Beats News

Getting You Back to the Game of Life Records’ opening release, ‘Comme des mots’ LP is a journey through diverse sonic textures and energies from label-founder Lil Ronin.

Getting you back to the game of life is the headline of a physical and mental health therapy center. Casually popped in your conscience from an advertising board and let you in a strange place. But what is the game of life?
This label could be that space to get you back, to forget and perhaps find a form of youthful innocence again.

As a first solo project Lil Ronin freely experimented between different influences and genres that present his intimate universes, juggling with abstract, ballad and more dancefloor music, mostly recorded in Parisian suburb Alfortville between 2022 and 2024.

‘Comme des mots’ means ‘like words’ and evokes the ambiguous presence of his voice in the album, hidden in different characters, sometimes raving other times being conscious. Finally becoming a schizophrenic presence guiding you for the trip.

The cover follows the same ambivalence showing a typography with a distinct message that loses its readability in abstraction. The record also includes an insert with a childhood photo of Lil Ronin.

The LP was mastered in Paris by artist and engineer Krikor KOUCHIAN,
(past works for Simo Cell, Maoupa Mazzocchetti, Tolouse Low Trax…);
The design was created by sculptor artist and designer Marie-Mam-Sai BELLIER,
(past works for Erwan Sene’s JUnQ LP - PAN record, Zulu’s Hear The Sound Of My Feet - Association fatale etc.); The handmade drawings are by Vincent BENTOLILA (associated with the ‘Isengard’ label and parties in Brussels) ; The cover was handmade through silk-screen printing by the Lyon-based printer Olivier BRAL (whose past projects include Brigade Cynophile, Ateliers Dénudés, and Megabasse).

FM Pause is back on ROW Records with wonky rhythms, rough textures and sounds that feel unstable yet precise. This 3-track EP is all about deconstructing sounds, exploring chaos, and discovering what emerges. An over-compressed, pulsating machine that builds itself up, glitches out and slowly self-destructs.

PHONOLAB is the new collaborative project from Anglo-Italian musician, solo artist and producer Gaudi and experimental electronica composer Eraldo Bernocchi Both fearless creators known for pushing the boundaries of sound for almost four decades, the duo's new album 'Disturbia' is set for release on the 11th April via Subsound Records and features contributions from heavyweights including Gerald Casale (Devo), Flowdan, Bill Laswell and the late Mark Stewart (The Pop Group).

With its eclectic blend of electronic innovation, deep basslines, and cutting- edge sound design, 'Disturbia' challenges and captivates listeners with its bold, genredefying vision, resulting in a deeply immersive and forward-thinking sonic experience. The title of the album was created by late post-punk pioneer and lead singer of The Pop Group, Mark Stewart, who was recording with PHONOLAB, shortly before he died. Some of the disruption and creative defance Stewart embodied can be heard throughout the album including tracks such as the glitchy 'Lapis Lazuli' and album title track, 'Disturbia.' The album acts as a homage to one of the most infuential post

Enhancer Dub EP includes 4 tracks playing carefully with elements of Afrobeat, Dub & Techno. As a rare groove connoisseur and vinyl collector, Didier dlb has been delving into essential wax for almost 3 decades, navigating the underground music scene with a disregard for genre boundaries. Forget marketing hype – this is about the scientific exploration of sound, and an existential love for rave culture.

In 1999, armed with a basic setup featuring an Atari, Akai MPC 2000, Yamaha DX, and Korg 770, he ventured into music production. No flashy equipment, just a raw passion for sonic experimentation and analog sound. As a result, releases on Sonar Kollektiv, Get Physical, Klasse Recordings & Rotary Cocktail followed.

Didier dlb's undying dedication to exploration is reflected in his collaborations, residencies, and releases. He doesn't chase the limelight, instead immersing himself in the science of sound, shaping his own sonic universe. This is the story of an artist who has been shaping the underground landscape with a commitment to the art form.

The Shard: A colossal feat in engineering, savagely piercing the London skyline with zero f**ks.

Shard View: An uncompromising moment in Boylan’s bass engineering, piercing the London soundscape with even fewer f**ks.

It’s 2025. We’ve officially moved a second closer to extinction and Boylan’s wasting no time. After years of releasing noxious missives on the most influential likes of FWD>>, Artikal, Deep Dark & Dangerous, Sentry and Mean Streets, he finally launches his own label - Shard View.

A brand new vehicle for the potent strain of ice cold apocalyptic breakbeat he and his closest allies are currently making, Shard View is inspired by the vista he and the likes of Slimzee, Trends, D.O.K, U.S.F and Youngsta see every time they’re cooking up a darkness in his Peckham studio.

Coated in visual armor from Simon Oil Gang, Shard View is London, Detroit and Berlin wrapped up in one. It’s bass, it’s techno, it’s tribal, it’s No U-Turn, it’s Virus, it’s Horsepower, it’s warehouse raves. It’s timeless. And it starts with ‘Tunnel’, an extensive 10 track trip into instrumental, full physical, heavily percussive unapologetic breakbeat music. Boylan is the main consistency throughout but all the above-mentioned names are involved and always will be. Like the great collectives of past bass epochs, the energy here is molten as the friends inspire each other with this fresh take on a classic sound.

Two more EPs should follow later this year. And as the world continues to ramp up the turbulence, so will Shard View. This is not a drill.
Any questions about any of these products feel free to get in touch and we'll help you out!
albert.preston@sequence.cc

Das Debütalbum des britischen DJs, Produzenten und Multiinstrumentalisten Lawrence Hart.

Harts Stil verbindet seine technisch versierten Fähigkeiten mit emotionalen Vibes und Dancefloor-Treibstoff und schafft so einen Sound, der sowohl für den Club als auch für das Eintauchen in die eigenen vier Wände geeignet ist. Das 12-Track-Album ist emotional ein Garagenalbum, euphorisch und therapeutisch. Es ist eine Reise durch cineastische Melancholie, schwebende Synthies und Momente der Zerbrechlichkeit, gespickt mit Sprachsamples. Tech-Wizard Lawrence Hart, der allein schon durch seinen Großvater, den berühmten Computerpionier Geoff Tootill, eine wissenschaftliche DNA hat, wurde schon als Kind zum klassischen Musiker ausgebildet. Bereits mit 15 Jahren sprach er an einigen der renommiertesten Musikschulen New Yorks vor und studierte dann Jazztrompete am SUNY Purchase College bei berühmten VertreterInnen des Fachs. Er spielte an der Seite von Größen wie Bob Mover (einem ehemaligen Kollegen von Charlie Mingus und Chet Baker) auf den Bühnen der Jazzclubs New Yorks. Bald entdeckte Hart die elektronische Musik und das Clubbing für sich.Seine Fähigkeiten als Produzent entwickelte er während der Zusammenarbeit mit dem Double Six/Domino-Künstler George FitzGerald, mit dem ihn eine langjährige musikalische Beziehung verbindet. Bis heute hat Hart Solo-Singles, EPs und Remixe auf Hotflush, Attack Decay Sweet Release, LG105 und seinem eigenen Label SSEM veröffentlicht.

"Hi there, I'm really happy to present my new EP "Kernel Panic" released on one of my favorite labels "Yuku". I've been discovering a lot of great music and new artists thanks to Yuku and I'm really happy to join the family.

My first release ever was a footwork release 8 years ago, and I wanted to experiment with this 160 bpm vibe again and merge it with a lot of different personal influences. I've been experimenting a lot with crazy polyrhythm sequencers and Euclidean algorithms for this EP. It was a lot of fun but my laptop didn't like it at all. During the whole process, I experimented a huge amount and experienced loads of bugs and laptop freezes, so I decided to dedicate this EP to "Kernel Panics".

It might be the most hybrid EP I've done. You can hear breaks, electro, footwork, grime, percussive, and dub ingredient within. I also had the pleasure to collaborate with the very talented Kenyan rapper, Nah Eeto, for Piga Makofi, and I can't wait to play this one live with her.

I asked my friend Vica Pacheco to create the artwork and she built this psychedelic 3d world based on "the hypnotic and dynamic energy" of the EP.

Big thanks to Yuku for following me into these new areas of experimentation."
- Le Motel

3024 is excited to announce "Panta Rei", the long-awaited debut album by London-based, Italian artist Ehua. This album, which comprises a collection of songs crafted over the span of a year and a half, is not just an exploration through sound but also a significant milestone in Ehua's personal and artistic development. For the first time, she explores her vocal expression while also incorporating a range of percussive and other analog and acoustic instruments, resulting in a distinctive set traversing various corners of the bass music continuum.

Accompanied by unique artwork created out of concrete by Jeroen Erosie, a booklet with background and photography and a short eponymous film, 'Panta Rei' represents an intricate 'gesamtkunstwerk'. An exciting blend of various media with contributions from a range of artists, of course all centered around Ehua's beautiful and intimate music.

"Panta Rei" will be released in May, available on vinyl, as well as digitally and in booklet format. 3024 X Planet Wax are hosting a launch event on April 24th in South London.

French artist Trudge returns to Lobster Theremin with his debut LP No More Motivation arriving on March 18th with a genre-bending and original masterstroke; charged as it is cerebral. The album's concept points to the artist's tumultuous relationship with music; plagued by life events and the looming shadow of tragedy. That same relationship however, has led to an album of nuance, a cathartic whirlwind that pushes and pulls from one part of the psyche to the next.

From the laden house sounds found in his earlier work, to the hard-hitting emotive techno we hear today, both Trudges’ personal and artistic evolution runs parallel, drawing between the lines of introspection and dance music’s modern functionality. Bangkok Radio kicks off proceedings with a reminiscent drive through the city's bustling landscape, as space unfolds the further we travel from the hustle and bustle of daily life. No Motivation, Meaningless is a nod to the producer's headspace - burdened by the unpredictability of reality and it’s governing influence on art; echoing throughout the entire album.

Mazzomba explores the duality of light and dark; heavily submerged sounds can be heard melting below the surface, as airy synths create an ethereal glow - acting as our torch through the crud-infested trench. The album's interlude Berserk provides a rest bite, an ambient dreamscape laced with deeply layered textures - casting warm fluorescent light amongst the clouds as balance is restored.

Dead Orange and Gradient demonstrate the artist's knact for intelligent sound-design and world-building soundscapes, while Unghosted and Punishments sees Trudge venture into raw and unwavering compositions created for the dance-floor. Closing the album is Blue Ritual, a thought-provoking piece that has the ability to transport and heal. It’s introspective layers point to the changing winds to come - rounding off an album not binded by genre, but an eclecticism that characterizes an artist true to his craft.

Narciso has been running parallel to most of his contemporaries, staying close to the main lane but researching in his own distinctive way. He takes pride in "being free from limitations and conventions. To me, music doesn't follow fixed rules; it is a field for experimentation, where any sound can be transformed into something pleasing to the ear". Depending on what one considers "pleasing", this is a pretty challenging set of tracks. The artist never loses the balance, though, mindful of a certain "dance" context in which this music thrives, but it is also that same context that is being constantly twisted and reshaped into other forms. Some of those provide fresh ground for others to follow; some are of such individuality that no one else dares disturbance; some quickly return to a safer way of communication.

"Diferenciado" does communicate, but like words can be changed to sound different and still mean the same, such are music and sound with Narciso. It's not about alienation of the listener nor alienation of the self from the surrounding areas. "I believe music is present in everything around us." And if anyone can say her/his/their music "reflects vision, experience and perception", you know the end result is not often surprising or even that different from previous examples. Well, we stand by "Diferenciado" in its obvious distinctiveness, and if all the blurb so far may read like a nervous justification it's just because of the excitement in helping put this out into the world.

As a founding element of RS Produções, where Nuno Beats, DJ Lima, DJ Nulo and Farucox are also found, Narciso has been contributing to a spiritual and creative atmosphere that permeates the environs of Lisbon where that golden, inspired air has to fight for space with many kinds of instability. The beauty and drama of opening tracks "Ziu Ziu" and "Cabelinho" (this one with mate Farucox) should be able to touch any sensitive soul that appreciates the quirkiness often attached to pure expression. As in "Pipipi" too, for example, where melody and rhythm gently and moodily lead you into a brief but sudden interruption feeling like a change into another state of being. Do not shy away. Narciso steps up as himself, not as representative of whatever or whoever.

aya's incredibly inventive Hyperdub debut album im hole distilled the incisive sonic experimentation of her early run of releases, the tongue-in-cheek giggles of her DJ sets and radio show, and the identity-fluxing lyricism of her live shows into a delirious tug of war between pleasure and dysmorphia. The album was championed from all corners, 'Best New Music' in Pitchfork to Radio 6 DJ Maryanne Hobbs 'Album of the Year', followed by a run of incredible live shows which drew new listeners further into her world. hexed!, aya's second album, confronts the desperation and dysfunction of addiction. Internalised phobias and suppressed traumas haunt the corridors and golden hours once romanticised on 2021's im hole; daymares concealed by nocturnal afters-hopping and key bag circles. Opener `I am the pipe I hit myself with' exposes the gray portrait secreted somewhere between the 8th and 9th floors of her previous record. `I used to say some shit for sure', `I used to say it when I was me-less'. hexed! is about what happens when aya turns the lights on.

Following the epic and potent album 'Blood' recently released on Infinite Machine; Shanghai-based producer Laughing Ears alights on Hemlock with a killer three track EP.

Losing Track
Dense with pin-sharp atmospherics and gentle intertwined melodies, this lush piece evokes 90's IDM breakbeat and trance and propels them into far away realms.

Bite the Bullet
Bleeps and homespun breakbeats dance into the night on this quirky workout, keeping us on our toes with unhinged edits and a twisted breakdown.

Breakaway The rudest cut on the EP, Breakaway lamps up the pressure for a full sub bass rinse out riding on loose but fully loaded drums.

File under: IDM, grime, breakbeat
RIYL: rRoxymore, Autechre, Dj Crystl, Bruce, Musical Mob

Man-of-the-minute Jorg Kuning returns to Facta & K-LONE’s Wisdom Teeth imprint with ‘Elvers Pass’: a new 6-track exposition of his singular sound, and his most accomplished and comprehensive work to date. By now, the Jorg Kuning trademark is well established. Cherrypicking influences from the wiggiest ends of tech house, electro and bass music, his music is instantly set apart by his totally unique sound palette.

In fact, it’s hard to think of another club artist who has emerged with such a distinct and recognisable voice in recent years. Bubbling and funky with that unmistakable dose of wonk, you can tell a Jorg Kuning tune the minute it enters the mix. Since last appearing on Wisdom Teeth with 2022’s ‘Chosta-del-sol’ EP, the Welshpool-based artist has become a cult name on the global club and festival circuit - his must-see live set turning heads wherever he pitches up. Anybody who frequents the summer circuits around Freerotation, Love International, Gottwood and Dimensions will know exactly what we’re talking about. Along the way he has picked up a number of ardent and outspoken fans, including Lukas Wigflex and Koreless - the latter of whom tapped Jorg for a stellar remix on last year’s ‘Deceltica’ EP on Young. On ‘Elvers Pass’, Jorg manages to ring an exceptionally rich diversity of life from the circuitry of his modular machines.

The record’s melodies flutter and swirl like deep-sea creatures, and his synths ooze as if dredged from some primordial swamp. More so than ever, a host of otherworldly voices have begun to creep into his music: ‘Mercedes’ centres around a fluttering chorus of disembodied vocal chops, while ‘Synthetic Squashies’ rocks back and forth on a looping dialog between two AI chatbots. Across the record, synths mimic animal vocal tones, from the belching bass licks on ‘Skudde’ to the amphibious synth groans on ‘Teen Frogue’. Playful, oddball and in a class of its own, ‘Elvers Pass’ is a welcome New Year offering for ravers and club adventurers worldwide.

DNO welcomes two new signees, Slovenian producer Marka San and UK rapper Axel Holy, for one of the label’s darkest releases yet. The ‘Hidden Knowledge’ EP presents five tracks of dread bass and bad-trip sonics, as the Bristolian MC delivers cut-throat bars with the kind of calm, looming menace of a tomcat toying with its prey.

It was DEDW8, Axel’s horror-touched collab with Split Prophets’ Blanka, that first made him known in Slovenia, prompting Marka San to get in touch about working together. The same sinister vibe that drives that project has spread its tendrils right through the ‘Hidden Knowledge’ EP, from the twisted brass and squirming bass of ‘Where Did You Go’, which drags its feet like some zombified blues track as Axel repeats the titular phrase in his husky drawl, to the equally chilling ‘Classics’— all eerie samples and abyssal lows, with a pitched-down hook and braggadocious bars.

On ‘Patterns’, Axel goes to war, attacking the creeping beat with vicious battle bars and stories of the hustle, while ‘Hidden Knowledge’ sees him flex his vocabulary to take swipes at the powerful, and ‘Robert Downey’ makes his unswerving determination clear over grungy guitar.

Deliciously macabre, with intricate layers and lyrics that’ll have you spotting something new on every listen, yet still heavyweight enough for the dance, this is a match made in the nine circles and we can’t get enough of it.

Rhythms of postmodern realism at the very bottom of the DNO.

Clear Vinyl

The debut album from Samuel Coates, AKA Setaoc Mass, crystallises the expansive, left-field vision that's been brewing in his techno-focused discography. Now, downtempo, drum & bass and electro-influenced soundscapes come through strong, as the Manchester-born, Berlin-residing artist combines a decade of dance floor experience and a lifetime of wide-ranging music tastes. The album's 14 tracks transcend the dance with rhythmic and tonal adventure. The urgency of Coates' techno records remains, though now suspended in an unbound space that switches between unpredictable body music and eyes closed moments of escape. Timeless melodies recall the golden era of UK electronica, while ultra-modern production drives the record's microscopic details home. A lovingly crafted collection of the tracks that have been kept for when the time is right. It's the sound of Samuel Coates, then Setaoc Mass - vulnerable but visceral music that demands your full attention.

Bellingham Bass Music

Dear Friends, Shouldn’t we all take a moment to re­ect on ourselves from time to time, break away from habits, and venture down new paths? Simon Hinter, widely recognised as a house producer with releases on renowned labels such as Freerange, Quintessentials, and Kerri Chandler’s Madhouse Records, is now daring to explore something new with us, while embracing something old: Drum’n’Bass is his great old love, now rekindled with his Confusion EP.

Unsurprisingly, this comes with intense emotions, and the four tracks of the EP oscillate between profound euphoria and melancholia. You can sense both, the beginning and the end of a party night at the same time. These tracks, however, defy the current listening habits shaped by the need for instant grati¬cation. Instead, they are an ode to the loop. Here, the mind is invited to engage, to actively listen and perceptually complete the experience. We hope you enjoy this rollercoaster of emotions! Sincerly yours, Brombért P.S.: The physical release comes with handcrafted, screen-printed artwork by the fabulous graphic artist Zatina Kessl

Burial and Kode9’s acclaimed joint 12”, initially released as a Hyperdub webshop exclusive in summer 2024, now available in record stores worldwide, with revised label art and custom sleeve.

Exit Records expands on dBridge' sophomore album A Love I Can't Explain with two new interpretations by The Fear Ratio (James Ruskin & Mark Broom) and Kahn. In keeping with the label's ethos the artists were left alone to deliver remixes without any stylistic requests and as a result we have two tracks that are personal & uncompromising.

dBridge has been a firm supporter of both Kahn and TFR so it's very fitting that Exit Records releases TFR's debut remix and Kahn's rework, which repurposes what you thought you knew about him as an artist. The ALICE remixes are another leap forward for Exit Records.

Following up their sold-out split plate with Kliptown for the YUKU vinyl-only white label series, Ikawa returns with a plate of their own, laced with groove and style.

Kicking 2025 off with a NEW LIFE, Kito Jempere resumes operations retro-outfit shining, all machines blazing, pulling up with a boiling four-trackpackage bound to get dance floors quivering in excitement. A stick ofdynamite flung into the mouth of today's corporate dance music blandness, 'New Life' finds the Saint Petersburg producer spitting multi-strain madnesswith reckless fun and adventurous panache. Take New Order in theirTechnique days, sprinkle with early hip-hop breaks and finish it with a funk-savvy mix of acid, happy hardcore and ghetto tech jack, and you prettymuch have the opening track and lead-single 'New Life' capsulized to a tee.
A blissed-out, choppy ride spinning recklessly into dance-y abandon, 'LoveFilter' takes us on a heavy-lidded trip across dreamy electronic folds andonto vaporous apexes, where drum-heavy jolts and sliced vocals collidewith spacious pads from outer space. As hypnotic as it reveals hard-hitting, 'Killer Line De-Part' deploys a warped kaleidoscope of trancey shades,grunge-y grit and largely '80s informed analogue wizardry, convergingtowards the most hair-raising finale with your feet in the air and a dumbsmile across the face. Rounding off the record, 'Put Love Into Your Heart(Club Mix)' is a luminous slice of trippy, feelgood electronics engineered fordance floor communion and uplifting let-go. Fill your heart with love.

After shaking up the dice across global festivals and club dancefloors last summer, Albion Collective reinvigorates Yoofee’s instant classic, Seek & Move, in a brand-new remix EP featuring Mystic State, Molokai and K-lone.

Mystic State fires up the engine with his remix of Seek & Move, alchemising Yoofee’s rapid kinetic energy into pure steamrolling pressure. The intro mischievously echoes the original, imbuing the drop with a strike of surprise when Mystic State’s stripped back, sub-loaded weapon fires in place of the classic.

Molokai keeps the motor revving with powerful, in-your-face sound design built for the heavy steppers. Zapping, buzzing, and fizzing robotic delights spark and pop throughout Molokai’s grungy yet groovy retwist of Yoofee’s Seek & Move.

K-lone serves up a signature sweet ‘n’ tasty edit of Make You Believe, realigning the original B-side’s focus from its organic soulful keys to its endlessly elevating electronic arpeggiation. What was once bathed in reverb, serving as a glimmering skyline to the gorgeous memory palace of Make You Believe, becomes the unblurred protagonist bleeping and blooping its way through a high-rise city of slick trap rhythmics.

Albion Collective is proud to welcome these fantastic artists to the label and present their brand-new viewpoints on Yoofee’s Seek & Move Remixes EP.

Weighing in with more of the deadly payloads that make systems weep, Alan Johnson return to Sneaker Social Club to finish what they started on 2022’s The Stillness EP.
Gareth and Tom’s sharp instinct for the fundamentals of crushing half-step pressure remain undiminished on this latest EP. Their sound palette reaches across contrasting strands of music culture, and every bar is teeming with micro details of sound design which give the tracks a living, breathing quality.

Ten Year Tonnage splits the EP open in whipcrack snares, DMZ flutes and a thick bed of sub, constantly shifting and teasing roots drops before opening up the mids and letting the low end snarl.

The chord hook on ‘Shapeshifter’ nudges towards some bold rave shapes, but there’s restraint and poise in the way the sounds get deployed. The Johnson way is one of suffocating space and uneasy tension, which obviously creates the best kind of dancefloor drama. As ‘Muay Size’ ably demonstrates, the likely lads are happy to pare a tune back to a skeletal framework and keep dancers waiting. When the pay-off comes, it’s not what you might expect, and that’s precisely why their sound is fresher than yours.

‘People Of The World’ goes even further out as it staggers and stumbles through skewed jazz samples and snatches of drums being thrown across the room. For all the splaying angles, there’s still a rock solid weight to the tune which proves Alan Johnson are more than comfortable taking things out to a weird fringe without losing their swagger.

EP opener ‘Scary Movies’, is a wickedly euphoric slice of driving techno that rushes the bassbins and dials up the serotonin levels to the max. A true mutant roller that’s guaranteed to drain the smoke machine dry. Following that is ‘Getting’ a snarling and unpredictable masterclass that traverses through jagged techno and twisted breaks. A proper hard working number, loaded with attitude and built specifically for all night sessions.

‘Esvedra’ kicks off the B-side and keeps things moving at a blistering pace. A laser-focussed club cut that is guaranteed to run amok through every space it graces. A razor sharp face melter stacked with hammering percussion and lethal drum work. Rounding off the release is Yushh’s brooding and expertly restructured remix of ‘Getting’. A heady cocktail of UK Bass in its most sinister form and a heavy dose of the more off-kilter and forward-thinking sounds coming out of not just Bristol but the UK as a whole. This is proper lights down and sound system up material at its finest.

‘Scary Movies’ unequivocally displays Dawn Razor’s skills as an increasingly confident producer and one of the most important artists emerging out of the Russian scene. While simultaneously showcasing Yushh’s inherent ability to think well outside of the box each and every time. Blue Vinyl Edition.

Following the success of his self-released Woldsman001 two-tracker, standout sets at Tresor and Unfold, and praise from the likes of RA and Mixmag, London-based Yorkshireman Dyslecta launches his new imprint, Tenuous Links.

The first release comes from Dyslecta himself in the form of ‘Fulcrum’. Four wigged-out techno cuts aimed squarely at the dance floor

The EP draws inspiration from the natural wolds surrounding his hometown in East Yorkshire. Deep, cyclic drum patterns contrast with the brash, distorted bass elements mirroring the duality of the region’s chalk quarries and glacier-carved valleys.

With the aim of pushing innovative club sounds forward, Fulcrum sets a staunch tone of what’s to come on Tenuous Links.

Coming out on super limited 12” handstamped vinyl

Five Green Moons is the brand new project from the legendary Justin Robertson and here he drops the first fruits of that project with the incredible Moon 1.

This isn't Justin at his house controls. This is Justin delving into his roots and digging around through the likes of P.I.L, Gang Of Four, On-U-Sound, Current 93, Coil, Sabres Of Paradise and all manner of post punk echoes and basement electronics. As the man himself puts it - Moon 1 is a haunted ballroom full of memories. The sound of a dystopian disco. An object on a wonky orbit. A spectral visitation. And it is alive.

"Forward Ever" ist die neue LP der preisgekrönten Londoner Rapperin, Produzentin und DJ Lex Amor. Ihr 2020 veröffentlichtes Debüt-Mixtape "Government Tropicana" wurde millionenfach gestreamt und verkaufte mehrere Vinylpressungen aus. Seitdem arbeitete Lex Amor mit diversen Künstlern (Kojey Radical, The Silhouettes Project), sowie angesehenen Plattformen (COLOURS, Boiler Room) und Markenpartnern (Alexander McQueen) zusammen. Medien wie Radio 1, BBC 6 Music, Kiss FM, Clash, Pitchfork und Line Of Best Fit sind voll des Lobes für sie.

Clear Vinyl

"Monstas brings out our street and theatrical sides to a fiasco, combining Grime/Dub MC's and tunes to make a Soundtrack-like experience. The release also marks an end of a Trilogy - which allows us to wrap up our sonic architect skills, and to start from scratch, to dive deep in the unknown - audio and visually."
- TRAKA

A gas generator, a hi-fi system, a semi-abandoned house, and 20 hastily printed flyers. That's how, almost without realizing it, Lapsus was born in 2004. Over the course of two decades, we've ridden a rollercoaster of emotions: from soaring epiphanies, convinced that nothing could stop us, to moments of near defeat when we almost threw in the towel. Let's be honestMaking a career out of music is not exactly choosing the easy path. But epic tales aside, today we look back with pride at having created something that, in our humble view, is genuine. To celebrate Lapsus' journey and what lies ahead--and also keeping an eye on what is yet to come--we've gathered some of the artists who have joined us along the way, musicians we consider friends and for whom we have the deepest admiration. In a way, VINT (Catalan for ''twenty'') is like a sonic photo album, a tracklist that tells our story better than we could ourselves, a collection of unreleased music that celebrates the fact that we've made it this far. Leading this outstanding compilation are forward-thinking producers, with contributions from some of the most respected names in cutting-edge electronic music (A-Z): CLARAGUILAR, GAZZI, Kettel, Kode9, Le Motel, Lord Of The Isles, Marina Herlop, naemi, Nueen, Pepe, Plaid, Seph, Simo Cell, Suzanne Ciani, Wordcolour, and u-Ziq. VINT is our way of thanking you for your unwavering support over these 20 years. We hope you enjoy it!

traverse is proud to announce the release of its first record - a compilation of six tracks from various artists, inspired by Pembroke King’s poem moving silhouettes, written for this occasion.

As the fourth volume of the compilation series “traversée”, moving silhouettes encourages artists to explore all corners of listening music and creative avenues that aren’t tied to any one convention.

Pembroke King’s poem sheds light on the mood of the compilation, and even though each artist brings its own interpretation of it, there is a beautiful harmony of it all - from Kate Miller’s atmospheric sounds to Teqmun’s drums-made-of-rain-drop-recordings or Ghjuliú’s nostalgic melodies, the listener travels around Pembroke’s words with each track.

As our first physical release, we feel honoured to collaborate with artists who have been involved in a way or another on traverse before such as Officium, Mika Oki and Alohn, but Kate Miller, Teqmun, and Ghjuliú, that we’ve been keeping close to our heart for a long time already.

Credits:
artwork: Gabriel Sauvageot
tracks produced and mixed by (in order of appearance): Alexis Tytelman, Tijmen Blokzijl, Alban Mercier and Yolek, Kate Miller, Ghjuliú, Mika Oki
mastered & cut: Marco Pellegrini at Analogcut
digital master: Umvral
distribution: Kuroneko