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The first 2000 copies of the LP will be available on transparent turquoise or pink vinyl, randomly picked. 'All The Time', Jessy Lanza's first album since 2016's 'Oh No', is the most pure set of pop songs that she and creative partner Jeremy Greenspan have recorded, reflective and finessed over time and distance. Innovative juxtapositions sound natural, like rigid 808s rubbing against delicate chords in 'Anyone Around', subtle footwork flutter giving a nervous energy to 'Face', unusual underwater rushes underpinning 'Baby Love'. The songs also sound more "live" than ever before. Jessy's voice is treated, re-pitched and edited on songs like 'Ice Creamy' and gestural sounds seem to respond to her lyrics in songs such as 'Like Fire', which reward the listener on repeated plays. More than previous albums, the lyrics on 'All The Time' became an important focus for Jessy too, channelling the negativity of anger and frustration arising from some significant changes in her personal situation into the text. These lyrics sometimes process raw feelings, which aren't obvious to begin with, but are soon felt, standing in stark contrast to the cushioned settings of the music. 'All The Time' has ended as a triumph and an abstracted diary of a sometimes difficult, but enduring friendship and creative relationship, and it's their best work yet.

Brigitte Barbu's Muzak pour ascenseurs en panne (Muzak for broken lifts) marked a bold new addition to the Circus Company repertoire. In a gilded haze of resonant tones conjured by traditional and non-traditional methods, Brigitte Barbu created an inviting sound world brimming with life and doffing its cap to 1970s signal processing. Out of such sonic research and development comes a wealth of material for other artists to sink their teeth into, and so we proudly present an accompanying remix EP that takes Brigitte Barbu's distinctive stamp into new territory.

Roman Flügel makes a first appearance Circus Company with two versions of "Dae-Boj DeMoya" that showcase this constantly versatile lynchpin of European techno. First up is his "kraut remix", which unsurprisingly channels the grainy beauty of Neu! and early Kraftwerk, before his "synth remix" dials back the drums and diverts our attention towards an expansive arrangement of melodious flourishes from classic synthesisers.

John Tejada and Reggie Watts reunite as Wajatta following their triumphant LP Don't Let Get You Down on Brainfeeder to deliver a particularly inventive, soul-stirring vocal techno version of "Couvre chef en peau de taupe". Watts soars over the signature warmth of Tejada's production, while Brigitte Barbu's mysterious tones linger in every fold of the mix.

Matthew Herbert offers up a "Butter Dub" version of the album interlude serie "Trou Vert" that pits his signature stark sampling methods against Brigitte Barbu's material and creates a fruitful dialogue of crooked 4/4 mechanics with all the playful curiosity of the original and a strong dose of Herbert's inimitable musical personality.

Suction Records welcomes Roger Semsroth back to the label - having previously released 2 full-length albums with us under his retired electro-pop alias, Skanfrom. “Grøndal” (suction051) is the debut vinyl release under a new alias, Nordvest.

These days, Semsroth is best-known for his stark and minimalist techno project, Sleeparchive. The material on Grøndal - icy, melodic, and mostly beatless - is comprised of tracks that were originally released digitally as Sleeparchive, via Bandcamp. The releases were met with general disinterest from Sleeparchive fans, prompting Semsroth to re-brand them as Nordvest, before removing them from Bandcamp altogether.

We’ve chosen 11 highlights from 3 of those digital albums, “Rooftops & Chaotic Streets”, “Scribbles”, and “Sleepless”, for a cohesive 11-track LP of austere, synthetic ambience. Think Tangerine Dream as reinterpreted by Incunabula-era Autechre, and you might be getting somewhere close. While “Rooftops & Chaotic Streets Seven” recalls Sleeparchive, and “Sleepless Six” could very well be a lost Skanfrom track, the rest of the LP clearly warrants a new alias - Nordvest is a new side of Semsroth that we haven’t heard before.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

Repress

First up is a reinvention from Coby Sey - the Lewisham, South London musician who's founded the Curl collective alongside Mica Levi and Brother May and collaborated with Babyfather, Klein and Tirzah, noted as one of the 50 best new artists of 2019 by the guardian. The tone and atmospherics of the original’s combination of synthesiser and woodwind are sliced into ghostly, mesmeric fragments and refitted in layers around loping, propulsive rhythms with something like UKG's steppiness - languid despite being uptempo, bright and almost gleeful despite the inescapable mournfulness of the source material.

Who’s The Technician? of Ireland's Wah Wah Wino label - turns in a remix that wrestles with the original over seven- and-a-half-minutes of relentlessly captivating deep digi-dancehall, less of a remix than a rebirth cycle, with the latent soul-splitting lament of Kolida Babo’s duduk copy-pasted onto a delirious mercurial lead rotating through hedonistic ecstasy and burnout, a snake-eating-its-own-tail of a version cracking open the third eye with a crowbar, plus a post- apocalyptic, ruthlessly space-invading dub that blasts the remix’s scale out to the starkest retreats of the universe in search of...

Names You Can Trust is proud to continue the tradition of collaborations with the finest musical talents the world has to offer, sin fronteras. The latest release features a pair of cuts from the renowned Ava Rocha, backed by punk cumbiero all-stars & NYCT alumni, Los Toscos. Rocha, the daughter of Latin American film legends from Brazil and Colombia and a multi-disciplinarian triple threat herself (music, film, visual art), calls both countries home and has long held a reputation for no-holds-barred artistic commentary on the political follies of the neighboring, intertwined societies.

What she brings on her latest single easily stands alone on musical merit, but gains greater nuance and significance as the powerful lyrics emerge. With a disarming chanteuse vocal delivery and a stark groove that would be equally at home on an early Tom Waits record or in the psychedelic jam sessions of a '70s Fuentes group, this double sider is ultimately a great introduction to Rocha's Latinx punk social commentary but should also slide right in with DJs looking for a versatile addition to their boxes.

Active since the late 1990s, Brussels-based Frenchman Sylvain Chauuveau is an unsung pioneer of a now burgeoning scene and was making elegant post-classical compositions years ahead of celebrated current peers like Max Richter, Nils Frahm, Olafur Arnalds, Dustin O’Halloran and Hauschka.

Now reissued in a remastered, first-ever vinyl edition, ‘Simple’ was originally released in 2012 as a CD collection of Sylvain’s works for cinema - a set of out-of-print, rare, and unreleased tracks composed between 1998-2010 that span stark / minimal electronic drones, processed guitar explorations, chamber pieces, solo piano and two 40-piece string orchestra recordings.

Chauveau’s work here sounds as fresh and relevant today as it did back then and its author is long overdue some recognition / reappraisal of his role in helping prepare the ground for today’s scene. His music has been praised by numerous peers - Ryuichi Sakamoto listed ‘Nocturne Impalpable’ as one of his Top 5 records; Hauschka and Peter Broderick have admitted his influence and Jóhann Jóhannsson, Adam Wiltzie (A Winged Victory / Stars Of The Lid) and Fennesz have also praised his work.

“Occupies the twilit area where downbeat, muted experimental electronic music melts into downbeat, muted chamber music” - Pitchfork “One of the most brilliant minds of French Music” - Les
InRocks

For fans of Max Richter, Olafur Arnalds, Nils Frahm, Johann Johannsson, Erik Satie, Arvo Pärt, Labradford, Mogwai, Peter Broderick and Hauschka.

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

Pressed On Limited Edition Black And White Vinyl! Available on 2LP, with the look of a silk-screened jacket we are excited to bring to you these Liquid Swords Instrumentals. There are many reasons why Wu-Tang Clan rapper GZA's second solo album Liquid Swords is considered one of the greatest hip-hop records of all time. Critics and historians point to GZA's raw, and starkly poetic lyrics which featured references to chess, crime and philosophy, as well as superb guest performances from his Wu-Tang Clan contemporaries. One can't comment on Liquid Swords' brilliance however without touching upon the production, courtesy of Wu-Tang's own mastermind RZA. Behind a hazy and murky backdrop of rare samples and classic boom-bap beats, RZA crafted a bleak atmosphere of urban dystopia for GZA's esoteric rhymes to flourish in,cribbing from a wide panoply of sources ranging from the dusty soul of The Bar-Kays and Ohio Players, the nostalgic jazz of Cannonball Adderley and Willie Mitchell, and even the experimental weirdness of Mothers Of Invention. In a retrospective 5-star AllMusic review of Liquid Swords, writer Steve Huey said of RZA’s production: “The Genius' eerie calm is a great match for RZA's atmospheric production, which is tremendously effective in this context; the kung fu dialogue here is among the creepiest he's put on record, and he experiments quite a bit with stranger sounds and more layered tracks.” These instrumentals, peppered with frequent interludes of dialogue from the classic samurai flick Shogun Assassin, became the core of the GZA’s acclaimed sophomore LP. The full Liquid Swords instrumentals are now available in a white and black vinyl pressing, a nod to the chessboard art synonymous with the album’s cover art. All tracks have been restored, with re-mastered audio from the original source tapes.

Fred A. was a two-faced act. His musical grasp to the new wave-movement was countered by his lyrical love for Flemish and Dutch ‘kleinkunst’, and his progressiveness as a composer was in stark contrast with his restraint as a performer. ‘De Angst Voorbij’ is an anthology of those remnants, with eight songs derived from the most fertile period in the musical career of Fred A. The record translates how Gerry opened up again to his late musical endeavours, recalling the 30-years younger version of himself. “The music on this record is a testimony of my life back then. It is delimited in time, that’s why this whole feels coherent to me. It shows who I was back then and what I stood for. And that’s worth cherishing

First run on marbled vinyl!

During a career spanning decades, under a spread of monikers, Lee Norris has weaved musical gold. Shipwrec know this. Once again the dutch imprint delves into the Metamatics' archives to come up with audio treasures. Instamatic, released in 2014, is the source material for the "Instamatic EP" with four tracks being revisited from the album. As with all of Norris' work, a depth of expression can be enjoyed from the outset. Mixing elements of electro, electronica and IDM, "Neon Future Blue" is a warm textured and simply addictive opener. Subtlety and form are tinkered and toyed with in the ruffled edges and stark lines of "Cosmic Emotion" before the grandeur and isolation that is "Metamatix." Fragility and the ephemeral combine in the closer. "Haethear" casts whimsical notes to the wind, gentle currents shift as basslines bubble against crushed beats. Simply sublime from a true master.

Chicago-based contemporary electronic musician Steve Hauschildt has composed panoramas of synthesized sound for over a decade. First within his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music, and later across a steady and critically-acclaimed stream of solo releases spanning ambient techno, arpeggiated electronica and post-kosmische styles utilizing synthesizers, computers, and digital processing. In 2018, he extended a collection of rich, visceral tracks titled Dissolvi, his first release on Ghostly International and his most collaborative work to date. Just a year later, Hauschildt returns with Nonlin, an album that's freer, leaner, and looser, both structurally and conceptually; less linear compared to its predecessor, but still captivating. Developed and recorded in several studios during and around the edges of tour - Chicago, Los Angeles, New York, Tbilisi, and Brussels - this material emulates an alienating encounter with a smattering of places, a replicant of culture shock, a solitary and stark experience with uncanny environments, melody and dissonance as oblique locales. Nonlin finds Hauschildt evolving his palette of tools, integrating modular and granular synthesis. The improvisatory and generative nature of modular systems, when paired with his signature grid-oriented and hand-played techniques, guides these compositions slightly out of line to hypnotic effect. Opener "Cloudloss" permeates the mix with an unsettling smog, which reappears and all but engulfs "A Planet Left Behind." On cuts like "Attractor B" and "Subtractive Skies," pockets of air rest between sequenced pulses, whose crumpling and flattening folds build into a restrained rapture of crisp frequencies and milky reverb-swallowed coruscations. The album's title track and centerpiece logs on to a foreign network, a fractured percussion signal that modulates and stutters into static amidst curious melodic sparkling in the hazy bandwidth. "Reverse Culture Music" casts an elegant and brooding stream of strings, pizzicato and churning bow from Chicago cellist Lia Kohl, against chiming minimalist synth frameworks. A surprising pattern emerges in the taciturn systems at work. Hauschildt continues to expand his already horizon-wide repertoire, here exploring the effects of corrupting coordinates; a flight subject to the collapsable abilities of time in remote spaces, a smearing of the axis to elegiac ends.

Cynosure returns with OHMS, a playfully uplifting collaboration from Mike Shannon and Ohm Hourani. The three-track EP features two originals laced with twisted drums and slippery synths, equally fitting for intergalactic exploration or a beachside sunrise. The original tracks’ intimately minimal production is complimented by a remix from Akufen of elegant deep house, making for a record that is both contemporary and classic. “Hightower PSA" slips out the gate with a carefree ambling baseline over a slow, swelling tide-like pad. Breezy, pulsing synth stabs pull the groove together while precise, quick hats and snares weave around buzzing tones like alien chatter. “Nova In The Sun” moves into steadier and darker territory: the bass hops between a stark kick-snare, with hats tastefully drizzled on top.

But when singer Ilhem’s sultry voice cues subtle hand drums and squiggly echoes, the track transforms from a slick minimal affair into a soulful throwback. “Nova In The Sun (Akufen’s Aldo Nova In The Sun mix)” takes the female voice of the original and jumps right in with an upbeat staccato piano and swirling violins. A full-blown house arrangement ushers in lush strings, electric piano chords, and loosely fitting open hats and snares, all conspiring to bring a splash of joy to any peak-time crowd. On the whole, OHMS deliver a versatile EP that swaggers with a smile.

Fresh from the release of their third album ‘Autonomy’ earlier this summer, comes Autonomy Variations: four brand new perspectives from four exciting, innovative kindred spirits of the avant-pop duo.

South London’s Medlar breaks the seal. Following a series of incredible live collaborations with Dele Sosimi (Fela Kuti), he’s has turned ‘Autonomy’ into a minimal, percolating house track. Swapping the acid spikes for analog bleeps, Medlar’s signature can be felt every step through this vivid energetic stomper.

Fabric resident Anna Wall follows with another beautiful subversion as ‘New Politik’ is given a smouldering take. Moody, intimate, downtempo; there’s some serious late night HTRK-esque vibes to Anna’s twist.

Further into the remix trip we glide to find Dischi Autunno, Ombra International affiliate Curses pulling ‘Electric Light’ into the fringes. Taking the upbeat, crystalline pop of Penelope and Stephen’s original and flipping it into a stark postpunk Bauhaus-inspired take, Curses’ live bass and driving new wave beat shine a whole new light on the original and write it a whole new chapter.

Finally, brand new act, Isolating have the honour of closing the EP with industrial modular apocalyptic take on ‘Infinity’. A vast playground of contrasts, at points it’s dirty and pounding. At others it’s quiet and menacing. File under ‘Dystopian Techno.’

Four extensions on one of the most interesting electronic albums released this year, if you haven’t treated yourself to ‘Autonomy’ yet, you’d be wise to. DJ Mag stated it’s The Golden Filter’s best work yet while Clash called a it a bruising return. These remixes follow with complete forward-thinking consistency. Enjoy…

As we descend into winter and the end of 2019, an EP that, like the shorter, overcast days, is chilly and stark, yet accented with rays of sun that crack through the clouds, glints of starlight, full-moon rises.

These five tracks—six for the digital version—come from Eluize, a Berlin-based Australian gifted at simmering minimal yet acerbic house potions over low heat, patiently coaxing them to a slow boil. Mischievous, creeping concoctions that approach and build sneakily, as layer upon layer is looped, expanded, condensed, dropped out, and slid back in. Each is a beautifully musical piece, too, with as much evolving melody as hypnotizing groove.

An LPH soundtrack for nights that stretch on forever, lit only by blinking lights that break apart seas of heavy fog and slice between silhouetted bodies.

Yellow Vinyl

Serotonin returns to revenge with Serotonin's Revenge 2, a four track compilation representing the depth and breath of what we live for.


While resting with his camel in the Taklamakan Desert in Xinjiang this summer, bpmf noticed a shiny object. He picked up a DAT labeled "Static Breaker - 1994". It contained some solid electro, including "Transmission Complete”. Who made this? Did it fall out of a UFO? We may never know. Look for more releases from this find coming from Serotonin Records in the future.

Hailing from Biella, Piedmont and now based in Milan, Kreggo is an eclectic and versatile artist. Defined by Juno as part of "the gum-under-the-schooldesk underground", he has been active since 2014. Along with being the brain behind the Art-Aud label and the cult Secret Rave series, he has released collaborations and projects for labels such as Lobster Theremin, Helena Hauff’s Return To Disorders, Super Rhythm Trax, FTP and Melodies Souterraines to name a few. For Serotonin, he delivers evolved, deep breaks with an edge of electro funk.

Siviyex is Toronto duo Castelvi (Bass Guitar, Vocals, Synths, Vocoder) and M. Gomes (Synthguitar, Programming). Their sound combines elements of Shoegaze, Electro, Italo and New Wave, with the conceptual influence of alternate dimensions, space, dreams and out-of-body experiences. The next wave sound of "Dreams in Wannex" is a definitive part of the world Serotonin envisions.

Schooled in dance culture since a young age, with influences and experiences ranging from rock to rave, London based Nexus 23 brings a "Vortex" of his stark, bass-heavy blend of electro and industrial sound to Serotonin records.

Also included on the vinyl version 4 loops from Serotonin in-house artists: John Selway, bpmf, Synapse and Pointsman.

Look for the digital release everywhere November 5th, 2019 and the vinyl wherever cutting edge records are sold.

Trentemøller returns with his fifth studio album 'Obverse' in September 2019! Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he’s most adept at is the studio itself. 'Obverse' is the result of him expanding that skill even further. 'Obverse' often feels like an instrumental album because it started life as one, the driving philosophy being “what if the pressure of having to perform these songs live is removed entirely?” Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It’s a work method that yielded great results for the legendary German Kosmiche/Motorik experimentalists of the 1970’s. Intentional or not, 'Obverse' embodies more than a little of that spirit without even a hint of pastiche.

So it only makes sense that 'Obverse' would stray from its original roadmap. In due time, half of the nascent compositions featured singers, including Lina Tullgren, Lisbet Fritze, and jennylee, of Warpaint, another band deeply influenced by dream pop. While 'Obverse' was born from a different work ethic than previous efforts, it also continues an arc that started in 2006. Each successive effort has represented a logical next step beyond the album before, and 'Obverse' absolutely picks up where Fixion left off.

For the past decade Trentemøller has been perfecting this form of sonic chiaroscuro to conjure up images of severe landscapes, and to mirror the Scandinavian climate, where half the year the sun barely sets, and the other it barely tops the horizon. While there has been a film noir element in his previous work, 'Obverse' is the first time each song has felt like a collection of pocket soundtracks.

By fusing together a love of dream pop, dark synth-based music, film scores, and a deep connection with the stark Nordic panoramas, Anders has created an inimitable language. Ultimately 'Obverse' resides in a genre all its own.

Wiederveröffentlichung des Albums aus dem Jahr 2000! - "Humble African" ist für viele Experten der beste Longplayer, den Roots-Ikone Culture aka Joseph Hill in den 90er & Nuller Jahren veröffentlicht hat. Mit den Gästen Marcia Griffiths, Morgan Heritage und Tony Rebel sowie einer starken Besetzung an Musikern als Rhythmusgruppe mit kompletten Bläsersatz von Dean Fraser (Saxophon), Chico Chin (Trompete) und Nambo Robinson (Posaune). Am Mischpult saßen bei der Aufnahme die Toningenieure Errol Brown und Shane Brown, den finalen Mix übernahm Stephen Stanley unter der Federführung des Produzentenduos Lynford "Fatta" Marshall & Collin "Bulby" York aka Fat Eyes Team.

Official repress of Love & Regret, the long out-of-print 2012 debut album from LA-based post punk outfit Cold Showers.

Cold Showers, a unit formed in Los Angeles, CA in 2010, fuses the brash power of their shoegaze predecessors with the smoky compulsions of accessible synth pop standards. Cold Showers fits comfortably within the dusty catalog of Factory Records, if only for their modern interpretation of the romantic isolation that signified that long past era. Piston-precision rhythms and angular guitar patterns that drive along songs such as “Alight” and “BC” sit comfortably alongside the opposing raucous-tinged tracks such as “I Don’t Mind” and “Seminary”. This is the pervasive pop mode against which Cold Showers cast themselves. Versatile, memorable and romantically wistful are all common themes that listeners relate to when diving into Love & Regret.

Looking back on the past seven years and the album’s ultimate impact, Love and Regret created and solidified the band’s stark identity in a single, well crafted release. While their early singles on Art Fag & Mexican Summer introduced listeners to Cold Showers simply as a band, Love & Regret debuted the group as something to be taken more seriously. Songs that are intended to be personally unpacked with the listener’s pleasure and heartbreak as personal reminders of more innocent times.

Repress

Berlin's Monnom Black is back again with the King of The Sewers EP; four cuts of pulsating techno from two of electronic music's most uncompromising young figures, DAX J & UVB. Already well-known for its more fundamentally rugged take on modern electronics, the label's 19th release is another intense transmission deep from the underworld.

The menacing tone of the EP hides the friendship that's developed between these adopted Berliners, two young men who met in the city and discovered a shared passion for raw analogue audio and electronic sounds that marry starkness with depth. Although they began DJing at the same warehouses since 2014, the duo have waited until the right moment to bring together their mutual love of unique mechanised noisescapes and the high-end production values they ve developed over years of experience and experimentation. The King of The Sewers is that record, a gritty soundtrack inspired by forgotten lives beneath eastern-bloc cities.

For Monnom Black this latest release continues a run of unmistakable techno records that challenge the mainstream with a non-conformist philosophy. The label's ethos is to push boundary-testing music by artists who are unafraid to explore a chaotic, divided world in the belief that distinctive music can still create moments of grace and community. This is music for the deepest, darkest parts of the night, breaking beyond the dancefloor and into the liminal spaces where analogue and digital, body and mind meet. The King of The Sewers EP represents another step forward in the development of a record label pressing at the borders of what contemporary techno can be.