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‘Apathy Is Death’ is a precisely engineered, restless and longing work of experimental bass music. Tinkah has created a sonic landscape that is both mesmerising and haunting.

The fundamental note is tension as he speaks a tale of ego and its myriad manifestations.. highs & lows. Climax & anticlimax. Adoration & pity. A 12” quest through the taverns of retrospect.

The 6 tracks, live arranged on a MPC alongside a whimsical bounty of synths & effects, are packed rich with cinematic soundscapes, driving rhythms and an ever evolving temper.

Inspired by true events and adorned with sounds from his world. ‘Apathy Is Death’ tells the parable of being jointly lost and found in the intensity of life.







e B2. Skin 22 Feat. Arpen Daks

New Fair Deal is back with its second release featuring Girlcop, a Miami based artist with roots in noise, punk, and dance music who has been been fast at work creating a manifesto of electronic beats for freaks. 'Cold Sweat' offers more bang for your buck with 5 tracks that will turn any dance floor into a steam room plus a bonus downtempo electro number straight from the void. Jack beats for sweaty feet, acid lines for twisted minds, and plenty of drum workouts to shake a$$. This is Chicago-inspired house music deep fried for the modern pookie head.

'The John Carter and Bobby Bradford Quartet/Quintet were critical to the progressive jazz movement around Los Angeles in the late 60s alongside the likes of Horace Tapscott. Both hailed from the Watts area and trumpeter, Bradford played with a woodshedding Ornette Coleman for two years in the early 60s when the legendary free movement leader decided not to record for a while but wanted to hone his trademark sound on the saxophone. Multi-reed player, Carter also worked with Coleman who brought them together to lead their own band.

Their first outing on Flying Dutchman was “Flight For Four” as the Carter Bradford Quartet that was released in 1969. This is the second album they recorded where Carter and Bradford were supported by Tom Williamson (bass), Buzz Freeman (drums) and another uncredited bass player on four extended improvisations – ‘The Sunday Afternoon Jazz Blues Society’, ‘The Eye Of The Storm’, ‘Loneliness’ and ‘Encounter’.'

The latest by New York-based producer Lamin Fofana further refines his cinematic dialect of fractured soundscapes, displaced rhythms, and tectonic unease. Unsettling scores aptly describes itself: grainy, bristling, and bruised, rippling with dread disguised as grandeur. The collection emerged from an extended reworking of his 2016 composition, “A Symbol of the Withdrawn God,” mining deeper into the piece’s “unvoiced fragments, shards, and utterances.” Other tracks were inspired by recent readings on climate emergency and its “specific implications for Black life, from hurricanes in the Caribbean to mudslides in West Africa.”

Fofana has spoken of his music as part of a “legacy of resistance,” spanning the roots of Detroit techno to the outer reaches of contemporary sound art as championed by his labels, Sci-Fi & Fantasy and Black Studies. His work here vividly embodies that spirit, seven hyper-textural transmissions of rumbling lament, shifting sands, and restless innovation, tracing jagged silhouettes of indeterminate futures: “The instability is worldwide.”

John Ghost (Ghent, Belgium) is the sextet led by guitarist/composer Jo De Geest. As a group, they draw influences from jazz, rock, and contemporary classical music. Minimalism, electronics, and an overall cinematic quality characterize their instrumental sound. The ensemble's sound can be described as a symbiosis of Hidden Orchestra, Portico Quartet, and James Holden.



After the critically acclaimed “Airships Are Organisms” (4-star reviews in The Guardian and Financial Times, as well as airplay on BBC 6 and Worldwide FM) John Ghost is back with “Thin Air . Mirror Land”, to be released on October 6 via Sdban Ultra, the label of ECHT!, Black Flower, Glass Museum, STUFF. and more.



For this album, they continued their fruitful collaboration with legendary producer Jørgen Træen, known for his work with Jaga Jazzist, Electric Eye, Kaizers Orchestra, and numerous projects on the Hubro Record Label. The result is an album with a slightly more somber tone, focussing on a broader range of instruments and an emphasis on percussive elements."Thin Air . Mirror Land" unfolds as an aesthetic refuge in stormy times. It is a musical urge for introspection in a chaotic reality, and a longing to reconnect with a natural environment.



During the creative process, Jo drew inspiration from the music of artists such as Hans Zimmer, György Ligeti, Magma, The Residents, Disasterpeace, James Holden & The Animal Spirits, Do Make Say Think, William Basinski, and Jóhann Jóhannsson. The album title "Thin Air . Mirror Land" and the song titles are driven by a fascination with the artwork of Edvard Munch. Jo found inspiration in Munch's painting "The Storm" (1893) as a catalyst for the writing process, exploring a dystopian backdrop and the intriguing interplay between comfort and unrest. Heavily inspired by the music, Jaak De Digitale created the gloomy artwork for the album.



Members of the band are Jo De Geest (Endlingr), Rob Banken (Rapidman, HAST), Wim Segers (Compro Oro, PAARD.), Karel Ceulenaere (Black Flower), Lieven Van Pée (Echoes of Zoo, De Beren Gieren) and Elias Devoldere (Nordmann, Elias) who went through a thoughtful studio process, with the result being a conceptual and slightly dystopian atmosphere.

Kenn-Eerik is an Estonian versatile sound artist and musician working in Tallinn. His passion for music began in early childhood when he witnessed accordion playing as a six-year-old boy. Encouraged by this musical experience, he learned various instruments over the years, engaged in choir singing, and participated in the activities of several bands. Even today, he is part of a band called Käsi which was created with friends from teenage times.

Kenn-Eerik became interested in electronic music during high school when he composed the first songs – inspired by dubstep and dub. Wanting to cultivate his technical music skills, he went to study sound technology at the Viljandi Academy of Culture. Along with his studies in Viljandi, he acquired his first drum machines and synthesizers, which, in addition to his personal creative activities, were also used to compose music for dance performances.

While his first DJ sets consisted mainly of dubstep, with minor detours into the areas of techno and house, by now this relationship has become the opposite – techno and house beats have become more concrete and present, but the influences of dub and dubstep are still there.

Over the years, Kenn-Eerik has played in several Tallinn clubs such as Ulme, Ups, Asum, Uni, Hall, etc. His live debut took place at the festival Kuru Plirr (2015). In addition to DJ and live sets, cooperation with several theaters operating in Estonia has deepened over time, where he has composed soundscapes based on original music.

Kenn-Eerik’s music can be characterized as a search for a certain state. His sound language is centered on organically flowing synth lines and minimalistic rhythms, which combine the deeper areas of techno, house, ambient and experimental music. Kenn-Eerik does not directly set genre restrictions for himself, nor does he limit himself in the choice of choosing instruments – anything that inspires and drives will be used, starting from analog synthesizers and ending with recorded sewer pipe sounds.

Life might be a predominantly linear affair, but when lived right, it’s nevertheless a turbulent experience. It’s a system of trial and error, ebb and flow, order and chaos, action and reaction. And paradoxically, this system somehow still feels balanced amid all this turmoil. In fact, the same can be said about Keope’s second longplayer for Bigamo. Easily.

Keope might be a duo consisting of Marcus Rossknecht and Toni Bruna, but they actually sound like a collective of rather nomadic - and heavily gifted - musicians on their ever-present quest to reach different musical spheres. Everything is in motion, everything is in constant flux. Everything, everywhere, all at once. Their previous record “Triangulo“ already provided the audience an idea of their elaborate rhythmic vocabulary, but it’s the cryptically titled “Flikka Flokka“, which sees their multilayered compositions bloom into a fully-formed, new musical Esperanto.

You can immediately sense that Keope must be a phenomenal live act because the twelve tracks on “Flikka Flokka“ sound as if they were born from endless jam sessions fueled by a whole variety of influences. As a result, the work of Rossknecht and Bruna presents itself as a prime example of sound in motion that responds solely to its very own pulse by taking the aforementioned influences and making them completely their own. Now, let’s dance!

Charles D unveils his debut Drumcode EP, following three excellent releases on the label.

Ever since the New Yorker shared his remix of ‘Your Mind’ with Adam Beyer, which would go on to become only the second officially released remixes of the legendary track, we knew we were onto a special talent. A strong single on A-Sides Vol.11 ‘Traction’ was to follow, proceeded by another superb remix, this time of Mike Macaluso’s ‘Final Chapter’, reinforcing his skilled studio touch.

Now a year on from his first appearance on Beyer’s label, he steps up for a richly deserved debut EP, ‘Don’t Stop’, which encapsulates all the stylistic facets of his productions. The title track is fun and driving, brimming with ‘90s rave stabs and peak-time fizz. ‘No Escape’ is a pulsating stomper fusing together percussive techno and melodic elements to form a track that will work in a variety of environments. ‘Choir’s Palace’ is a dreamy tool and perfect for shifting the momentum during a peak-time set.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

Subtropic Cosmos is the international debut album by Japanese artist Hitomi Moriwaki.

Composed and recorded at her Fukuoka home during the worldwide pandemic between 2020-2022, the album was produced by Hideki Urawa, who has also worked with Kikagaku Moyo and other musical acts on Guruguru Brain.
Hitomi Moriwaki is a multidisciplinary artist working with a wide range of mediums besides music, including: magazines, ceramics, digital art, and animation.

"Subtropic Cosmos" in particular is a wonderful work that conveys the "joy of making things" to listeners, as it is filled with various influences from her diverse activities.

As suggested by the album title, most of the songs were created under the unprecedented conditions of corona--and as a result, were inspired by the consciousness of traveling through imaginary foreign lands and nature. As if adventuring through the universe inside of her own mind, Moriwaki's versatility is best experienced through her fearless fusion of hip-hop, pop and experimental music. Through a lens of psychedelic production by Hideki Urawa, this album is a truly special, one-of-a-kind space experience for listeners to enjoy and embark upon.

The third installment of our four-part 12" series features our favorite artists from around the world.

Melbourne's Pugilist opens the gates with 'Flip Trix.' It's a dub-drenched, broken techno hybrid with earth-shattering low-end throughout. This lengthy 130bpm track, with foggy breaks and frosty pads, smartly concludes on a 4x4 beat to ensure a smooth exit. 'Flip Trix' is certainly a future percy for all.

Next, we have Bristol-based Henry Greenleaf, a music producer who provides jaw-dropping moments throughout his work. 'Stopper Knot' starts off with a murky low growl and soon evolves into a fully-fledged UK techno beast with ups, downs, twists, and turns. It's like the soundtrack to all of existence captured in 4 minutes and 37 seconds. An absolute tune.

Closing out the release, we have a very special track from Ebb, a resident of New Zealand's South Island. This tune comes with a Product Safety Warning. *We strongly advise never listening to this tune in small groups or while sitting down. 'GTAM' is a weaponized, peak-time, world-ending, acidic bass mutant designed for use only between 2 am and 4 am*. In true Ebb style, heavy and precise production.

Enjoy responsibly.

repressed !

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

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

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

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

Tiella Sound is a project born in 2019 from the mind of Italian DJ Luca Bigote that started as a radio show currently airing on French LYL Radio, and now debuting in the record label ecosystem with its first official release, pressed in a limited edition of only 200 copies.

The vision and mission of the entire project are quite clear and based on the principle of musical eclecticism. Luca Bigote, in fact, from the very beginning has never wanted to set boundaries to his creature, which, following an open-minded approach, flirts with the most disparate sounds, not exclusively club-oriented ones, focusing on the quality and research that have always distinguished his path.

For its first release, Tiella Sound has chosen Perugia-born DJ and producer Daniele Tomassini, already known for his records under the Feel Fly moniker, who presents us with the first LP from his alter ego VAISA.
This work consists of unreleased tracks composed between 2014 and 2016, during the intense creative period that saw him involved in more experimental and alternative projects such as Palenque Pacal trio and Wunder Camera duo. This material finally sees the light, a few years after the inspiring live performance during the second edition of Esperimenti (January 2017), the music festival curated by Luca himself together with his friend and colleague Matteo Lieto in Gaeta, Italy.

“VAISA is a dense, raw, evocative project. A lo-fi maelstrom of field recordings, sound collage, mysterious vocal samples from ancient cultures, obscure rhythms and layered tribal percussions, ambient clouds, dub echoes, with the martial tolling of the kick drum beating out the slow electronic ritual” (Caveargento): a deep and timeless journey, ready to drive all the lovers of the most abstract and primitive sounds into ecstasy.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.