In late 2024, Marry Me Tonight becomes available in limited edition pink and black vinyl, also finally on streaming services. Few groups in history elevate mood to such singular, smoldering supremacy as the Australian duo of Jonnine Standish and Nigel Yang, aka HTRK (or "hate rock" if informed). Across two decades of work and wounds, HTRK’s sound has shape-shifted between densities and intensities, noise and nakedness, but never wavered in its delicate poetic gravity. In HTRK’s sound world, cavernous reverberations of dub techno are mixed with frosted post-punk motifs and the gravelly imperfections of industrial, reimagined in the setting of a dingy basement. Like all HTRK albums, Marry Me Tonight was singular in sound and circumstance. It's the only album the outfit recorded from start to finish as a trio, and it's the only HTRK record that bears the co-production stamp of Rowland S. Howard. Breathy, caustic, and rife with contradiction, Marry Me Tonight took the raw material recorded on 2005's Nostalgia and transformed it into a pop record — pop that buckled and warped beneath the glare of Howard, fellow producer Lindsay Gravina, and the HTRK trio: Jonnine Standish, Nigel Yang and Sean Stewart. Howard died at the end of 2009; Stewart died the year after. Things would never be the same. The band would carry on and reach new heights despite it all, but as a trio, this is their definitive document.

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you.

Available on Bedroom Isolation Frosted Silver Still Void Crystal Clear vinyl for indies only. Genre: Indie Rock / Electronic. Following his post-hardcore heroics with Indian Summer and Calm, Marc Bianchi unplugged his distortion pedal and switched on the four track. From his boyhood San Mateo, California bedroom, Her Space Holiday explores the bewilderment of young adulthood through a dreamy prozac lens. This expanded 25th anniversary edition of Home Is Where You Hang Yourself includes an extra LP of remixed songs from Duster, Bright Eyes, Micromars, and Mahogany, an elegant tip-on jacket, lyrics, and 20 milligrams of millennial malaise. Ask your doctor if Her Space Holiday is right for you.

The Tonarium is an idiosyncratic instrument comprising of two sets of modular synthesizers: Serge by Random Source, and another one by Bugbrand, both of which operate alongside a mixer constructed by Piotr Ceglarek and Jan Dybała. This intertwinement facilitates precise control over audio and CV signals and integrates technology with analog sound, offering the artists a distinctive sonic palette to delve into.

The present record unfolds in two parts, each exploring the fluctuating nature of sound. Both equally contribute to the work’s immersive imaging characterized by sound intensity, continuity and endless flow. Within its sonic tapestry lies a space for listeners to uncover subtle nuances, pulsations, and moments of harmony flickering through each chord’s firm surface.

In Part I, a formidable force consisting of chord progressions pierced by abrupt shifts and transitions unfolds. This deliberate disruption of harmonic continuity invites listeners to immerse themselves fully in each musical entity, uncovering the intricate details of the chords’ overtonal structure, drifting and steadily glimmering inside their glowing cores.

Part II, on the other hand, presents a more closed form—a recurring four-chord motif that evolves and transforms with each iteration until it finally fades out into whisper-like serenity. Here, the bass pulsates with greater intensity, like a wave enveloping the listener in a froth of feelings, which prevails and swells throughout the composition. In contrast to Part I, it exudes a sense of warmth and intimacy, inviting listeners to reflect over the dimensions of their own inner landscapes.

The Tonarium is to serve as a conduit for expression—a vessel through which the artist Aleksandra Slyz is enabled to channel her creativity and emotion into the music. Both Part I and II of the work have the capacity to drag listeners into a sonic odyssey that transcends time and space, therefore leaving an indelible impression on one’s trembling soul.

Performed & recorded on December 18-19th 2023 while in residence at The New Media Laboratory in Katowice, Poland.

Organized by The Soundscape Foundation

Composed & produced by Aleksandra Słyż

Mastered by Rashad Becker

Photographies by Kacper Krzętowski

Design by Maks Posio

Executive production by Christian Di Vito

Industrial Lies will release ‘New Industry’, the debut EP from Irish artist Poseidon84 on January 31st, 2025.

‘New Industry’ takes influence from early Chicago house and ebm to fashion three killer drum tracks that ooze raw emotion.

It is the second release on Industrial Lies, a sub-label of Irish house and techno imprint First Cut that launched in 2024.

Industrial Lies is dedicated to shining a light on obscure Chicago house, ebm/industrial, electro and adjacent electronic sounds from the past and present.

Especial welcomes new artist DJ 1985 to the label. As so often, the idea of pushing new music has been the raison d'etre of the past decade. An EP of a love for Acid, from the breaks anthem of the title We Trippin’ to exploring the ethereal and even mind-melting Ambient House and Balearic of how the Roland TB-303 has become a fundamental element in the history of electronic music.

Soviet born; Belgrade exile Stanislav Grishchuk is DJ 1985. A man of many monikers, came to House later, originally progressing from Breaks, Hardcore and onto Drum and Bass as DJ Saint Man, a Mixmaster in the truest sense, switching it up to include Ghetto House and Booty, DJing led to producing, finally seeing DJ 1985 emerged to encompass Acid, Bleep, Breakbeat, Chicago and beyond.

A DJ supreme from the old school – check his Boiler Room mix for live vinyl dexterity – his productions nod to Aphex Twin and the Rephlex / UK lineage, the Techno. Electro of masters Underground Resistance and Drexciya and on to Italo, Italian House and early 90s New Jersey and New York’s golden period and of course the masters Kraftwerk, all influence the sounds of this debut EP.

Starting as 808 and 909 Electro and Techno jams, all the tracks are recorded live, MPC, synth and drum machines, no computers involved. We Trippin’ is built around the “Think” break, with trippy 303 line, some 808, synths and off we go “we trippin”.

Dolphin and Sirens was inspired by the Boka Bay dolphins of Montenegro, near where the recording was made. A flotation bath of warm dreamy acid beats and aquatic found sound, fast, shifting breaks, the Adriatic Sea of Croatia and beyond beckoning.

Catland’s title is a nod to Stanislav’s love of all the feline, but the breaks’n’303 cut is an endlessly uplifting spark, celestial, a cosmic evolutionary odyssey.

DJ 1985 completes his debut EP with the aptly titled The Last One. Spherular, mysterious, this rise of spatial breaks is a reawakening of symbolic music that is touched by both East and West. Stanislav’s music intersects, trans-national, almost spiritual and psychedelic. Live jamming, more hearted, the snap electro percussion, dream-laden pads are twinned with an ethereal otherness via the endless possibilities of the TB-303.

Terra Utopia returns to Emotional Response with a second long-from EP / mini-LP, 10 more tracks that span the ethereal sounds of ambient, atmospheric beats and liquid drum and bass.

Originally intended as a one-off project from French producer Benoit B, Terra Utopia 1 was recorded in 2 weeks while sojourned in an Athens’ Spring. A personal dedication to a specific sound he loved.

Since the original release, a debut LP under his own name followed, before Benoit embarked on his new club orientated project Blu:sh, releasing a series of acclaimed EPs for the likes of esteemed Kalahari Oyster Club and Roza Terenzi’s Step Ball Chain label.

However, the incredibly positive feedback of the first Terra Utopia recordings led to reappraisal and return to the name and here again, a second set of 10 tracks (8 vinyl and 2 digital bonus).

Once more recorded as short pieces – cut loud for DJ play – they interconnect to feelings of intangible expanses, that embracing summer, the warmth, a latent stillness of the azure sea and sky. This invitation, a narrative forever calling, of long days, calm nights, the infinite astral plain in minds eye.

The ambience has progressed, beats crackle and snap, tracks visualise an individuality, names are anointed, with the collaboration with singer dvdv on Shadows Of Memories, a floating, mesmeric highpoint, a dreaming siren.

No fears, the children of the heat embark.

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

Limited to 50 copies cassettes in Riso printed J-cards

"Four years in the making, Nikolaienko’s retrogarde take on mid-20th century tape music is a loping, whirling fuzzy felt oscillator odyssey. If Louis and Bebe Barron had been asked to create electronic tonalities for a Czech animation based on EM Forster’s The Machine Stops, the results may have turned out like this. Only, for all its nods to Parmegiani and the BBC Radiophonic Workshop, one can’t quite see this album coming out in 1956 – or even 1976. Something about the slightly off kilter rhythms, the loose feel and wheezing sound effects make this very much a post-Dilla take on Raymond Scott and his successors." - The Wire

"...The album, pitched as “a tribute to early-electronics’ golden era,” takes on a fragmented aesthetic of bleeps, thunks and jolts that secrete the concentrated focus of a fantastical laboratory...” Tiny Mix Tapes

"...The Sounds Of Pseudoscience is a perfect cocktail of space ambient with ice, delicate percussions, under-water rhythms and echoes of Soviet 60s..." Krossfingers

DJ Support: Carlita, Dar Disku, Disco Arabesquo & Moving Still

Melbourne-based producer Rami Imam unveils Safara, the latest release on his own label, Ponda Records, which he founded in 2020 as a platform for his cross-cultural sound explorations. Drawing from the rich traditions of the Middle East, North Africa, and the Mediterranean, Safara is a six-track odyssey of energetic and euphoric house and disco house, deeply rooted in both nostalgia and innovation. Safara is the culmination of Imam's immersion into the golden eras of global music, channelling the soulful rhythms and melodies of Afro-Funk, West African Highlife, Arab Disco, Bollywood, Afro-Cuban Jazz, Libyan Reggae, and Algerian Rai. By blending these timeless influences with a modern, dancefloor-oriented focus, Imam creates a sound that is both steeped in history and refreshingly new.

With a sonic palette that includes iconic synths such as the Juno 106, Super 6, SH 101, Moog Model D, and the 303, Imam weaves the analog warmth of these instruments into lush, modern productions. Piano and strings—his favourite classical instruments—add an organic layer of emotional depth, connecting the pulse of the dancefloor with the timeless elegance of traditional composition.

Safara is more than a collection of tracks; it is a journey across continents and eras, where the pulse of the past meets the driving force of the present. Recorded in Melbourne but influenced by sounds from around the world, Safara invites listeners to traverse vast musical landscapes—from the hypnotic grooves of North African rhythms to the sun-drenched melodies of Mediterranean shores—culminating in a transportive experience that lingers long after the final beat fades.

By balancing the ancient with the futuristic, Imam has crafted a record that feels both comfortingly familiar and daringly innovative. Safara is a testament to the endless possibilities of blending cultures, genres, and eras into something that is not just heard but felt—music for the soul as much as for the dancefloor.

Here it is, the sixth chapter in the sonic journey of Mr. Mangiadischi.

Continuing the dance-floor assault, MD006 delivers four tracks, each with a unique story but all with the same aim: to make you move to the rhythm.

• A1 - Mamma
A Balearic groovy deep house nostalgic tribute to the most important person we have in our life. This track blends warm melodies with heartfelt emotions, making it the perfect homage.

• A2 - Genug Vans
Intergalactic soul/post-disco space-tech. A cosmic voyage through pulsating rhythms and celestial sounds, designed to take you on a dancefloor odyssey.

• B1 - Fenel
A very modern interpretation of this '76 Algerian artist's funk/pop/world/country mesmerizing masterpiece. This track merges elements of funk, pop, world, and country in a blend that transcends genres and eras.

• B2
A disco/funk/pop-rap in its most modern and groovy version. Infectious beats and catchy hooks make this track a surefire hit for any set.

Up The Bracket arrived like a raging bull in a tired post-Britpop china shop and introduced the world to The Libertines, a new gang of London bohemians, whose ragged tunes, red military tunics, opiated poetry and "live now pay never" lifestyle came to define the millennial angst of the early noughties. At the heart of the band is the blood bond bromance between the ramshackle Music Hall Jagger/Richards, Peter Doherty and Carl Barat, ably assisted by the rock solid rhythm twins John Hassall and Gary Powell. Any bookie worth his salt would have given you short odds on this quartet surviving more than a month or two, given the teetering on the brink lifestyle they chose to lead, but here we are two decades later and our Byronic heroes, though older and wiser, are still fighting the good fight and making music every bit as vital as their debut. The belief, talent and fervour that Doherty spoke of in their earliest manifesto has stood them in good stead. Up The Bracket, justly considered one of the greatest albums of the noughties, was originally released on October 21st 2002 by Rough Trade Records. The album, a heady stew of indie rock, skiffle, blues, dub and English bucolic pop, was a huge shot in the arm to a largely redundant music scene and helped to inspire the rebirth of guitar music, going on to influence countless artists who followed in its wake. Up The Bracket, which was produced by Mick Jones of The Clash, takes you on a wondrously poetic journey into the band"s mythical world and their fevered dreams of Albion, a land of squalid glamour, liberty, equality, fraternity, gin palaces and chip shops. Quite simply Pete, Carl, Gary and John created a hugely compelling timeless British rock"n"roll classic debut as relevant now as it was upon its release.

Cello player and electronic artist Martina Bertoni returns with her 2nd album for Karl: Hypnagogia delivers six new, masterfully crafted tracks between experimental ambient, drone and modern composition.

Cellist and composer Martina Bertoni started playing the cello at a very young age. Classically trained, her career further developed around experimental and film music, for which her cello has been featured in numerous records, works and soundtracks for films and series. After two EPs and her debut full length All The Ghosts Are Gone (2020), Bertoni joined the Karl roster where she released Music For Empty Flats in January 2021 to critical acclaim (a.o. one of the Top Ten drone albums of 2021).

On her new album Hypnagogia she continues to explore the sonic possibilities of her cello which she uses as primary source for composition and sound processing through reverbs, feedbacks and sub-bass frequencies, thus crafting sonic sculptures, rich of atmospheres and frictions, fed by ambient as much as drone and modern composition.

In the words of Martina Bertoni:
"The six tracks that constitute Hypnagogia have been written during 2021 and partially inspired by the reading of Stanislaw Lem's book Solaris. The title refers to a transitional state of consciousness from wakefulness to sleep, during which one might experience sensorial hallucinations and lucid dreaming, and can tap into the pristine structures of the subconscious. Hypnagogia portraits an imaginary cosmic journey of the Self that crash ends into a blinding sun."

Singer, songwriter and composer Melike Şahin is set to releases her new album AKKOR via Gülbaba Records in partnership with Day Dreamer

An empowering assertion of survival that propels traditional Anatolian pop and folk influences into the future, AKKOR rises like a phoenix from the flames to reintroduce the Turkish superstar diva to an international audience. An expression of Şahin’s personal growth, the album is an affirmation of her growing status as the voice of a generation, and hose lyrics have been adopted as a callto rights for the women’s movement in Turkey.

Recorded live in London with producer Martin Terefe (London Brew, Buika, Jamie Cullum), AKKOR features a selection of the most talented and forward-thinking musicians on the scene, including guitarists Dave Okumu and violinist Raven Bush, as well as terling Campell (David Bowie) on drums, Glen Scott (Eric Bibb) and Nikolaj mTorp Larsen on keyboards. Bringing an international feel to her mheart-rending performances, the record represents the most focussed and complete expression of Şahin’s sound to date. Melike Şahin has made a career of facing down criticism and censorship to make sumptuous and provocative music that captures the defiant tone of progressive creativity in contemporary Turkey. Having performed around the world with Turkish psych legends BaBa ZuLa, Şahin released her debut album Merhem in 2021, gathering billions of streams and building a reputation for unforgettable live performances in the process. Influenced by the style of Sade, cutting an elegant and beguiling figure on the stage. Where Şahin describes Merhem as about healing, she says AKKOR is about survival, both on an emotional level, coming to terms with difficult relationships, childhood trauma and the pressures of newfound fame, and on a social level, in continuing the champion the rights of the oppressed in the face of state and media violence. Powerful and vulnerable in equal measure, AKKOR demonstrates an orchestral grandeur and a dramatic flair drawn from Şahin’s love for traditional Anatolian pop and folk music, injected with the urgency of contemporary production. Bound together by Şahin’s inimitable voice AKKOR skips between Middle Eastern melancholy and classic disco hedonism, for an album that is as stylistically open, pluralistic and affirmative as the messages the music carries.

Although she does not describe herself as an activist, Şahin’s poignant lyrics have come to define the women’s movement in Turkey, with the words, “I deserve each and every inch of this smile,”adorning protest banners on International Women’s Day and celebratory posters at Pride.

“This is the moment that I told myself, Yes, I am an artist,” Şahin says. “I am bearing all of the other things because of this, because I am affecting people's lives, and I am giving some power.” AKKOR – which translates as candescent – finds Melike rising again and burning brighter than ever before.

Overall though, Şahin says AKKOR is her rebirth album – a statement of self-empowerment, through which she hopes tocontinue to raise up the voices of those around her. “You are seeinga woman who falls down, but who rises again and flies,” sheexplains. “Maybe she doesn't win, maybe she doesn't lose, but she's a survivor,” Şahin concludes. “She is a phoenix.”

HTRK step into their 21st year on reflective terms, launching a series of collaborations, covers/remixes, installations, and performances alongside the new repress of their full-length debut, Marry Me Tonight. First released in 2009 via Blast First Petite, the album saw its first vinyl pressing in 2015 via Ghostly International and has since been out of stock. In late 2024, Marry Me Tonight becomes available in limited edition pink and black vinyl, also finally on streaming services. Few groups in history elevate mood to such singular, smoldering supremacy as the Australian duo of Jonnine Standish and Nigel Yang, aka HTRK (or "hate rock" if informed). Across two decades of work and wounds, HTRK's sound has shape-shifted between densities and intensities, noise and nakedness, but never wavered in its delicate poetic gravity. In HTRK's sound world, cavernous reverberations of dub techno are mixed with frosted post-punk motifs and the gravelly imperfections of industrial, reimagined in the setting of a dingy basement. Like all HTRK albums, Marry Me Tonight was singular in sound and circumstance. It's the only album the outfit recorded from start to finish as a trio, and it's the only HTRK record that bears the co-production stamp of Rowland S. Howard. Breathy, caustic, and rife with contradiction, Marry Me Tonight took the raw material recorded on 2005's Nostalgia and transformed it into a pop record _ pop that buckled and warped beneath the glare of Howard, fellow producer Lindsay Gravina, and the HTRK trio: Jonnine Standish, Nigel Yang and Sean Stewart. Howard died at the end of 2009; Stewart died the year after. Things would never be the same. The band would carry on and reach new heights despite it all, but as a trio, this is their definitive document.

Mark Broom drops the fifth volume of ‘Mutated Battle Breaks’.

Mark Broom’s ‘Mutated Battle Breaks’ series on Radio Slave’s Rekids Special Projects dates back to 2021; since then, he’s released four volumes, with its next chapter arriving to mark the label’s first EP of 2025. Each ‘Mutated Battle Breaks’ EP consists of an extended runtime of eight tracks, supported by the likes of Robert Hood, Ben UFO, I.Jordan, Pariah, Carista, Mumdance, Lauren Flax, and many more.

Across volume 5 of ‘Mutated Battle Breaks’, Mark Broom primes eight more dancefloor-ready cuts complete with rugged grooves, punchy stabs, and wild Techno sequences. From the opener ‘Romance’ and its frenzied arrangement, through to the rolling bleep-infused ‘Ranger’, Broom once again shows his mastery of rhythm and the breath of his Techno productions - one thing is certain: he continues to be one of the most significant producers in Techno after more than three decades.

Techno, House, and rave, Mark Broom is one of UK dance music’s legends and has a myriad of production credits to his name dating back to 1989. Warp, M-Plant, Hardgroove, and his own Pure Plastic and Beardman imprints are just a handful of the labels he’s worked with, while studio collaborations with the likes of Baby Ford and James Ruskin have cemented his reputation as a storied and vital part of electronic music culture.