Cerca:tik

Jamie Tik Tok Taylor leaves us this parting gift of gnarly, 'avin it, upbeat Acid Techno, - his last EP signed before his tragic, untimely passing. 4 tracks of cheeky 303 fuelled rave malarchy from the true Anarchist Insider!!

Tik Tok Taylor gets Snazzy Caz on vocals to create 2 anthemic bouncy Acid Techno bombs in 'Free N Ravin' and 'Bit Of This', whilst Finland's Kari brings some gnarliness to the Tik Tok groove, and some tongue-in-cheek samples on 'Filthy Punk Rockers', whilst adding some classy deeper elements to their non-trance version of 'Couginator'. All in all another classic SUF release!

2023 Repress

More 303 madness from the likes of Tik Tok feat. Lady Reload on the A-side and Mobile Dogwash on the flip!

Classic Acid Techno, the first full EP on SUF from one of the leaders of the nu school

2026 Repress

Dark Green Vinyl

2022 Repress pink vinyl

4 killer tracks from System Rejects, Tik Tok & Brentus Maximus, Austin Corrosive & Tassid. Keep your eyes peeled cos these are gona go quick

2022 Repress purple vinyl

repressed !

Emotional Rescue celebrates a decade of reissues by again pulling deep from the well with the first of several French avant albums over the coming year. The self-styled "Ethno-Industrial" Vox Populi! present their 1989 Aither album, remastered and repackaged with love nearly 30 years later.

Initiated by artist Axel Kyrou in 1982, Vox Populi! was soon joined by long term collaborator Pacific 231 on a series of coldwave/industrial cassette only recordings. Things changed considerably, however, with the meeting of the siblings, Mitra and Arach in 1984.

The consequential use of "traditional" instruments and, especially, his wife Mitra's Persian folklore vocals gave a specific tonality, incorporating the band's expanding passion for oriental sounds, electronics and psychedelic music.

Involving numerous musicians and friends in often-spontaneous studio sessions, the melting pot of varied cultural backgrounds added ethnic, electronic, concrete music, funk, dub and experimental flavours.

This feeling of the subjective absence of the artist was achieved via a communal way for making music, but still with an aim to entertain while leading the listener to experience something unique - mind elevating, non-egotistical, ethereal music - all pushing the intellect towards a more artistic transparency.

Welcome to Aither.

"Spoki (Ghosts) is the sound of an artist putting their private world to tape. Of exploring and pushing the limits of themselves and technology to realise the music in their head. Recorded in Riga between 1988-2011.
.
As Ingus Bauškenieks himself explains: My own world differs a little from my friends' tastes. And - as my father said - the collective art is not art at all.

The music of Ingus Bauškenieks is both deeply private and completely alien. Experimental yet happy to celebrate pop influences such as Engelbert Humperdinck, Simon & Garfunkel or Fleetwood Mac. It is shaped by the artist's engagement with technology and his strive to put to record his 'own world'.
As Ingus explains, it is the sound of him: doing what I like to do.'

Label from London's E1S acid techno dj Acid Steve. Feat. The OB1, Acid Steve, Sterling Moss & Darc Marc and Tik Tok!

Tik Tok / Rhythm Logistics / A.P. / Chris Liberator - Drive & Rides, Surge, This Is It, Heads Down

Power tekno, electro and trancey a bit... the new sound !!

Written during and after a year touring the world, Sweet American Boy
expands the raw honesty that built honestav's audience while pushing his
sound into bigger, rock-driven territory - heard on Can't Let Go, Storm In
This House, and Crash First.
Across 16 tracks he wrestles with family history, addiction, grief, love, and
the complicated reality of chasing - and catching - the dreams he once
chased. It’s honestav at his most vulnerable, self-aware, and ambitious: an
evolution of his signature storyteling that feels larger, louder, and more
unfiltered than ever before.
• MGK co-sign Multiple dates on MGK's Lost Americana Tour; Crash
First (with mgk) on the LP
• Deeply engaged fanbase: 1.8M TikTok • 1.2M Spotify monthly
listeners
• A bigger, bolder chapter: Rock-driven evolution of his sound, with a
headline tour on the way

Solid and Pumpin ! At the exact banger sound needed !

Das zweite Album der "Colors"-Trilogie! Der aufstrebende Metal(core)- und Alternative-Künstler hält seine über 2 Millionen TikTok-Follower in Atem. Arankai stammt aus Wisconsin (USA) und trat erstmals 2022 mit einer Reihe von Independent-Veröffentlichungen in Erscheinung. Durch die Kombination von Elementen aus Metal, Alternative Rock und emotionalem Storytelling baute er sich dank seines rohen Sounds und seiner markanten Präsenz in den sozialen Medien schnell eine treue Fangemeinde auf. Nach der "The Portrait Tour" im Mai und Juni 2026 - seiner ersten Headliner-Tournee, die mehrere ausverkaufte Shows in den USA umfasste - wird Arankai ausgewählte Headliner-Konzerte in Europa spielen (darunter einen Auftritt beim Reeperbahn Festival). Anschließend nimmt er diesen Schwung mit ins Frühjahr 2027, wenn er gemeinsam mit Melrose Avenue als Support-Act durch Europa tourt. Arankai in his own words: ""The Shape of Blue", like its predecessor "A Portrait of Red," covers a range of human experiences: rebellion, pride, sacrifice, to name a few that stick out. I tend to draw from personal experiences, but with this particular record I found myself writing songs that reflected specific situations involving other people; sometimes I wasn't even a part of those situations, it was just a powerful moment I found inspiring. I really wanted this record to be something special. I did a lot of things I haven't done before, wrote songs in styles that were new to me; I really wanted to give people a new, exciting experience. I believe "The Shape of Blue", as an album, is a strong, emotive piece. And I hope people enjoy it as much as I loved making it."

TIN081 lands from Norwegian ‘V.Christie’ & Dane ‘ELOQ’ who connected via TikTok before quickly realising in ELOQ’s Copenhagen studio that their connection was gonna spark something truly incendiary.

By now we all know about the Danish capital's bass fuelled garage scene – thanks in no small part to their now TIN label mate & ATW boss Main Phase amongst others – well now it’s time to add ELOQ & V.Christie to the list of Copenhagen based producers shaping the future of the sound. Over four tracks the pair show a preternatural ability for speed garage and bassline and a deep grasp of rolling two-step flow. Their sound is full of life and is pushing UKG forward.

Run the tracks…

‘Coldsnap’ is a bouncy af Speedy G chune, packed full of stabs and vocal chops but it’s the bassline that makes this one cook. The bones are classic speed garage but that bassline is something new. Chef’s kiss.

When ‘Fools’ starts with that phone ringing and you know these two are up to no good. Icy, crowd tested and with a vertigo inducing buildup this is club-ready, peak-time business. And when that bassline collides with the reese… Ignition.

‘Nightshifter’ is a BIG WARPER.. ominous and spooky. Watch for the bells.. annnd the bassline.

Copenhagen’s contributions to electronic music are many. The Copenhagen ‘Fast Techno’ sound championed by artists like Mama Snake & Courtesy has been long applauded so when ELOQ & V.Christie close out the EP in euphoric style it makes total sense. ‘Anchor’ is a fast, hands up crescendo of hard house, trance and speed garage. A proper set closer. Hug your pals. Another lethal combo: huge chords & reese bass.

From heads down to hands up ELOQ & V.Christie got you covered.

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation)

This edition was remastered to analog perfection from the Grammy award winning ears @Stardelta Mastering. paying close attention to every finite detail - this album has never sounded so alive!

A multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Mariana's Trench. Sonic Submersion of the Highest Order!

Credits:
Written & Produced by Steven Hitchell.
Vocal & Rhodes Performance by Paul St. Hilaire (Tikiman), courtesy of false tuned. Published by Basic Channel Publishing. (BCP)
Additional Mastering, Mixing and Engineering by Mark Richardson @ PrairieCat/Metropolis Mastering, Chicago, USA. (2007-2009)
Remastering and Lacquer cutting by Stardelta, UK. (2024)

Powerhouse vocalist Sandra St. Victor returns with Eleven, her eleventh studio album and first solo release in over a decade. From her years with The Family Stand to collaborations with Roy Ayers, Curtis Mayfield, Chaka Khan, Prince and Lalah Hathaway, Sandra has built a remarkable career that has consistently blurred the lines between soul, funk, jazz and gospel.

Executive produced by Sandra St. Victor and Patrick Gibin for Mother Tongue, Eleven brings together Sandra's longtime collaborators alongside the Mother Tongue family, bridging her rich musical legacy with a fresh, forward-looking sound rooted in soul, jazz, boogie and soulful dance music.

The album combines brand new compositions with inspired reinterpretations, from Kaidi Tatham's stunning reimagining of Captain Sky's Moonchild and his masterful reinvention of the Leon Ware/Syreeta underground gem Tiki Tiki Donga, to a beautifully understated new version of Sandra's own Dizzy, originally released on Gemini: Both Sides in 2001 featuring Questlove, Roy Ayers and Donald Byrd, here reimagined by Mark de Clive-Lowe. Along the way, the lo-fi soul of Black Ice, the timeless duet No More Water featuring Lalah Hathaway, and the straight-up funk of Makes Me Wanna Fall In Love Again and What Would Miles Do showcase an artist continuing to evolve while remaining true to her artistic voice.

Rooted in experience yet driven by curiosity, Eleven bridges Sandra's remarkable musical legacy with the creative vision of Mother Tongue, resulting in an album that feels both timeless and unmistakably

Ursprünglich am 9. Dezember 2024 als reine Digital-Single veröffentlicht und als Nachfolger seiner viralen Hit-Single ,Chicano Poetry" - diesmal mit dem beliebten Soul-Klassiker ,There's Nothing I Can Do About It" von Mike and The Censatios als Grundlage der Produktion. ,Nothing I Can Do" verbindet Obeds gefühlvolle, genreübergreifende Sensibilität mit John Givez' gesprächigem Hip-Hop-Stil und schafft so einen warmen, entspannten Liebes-Song, der von Nostalgie, Hingabe und lockeren West-Coast-Grooves durchdrungen ist. In seinen eigenen Worten: Es ist die gleiche Geschichte wie bei ,Chicano Poetry" - ich habe das Original gehört und konnte einfach nicht davon loskommen. Ich habe es zerhackt, meine eigene Produktion drumherum gebaut und den Refrain sowie meinen Vers ziemlich schnell geschrieben. Dann habe ich es meinem Kumpel John Givez geschickt und er kam mit einem Vers zurück, der das Ganze zusammenhielt. Wir haben es schnell auf die Beine gestellt, was für mich meistens ein Zeichen dafür ist, dass ein Song einfach da sein muss. Es ist ein Geheimtipp - die Art von Song, den die Leute erst spät entdecken und sich fragen, wie sie ihn übersehen konnten." Der mexikanisch-amerikanische Songwriter, Rapper, Produzent und Gitarrist, der in Oceanside, Kalifornien, zu Hause ist, verbindet Küstenmelodien, introspektive Texte und Einflüsse aus dem Latin-Alternative-Genre und lässt sich dabei von J. Cole, Kid Cudi, den Beach Boys und Stevie Ray Vaughan inspirieren. Als BMI Latin Spotlight-Künstler mit über 63 Millionen Aufrufen seiner TikTok-Beiträge verwischt Padillas neueste EP ,RODEO CLOWN - ACT I" weiterhin die Grenzen zwischen Glauben, Nostalgie und modernem West-Coast-Storytelling.

Symbol Of The Land marks Dialog's first beat-driven album, broadening the duo’s vision of dubwise electronic music into a long-player shaped by collaboration and global exchange.

Over the last two years, Helsinki-based producers Samuel van Dijk and Rasmus Hedlund have been refining their voice within modern dub techno, testing their material on the road and inviting kindred spirits to their studio for real-life feedback loops. During these sessions, they built the album around live mixing, repeatedly re-recording elements as they work, committing effects and modulation before pushing digital processes back out into analogue voltage.

Across the record, the smoky tones of their regular collaborator, Jamaican singer Benji, plus the original voice of dub techno Paul St. Hilaire (aka Tikiman) fold into an open exchange of rhythm, space and sound. Their musings are housed by warm, patient grooves across a range of tempos and moods; from the blissed-out, reggae style on “Mellow Mood” to the wispy and esoteric “Constellation Of Stars”.

The album, which follows a string of well-loved releases on the duo’s own DOT Records, lands via Richard Akingbehin’s Kynant imprint, a label regularly dialling into the transcendent qualities of vocal dub techno.

With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.

Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.

Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.

With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.

With “Homura”, Sable Hills take everything they have built over the years and push it into new territory.

Since winning the Metal Battle at Wacken Open Air in 2022 as the first Japanese band in the competition’s history to claim the grand prize, Sable Hills have continued to make their mark on the international metal scene. The victory led to a deal with Germany’s renowned label Arising Empire, followed by their global debut with their third album “Odyssey” in 2024. In 2025, their single “Namu”, incorporating traditional Buddhist chanting, became a global viral hit, surpassing 3 million streams on Spotify and 5.4 million views on YouTube, while live clips posted to Instagram and TikTok collectively exceeded 30 million views.

Rooted in the band’s signature blend of metalcore and melodic death metal, “Homura” expands that foundation with distinctly Japanese elements, from traditional instruments and melodies to the use of Japanese language and Buddhist chants. The result is an album that feels both unmistakably Sable Hills and unlike anything they have created before.
The title “Homura” comes from an old Japanese word meaning “flame.” It represents the intensity and aggression at the heart of metal, reimagined through a distinctly Japanese aesthetic. Throughout the album, heaviness and melody collide with the atmosphere and beauty of traditional Japan, creating a sound that is both fierce and deeply rooted in the band’s identity.

With its fusion of crushing riffs, melodic death metal intensity, traditional Japanese instrumentation, and powerful vocal performances, “Homura” marks a new chapter for Sable Hills, embracing their roots, building on their international rise, and setting the band on a path they have never taken before.

COUNTRY GREAZE is the 2nd independent album released by multi-Platinum-selling artists, Sigma - their 5th studio album overall. COUNTRY GREAZE is a bold, high-concept body of work that visually and sonically collides the raw, underground energy of Drum & Bass with the refined grandeur of a country manor backdrop. Sigma’s idea of blending high-octane basslines, heavyweight lyricism and tongue-in-cheek cultural contrasts flips expectations — pairing gritty rave culture with aristocratic imagery to create a striking, rebellious aesthetic. Its muddy boots on marble floors, signet rings next to gold chains. Sigma say, “The COUNTRY GREAZE concept was to create an exaggerated version of our lives in the countryside and then pull our guest vocalists into to it to see what happened. Obviously, we don’t live in grand manors, but for this we do! Its great having the creative freedom to bring an idea like this to life and we’ve had a lot of fun making it.”



The 12 tracks incorporate a variety of influences including the reggae-infused WATCHIN’ U, the hip-hop inspired NEED U NOW and BACK 2 LIFE featuring legends of UK Sound System culture, Soul II Soul. These influences, together with garage, jungle and grime, can be heard throughout the album. One of Sigma’s aims for this album was to celebrate the scenes and artists that have shaped their journey whilst pushing their sound firmly forward. COUNTRY GREAZE has certainly delivered on this with the project showcasing fresh sounds whilst bringing together a heavyweight cast of UK talent including Danny Byrd, Professor Green, Kurupt FM, Basslayerz, Dutch & Graft and many more. In addition to the 6 singles that Sigma have released in 2026, COUNTRY GREAZE unleashes another 6 bangers which have only been heard in their DJ sets this Summer and whose release has been highly anticipated by many fans of Drum and Bass. In addition to the 6 singles that Sigma have released in 2026, COUNTRY GREAZE unleashes another 6 bangers whose release has been highly anticipated by DnB fans since Sigma started playing them at their 45 gigs this Summer.



The first of these is the album’s focus track, THE DAYZ, featuring the spoken words of Jude Moore who hits the proverbial nail on the head with his nostalgic look back at life growing up in the UK around the turn of the millennium. It’s no surprise that he has a massive 670k TikTok followers as his words speak profoundly to an entire generation. With talk of house parties and care-free fun layered over space-disco synths, THE DAYZ exudes a nostalgic vibe before skilfully blending it with punchy drums and a chunky bassline bringing it straight to the here and now. This uplifting track is guaranteed to inspire any listener to think about the best nights of their lives and say, “Ah geez, those were the days!” Similarly, FABRIC, named after the club that helped shape the Sigma sound back in the 2000s, has the same ethos – classic sounds with cutting edge production. Its euphoric multi-layered synths and deep sub bass fully encapsulate the many late nights spent by Cam and Joe in Room 2.



Sigma also unleash the mighty ALLIGATOR. This much-hyped track has been killing dancefloors one snap at a time since the start of the Summer. The old movie samples and ominous synths in the intro give warning of the impending doom before attacking the listener with its enormous bassline and ferocious drums. Its 36ft long and weighs over 2000lb and its coming to a dancefloor near you.

Take a look at the sonic landscape of club culture today and Colleen ‘Cosmo’ Murphy stands out as one of the pioneers on many fronts. Whether she’s dropping Cosmedelica remixes on her Love Dancin’ sound system at We Out Here festival, hosting listening sessions for her hugely influential Classic Album Sundays, or telling Turntable Tales for BBC’s Radio 4, she has created new avenues for experiencing music and thinking deeply about how it affects us and our communities.

· So here we are at ‘Volume 5’ of this series that once again captures Colleen’s unique take on Balearic. “Anger is Divisive,” runs the spoken word sample weaved into the pastoral ambience of ‘Quiet Storm’ from Sewell and The Gong’s ‘Patron Saint Of Elsewhere’ on Chris Coco’s DSPPR label from 2025. It’s a fitting opening to a collection put together with and for love.

· Born from the same lockdown isolation as ‘Balearic Breakfast’, ‘Fruits of Life’ from Sakura Murakami’s 2020 album ‘Hot Liquor’ offers a Tiki flavoured cocktail of tropical psychedelia.

· Digging deeper into her crates, Colleen then uncovers Flayer’s ‘Wanna Get Back Your Love’, a slow and sleazy piece of cosmic soul from Italy in 1983.

· Richard Earnshaw’s ‘Rise’, featuring Roy Ayers and spoken word artist Ursula Rucker, was hidden away on his only album from 2019.This slow jazz infused groover proves to be the perfect segue record as the collection hits the dancefloor with the Spiritual Life style deepness of ‘Ore Yeye O’ by Moroccan house producer Cee El Assaad and vocalist QVLN (Quetzal Guerrero).

· We then return to spoken word with Joshua Idehen’s diasporic club anthem ‘Everything Everywhere All At Once’. You’re in it deep now, head down next to the speakers as The Seven Ups bring you ‘A Cosmic Scale’, a heavy slab of psych rock meets Afrobeat by way of Melbourne. We then take a trip over to Sheffield where Richard Barratt under his Crooked Man alias reunites with his dance music subverters All Seeing I for a wonderfully skewed mutant disco classic.

· Bringing things down gently with the sun kissed 1980s soul of Lovetempo ft Wattison’s ‘Wanna Be With You’ (ft. Mattison) out of Brooklyn, Colleen eases into the perfect exit to her eclectic journey with Santana drummer Michael Shrieve joined by Kevin Shrieve and the great Klaus Schulze for the Berlin new age cosmic epic from 1984, Transfer Station Blue’. Music for the head and feet brought to you with love by one of our masters of sonics and selection.

A batch of bass-heavy basement house tracks on the Clone Royal Oak series, simply because these are too much fun not to release on vinyl! The QB-1 project leans on those stompin' old school Todd Terry and Kenny Dope beats, but adds some modern production skills and turns them into proper DJ tools for those sweaty house basements, or what the heck, even your TikTok rave!

Hard-hitting limited 7” floppy disk by West Coast beat maestro Mophono, mashing up two 8bit mini epics by disrupt and shooting them into outer space.

“Budokan Dub” is the instrumental cut of Roger Robinson’s “Bristol Crystal” from the Jahtarian Dubbers Vol. 6 compilation: a bass heavy mutation of Rob Hubbard’s 1989 fighting game soundtrack, re-worked by disrupt on a DIY commodore synth, with added extra rocket fuel by Mophono, cranking the psychedelics up to eleven.

Made with the same DIY synth, “Proper Tings version” on B is based on the original riddim track for Tikiman’s “Who Goes There”. Mophono now sent it through the cosmic slice machine, turning it into a deadly sound system rattler, designed to take the roof off at those very special moments.

Coming with the additional beat tool “Dub Form Creator” and a nice’n’gritty floppy disc sleeve this crucial little data package is not to be missed!

Mit englischem Charme, ausnehmendem Talent und kreativer Offenheit begeistert die junge britische Musikerin Anna Lapwood nicht nur die Kritiker*Innen, sondern ein Millionen-Publikum bei Social Media. Auf ihrem Sony Classical Debüt-Album "Luna" gibt sie einen Einblick in ihren umfassenden musikalischen Kosmos. Die fünfzehn Titel des Albums beleuchten ihre Vielseitigkeit und verbinden traditionelles Repertoire von Johann Sebastian Bach, Claude Debussy und Philip Glass mit zeitgenössischen Kompositionen von Max Richter, Ludovico Einaudi und Hans Zimmer. Auf "Luna" ist Anna Lapwood in erster Linie als Organistin zu erleben, aber auch andere Facetten ihres musikalischen Lebens kommen zur Geltung, wenn sie den Pembroke College Chapel Choir bei zwei Titeln dirigiert. Anna Lapwood spielt Orgel, Geige und Harfe und ist als Dirigentin und Orchester-Leiterin aktiv. 1995 in der Grafschaft Oxfordshire geboren, erhielt sie als erste Frau in der Geschichte des Magdalen College Oxford ein Orgelstipendium. 2016 wurde sie die jüngste musikalische Direktorin in Cambridge und leitet seitdem die Chöre und Ensembles des Pembroke College. Nach Feierabend und bei Einbruch der Dunkelheit erhält sie als Associate Artist der Royal Albert Hall besonderen Zugang zu dem majestätischen Instrument in der Royal Albert Hall. Dies hat zu einigen spektakulären Kollaborationen geführt. Die berühmteste davon mit dem Elektronik-Musiker Bonobo. Auf TikTok erreicht sie mit solchen gleichermaßen lockeren wie spektakulären musikalischen Ausflügen mehr als 550.000 Follower.

2026 Repress

&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.

Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

Liepāja’s Elektrons is a contemporary electronic music compilation on vinyl, bringing together artists connected to the Baltic city of Liepāja. The LP features eleven original tracks that reflect the diversity and vitality of the local electronic scene — from deep techno and liquid funk to experimental ambient, IDM, and broken beats. Across the record’s two sides, Liepāja’s Elektrons brings together a diverse constellation of producers shaping the city’s electronic identity. The A-side features Cliché, Nejauši, Kristaps Puķītis, DJ KEDA feat. Ieva Dreimane-Sidare, BAZIITS, and NiklāvZ feat. Kenji, moving fluidly from intricate IDM textures and atmospheric experimentation to liquid funk rhythms and high-energy drum’n’bass. The B-side continues the journey with Ksenia Kamikaza, Eque, OMIROS, ALTER V and Existal, exploring deep and peak-time techno, minimal house and progressive sonic structures.

On Lila, his debut LP, Moroccan artist Karim presents a series of undulating electronic rhythms laser-etched into tessellated form: drumless techno from the pre-Sahara, built for communal psychic expansion.

Drumless, yes, but not percussionless. There are shakers, castanets, stabs, plonks, thuds. There are insistent basslines propelling forward, pulsing with energy, rippling in time. There are tones interlocking, rolling, fluttering, pattering. Dancing within, around, between each other. Considered in terms of sheer geometry, Lila is a techno record, unmistakably. But it sounds quite unlike any other techno record you've heard lately.

To write the album, Karim borrowed from the music of the Gnawa, a religious-spiritual musical tradition descended from West African peoples brought to Morocco as slaves hundreds of years ago. Now integrated deeply into Moroccan culture, the centerpiece of Gnawa music is the lila—or "night," in Arabic—an all-night-long ritual of rhythm designed to induce participants and musicians alike into a healing trance state. Which, if you're a dedicated raver, may sound familiar, yes?

Crafted entirely with modular synthesizers, Lila conjures a range of textures and moods. The show opens with "Bakh," a blissful exercise in beatlessness, clear and crystalline. On "Philipoussis," "Kiyex," and "Sonic," arpeggiated synths approximate Gnawa chants while interlaid percussion keeps time in multiple meters. "La" and "Kille" pulse in half-time, ideal for creative mixing. "Joul à lèvre" bristles with electricity, the sound of a charged lightning rod. "Pamil," woozy and lurching, feels like being shipwrecked on a forgotten island. Last and absolutely certainly not least, on the final track, "Miloir," Karim faces West and unleashes the album's only kick drum for a ten-minute psychedelic techno masterpiece. The mind warps; the body moves. 

Lila is released on Tikita, Karim's own record label, founded in 2014. Tikita's discography, spare but tightly curated, features artists from across the globe pushing outwards into techno's deepest reaches. Karim's album pushes even farther. Listen for yourself.

Mental baile future-funk.
Impossibly, round two ratchets through higher gears than round one. The cutting and scratching skills are brutally imperious, by turn eviscerating in split seconds a trembling flock of far-flung musical prey. Out of the wreckage looms the apotheosis of apocalyptic Techno Scratch terror; the ebulliently vengeful prophesy of forebears like Grand Wizzard Theodore and the Knights of the Turntable.
Blisteringly hot.

'A sequel. An escalation. Pressure spikes from bar one: future facing, low-latency. A firmware update for the body.
'Cuts bite into cuts. Fragments swarm, collide, die out. Drums stumble untile they speak; samples crop up without names and leave without warning. Momentum is the one and only rule. Unpredictable, gridless, post-genre.
'From Tik-Tok feed to vinyl: born digital, cut for the floor. The glitch grows a body, develops a nervous system.
'Match it or get out of the way. Damned be the ones that are stuck on tradition.'

Following the recent worldwide success of “Otsukare SUMMER,” the analog edition of HALCALI’s debut album “HALCALI BACON,” originally released in 2003,
is now set for release 22 years later. The name “HALCALI” comes from combining the two members’ names, “HALCA” and “YUCALI.”
The album was fully produced by O.T.F, the production team of RYO-Z and DJ FUMIYA from RIP SLYME.
“HALCALI BACON” includes a diverse lineup of tracks such as “Otsukare SUMMER,” produced by Tomoyuki Tanaka (FPM)—a song that has surpassed 4.5 billion
views on TikTok and is generating global buzz—and their debut track “Tandem.” After more than two decades, the HALCALI wave is once again ready to sweep
the world

Der bahnbrechende Titel ,Je te laisserai des mots" ist der erste französischsprachige Song, der mehr als eine Milliarde Streams auf Spotify erreicht hat und im Laufe der Jahre erheblich an Popularität gewonnen hat. Der Titel hat mehr als 50 Milliarden Aufrufe und 20 Millionen Kreationen auf TikTok erzielt, darunter emotionale Kreationen, Coverversionen und mehr. Er hat genug Streams gesammelt, um in 29 Ländern Platin-Status und in 34 Ländern Gold-Status zu erreichen. In den USA wurde er mit Doppelplatin ausgezeichnet.