Cerca:running back

The latest jam from Thorsten Scheu aka GLANCE (stir 15) and JIMMIE WILSON ("pretender") follows the vibe of classic, timeless house music, three mixes that span a wide range.

collecting orders for a repress!
A boy named Suzanne. Travelling from Los Angeles to Portland and back to Los Angeles again, Suzanne Kraft's vinyl debut) features four tracks of frenetic sunshine ecstasy.

The Running Back sports team is glad to welcome two new players to its roster. Dplay and whiz kid Manuel Tur (see also his brilliant RIBN stuff) have caused a great stir with a bouquet of 12-inches for outfits like Zurich's beloved Drumpoet Community or the Compost Black Label as well as knocking out well-made remixes.

Running Out Of Time return with a bass-heavy desert combat 12-inch. It's time for cashing back, no more BS.

Two stone cold Roy Ayers classics get the South Street Disco official reissue treatment, one side the feel-good disco-tinged, jazz funk fire ‘Running Away’ and the other the smooth groove, love letter funk bomb ‘Love Will Bring Us Back Together’. Melting hearts, melting minds, is there a better Valentines gift out there then two slices of joy from Roy?

From hip hop to house, ‘Running Away’ has been a favoured sampling treasure since it came out in 1977. Co-produced alongside Edwin Birdsong and William Allen, joyous vocal harmonies dance around grooving basslines, strutting guitar riffs and Roy’s warm soothing tones. Top it off with some trademark vibes and it’s a one-way ticket to happiness, pure sunshine smiles all round.

Flip it to find ‘Love Will Bring Us Back Together’. Straight up seductive business co-produced by Carla Vaughn. It’s silky, it’s smooth, it’s everything you want it to be and more. Clavinet wizardry, buttery Rhodes layers and fiery vocals. Loved up funk at it’s best.

repressed !

In the early eighties Level 42 started out as a jazz-funk fusion band in the United Kingdom, formed by Mark King and the Gould brothers (Phil and Rowland). During the Brit Funk era, they met up with Mike Lindup and Wally Badarou (who would become a fifth member in all but name) and recorded their first single Love Meeting Love'. Their follow-up Love Games' cracked the UK Top 40 and had success in Europe. What followed was a string of minor hits with The Sun Goes Down (Living It Up), Hot Water' but the big breakthrough was with Something About You' in 1985. The single was Level 42's first American hit, and would do well on both sides of the Ocean. The band carried on delivering hits through their funky, jazzy songs with finger popping good grooves and infectious rhythms. During the following years up until today, Level
42 are recording records and continue to tour the world, although in a slightly different line-up.
The Collected double vinyl album contains a selection of their songs from the earlier years of Starchild' up until Tracie' and Take A Look'. These tracks, specially remastered for vinyl, are exciting, standing the test of time, delivered by a timeless band.

In a career spanning 45 years, Leo Sayer has sold more than 80 MILLION records worldwide.
To coincide with Leo's forthcoming return to the UK for his 22-date 'Just A Boy At 70' tour, 'The Hollywood Years
1976-1978' is the second of a series of three Vinyl LP box sets.
'The Hollywood Years 1976-1978' comprises Leo's three studio albums. 'Endless Flight' (released 1976/UK
#4) 'Thunder In My Heart' (released 1977/UK #8) and 'Another Year' (released 1978/UK #15) and marked a
clear departure from his early albums.
Leo recorded these three albums with legendary producer Richard Perry, who brought in a variety of songwriters
and collaborators to work on the projects with Leo; it was a venerable Who's Who of the record industry.
Each vinyl LP Box set in this Limited Edition release, will be pressed on heavyweight 180g clear vinyl and contain
a signed 12'x12' print.
This project has been overseen by Leo Sayer, who remains one of the UK's great singer/songwriters of all time.

* 15 brand new and exclusive cuts from some of their favourite producers, alongside another 13 tracks that have been the soundtrack to your clubbing experience their nights. If you have been to any of their nights in the last few months then you may well have heard these being road tested.

* Highlights include the Spectrasoul remix of LSB's 'Rollings Sideways' and the sublime Vanguard Project rework of BCee's 'Lost & Found'.
* Support from High Contrast, LTJ Bukem, Fabio, London Elektricity, Rockwell, Etherwood, Technimatic and a whole load more...

ESB is back with another Sleeper. As expected: four deep, housey cuts running from warm-up to sunrise.

The A-side delivers two sublime cuts drenched in that
unmistakable Italo-Balearic magic. Warm chords, sun-kissed
melodies and effortless grooves transport you straight back to
the golden days of mid-'90s Italian house music. Eyes closed,
you're cruising along the Riviera with the top down, lost in
pure bliss.
Flip it over and the mood shifts firmly toward the dancefloor.
The B-side explores deeper territory, moving through a range
of shades while keeping things locked into a tough, clubfocused framework. There's a distinct New York stomp running
through these tracks—driving, hypnotic and full of attitude—
yet they never lose the emotional depth and musicality that
have become a Westcoast Goddess trademark.
Just when you think the journey is complete, the EP saves its
ace for last. Closing things out is a hypnotic funk groove built
around silky Rhodes, a tight rhythm section and an iconic
bassline—a fitting finale that leaves a lasting impression.
A seriously strong package from start to finish, and another
essential chapter in the ever-expanding world of D3 Elements.

Carl Cox drags Renegade Soundwave’s “The Phantom” back onto the dancefloor with a fierce, high-pressure rewire built for peak-time systems. Running at 130BPM, the mix combines pounding techno kicks, snapping breakbeats and metallic percussion with dark, rolling bass and flashes of rave-era synth energy. Chopped vocal chants and distorted samples cut through the rhythm, steadily increasing the tension before the track erupts into a relentless, warehouse-sized groove. Raw, physical and deliberately uncompromising, it preserves the original’s rebellious industrial spirit while giving it the weight, momentum and modern production power of a full-blooded Carl Cox club weapon.

Mr C breaks into Renegade Soundwave’s “Probably a Robbery” and escapes with a hypnotic, acid-soaked rewire designed for the darker reaches of the dancefloor. Opening with clipped percussion and shadowy vocal fragments, the track gradually locks into a muscular groove as a snarling 303 line twists, bubbles and mutates across the mix. Layers of machine-funk rhythm, metallic drums and psychedelic electronics steadily intensify, creating a raw tension that rarely lets up. Spacious enough to draw DJs deep into the journey but relentlessly physical when it hits full force, this is classic British electronic mischief rebuilt as a tripped-out, late-night acid workout.

Rich Oddie of Orphx and Alex Pi of Pi Electronics introduce Anaxia, a new project arriving on Veyl with the 7-track LP “Maska”.
Built from raw electronics, stripped-down drum machines and a stark post-punk pulse, the record sits somewhere between industrial pressure and the ghostly minimalism of Suicide. It is direct but shadowed, physical but restrained, with vocals from Oddie and Pi cutting through the machinery rather than sitting on
top of it. Oddie’s background in Canada’s industrial underground and Pi’s long-running connection to the Greek electronic scene meet in a sound that feels tense, reduced and fully intentional. KAOSMOS and Florian Engerling add additional vocals, while remixes from In Trance 95 and Veyl regulars Years of Denial extend
the material into darker, more hypnotic territory. With “Maska”, Anaxia deliver a debut that feels fully formed: nocturnal, focused and stripped to its essentials. A natural fit for Veyl, the record draws a line between post-punk, industrial electronics and body music without overexplaining itself.

For any collaborative project to succeed, the artists involved need a creative unifier – a meeting point, if you will, of their disparate interests and experiences. In the case of Mondo Love & Betrayal, the joint project of Nottingham musical mainstays Neil ‘Nail’ Tolliday and Henry Claude Scott, there were two creative unifiers: a mutual love of classic 1980s synth-pop, as well as shared admiration for each other’s work.

Even so, such shared interests and respect for prior mutual endeavours is no guarantee of success. Yet as their eponymous debut album emphatically proves, the duo’s disparate experiences, characteristics and musical strengths have not only dovetailed beautifully, but also resulted in serious sonic gold. Put simply, Mondo Love & Betrayal is a stunning debut album rich in emotive songs, colourful melodies, atmospheric chord progressions and infectious grooves. Throw in the sun-splashed warmth and saucer-eyed, loved-up tactility of late 80s dance beats, and you have a breakthrough album whose timelessness is evident from start to finish.

The project’s roots lie in Tolliday’s desire to work with Scott, a virtuoso guitarist, talented producer and secret songwriter best-known for his work alongside Huw Costin as Torn Sail, and John ‘Ming’ Thompson as Brown Fang – both projects known for prioritising organic instrumentation and sunset-ready soundscapes over dancefloor-rooted beats.

Tolliday, of course, is one of British electronic music’s true polymaths – a long-serving house producer best-known for his long-running Bent project alongside fellow Nottingham resident Simon Mills. He initially approached Scott with the idea of providing vocals on a house track he was working on, but quickly suggested something else: an exploration of a classic synth-pop sound inspired by his love of Pet Shop Boys, New Order, Depeche Mode and the producers who worked with them – the likes of Martin Hannett, Arthur Baker, Stephen Hague and John Robie.

Scott accepted the invitation, seeing it as an opportunity to explore a different side of his musical personality. Their first recording session resulted in the ear-catching and memorable brilliance of ‘Correspondence’ – a tongue-in-cheek breakup song inspired by the death of landlines and the rise of mobile communications – and soon they were working on their debut album.

The resultant 10-track set is simply sublime, with Scott’s expressive delivery of his own lyrics on life, love, heartache and rejection working in perfect union with Tolliday’s kaleidoscopic and pleasingly authentic backing tracks – gorgeous and beautifully rendered instrumentals rich in memorable melodies, bittersweet chords, and subtle nods to ‘80s and early ‘90s dance-pop culture, from Shep Pettibone style remixes and Bernard Sumner guitar licks, to Beloved-esque piano parts and Chris Lowe chord progressions. Some listeners may also draw favourable comparisons with 21st century synth-pop practitioners, particularly Parcels, Private Agenda and the deeply emotive songs showcased by Junior Boys.

For proof, wrap your ears around such album highlights as opener ‘Boo Boo’, where Scott warns that “love and betrayal will haunt you” atop sparkling synths and Vince Clarke style grooves, the Behaviour-era PSB melancholy of recent single ‘Your Latest’, the mid-tempo dreaminess of ‘Beyond The Rainy City’, the early Depeche Mode chug of ‘Whatever Happened To Me’ and the tactile warmth of ‘Across The Plane’.

We could go on. In truth, the whole album is – in Scott’s words – “magical musical alchemy”. Wherever they choose to go next, Mondo Love & Betrayal is a seriously good sonic statement of intent.

Southern Fried Records return with the second instalment of Refried & Tested, a three track EP built for peak time festival business. Bass heavy and attitude driven, this one brings together friends old and new for a run of dancefloor tracks that don't let up. It's Southern Fried doing what it does best - club ready energy with real personality behind it. Elado opens Refried & Tested 002 with 'Don't Stare' - a bass-heavy, attitude loaded cut built for the dancefloor. It's peak time energy with a real sense of swagger, setting the tone for the rest of the compilation. Jordan Peak takes on Elado's 'Don't Stare' and delivers a whopping remix, reworking the original into a festival ready peak time weapon. A standout moment on Refried & Tested 002. lau.ra teams up with Bag Raiders for 'back2back', bringing dance floor energy and attitude to Southern Fried's Refried & Tested 002 - a collaboration between friends old and new that delivers exactly where it counts. Van Damn closes out Refried & Tested 002 with 'Hit You', a bass driven cut that keeps the compilation's dancefloor energy running right to the last track.

Step back to the mid-1960s with NOW Yearbook Presents – The 60s – Volume 3: 1965–1966, featuring 54 essential tracks across a 3LP set, pressed on beautiful blue vinyl.

LP1 opens with some of the decade’s most iconic vocal performances; Dusty Springfield leads with ‘You Don’t Have To Say You Love Me’, a UK No.1 hit that also reached the US Top 5, followed by The Righteous Brothers’ classic ‘You’ve Lost That Lovin’ Feelin’’, a chart-topper in both the UK and US. The Walker Brothers’ ‘The Sun Ain’t Gonna Shine Anymore’ was a UK Top 3 hit, while The Beach Boys follow with ‘God Only Knows’, widely regarded as one of their finest moments. Huge chart hits from The Moody Blues, Manfred Mann, Small Faces, The Kinks and The Animals with ‘We’ve Gotta Get Out Of This Place’ completes the first side…and flip the LP over for The Mamas & The Papas with ‘California Dreamin’, a major hit on both sides of the Atlantic and The Byrds and capturing the rise of folk-rock with ‘Mr. Tambourine Man’, another US No.1. Cher announced one of the most successful and enduring careers in music with ‘I Got You Babe’ – a #1 duet with Sonny, and is followed by the pop brilliance of Sandie Shaw with ‘Long Live Love’. Following The Mindbenders and The Fortunes, LP1 closes with a pair of soul standards: ‘My Girl’ from The Temptations was a US No.1(and eventually a UK #2 in 1992), and Percy Sledge’s ‘When a Man Loves a Woman’, another US chart-topper and a UK Top 5 hit in 1987 when it featured in a TV ad campaign.

LP2 opens with the explosive sound of 60s soul and crossover pop. Ike & Tina Turner kick us off with the timeless ‘River Deep – Mountain High’, a UK Top 3 hit. Frankie Valli & The Four Seasons had a huge hit with ‘Let’s Hang On’ and Motown is strongly represented with The Four Tops, whose ‘Reach Out I’ll Be There’ hit the US No.1 spot, alongside The Supremes, who scored another US chart-topper with ‘You Can’t Hurry Love’, plus Martha Reeves & The Vandellas, Stevie Wonder and a future Northern Soul Classic from Gloria Jones. Following James Brown, the side closes with the enduring soul classic ‘What Becomes Of The Broken Hearted’ from Jimmy Ruffin… while over on the other side Horst Jankowski’s instrumental smash ‘A Walk In The Black Forest’ leads in to pop classics from Tom Jones with ‘It’s Not Unusual’, a UK No.1, alongside Georgie Fame & The Blue Flames’ UK chart-topper ‘Yeh Yeh’ and Chris Montez with ‘The More I See You’. Sophisticated easy listening pop from Andy Williams and Frank Sinatra’s iconic ‘Strangers In The Night’ come ahead of Elvis Presley’s ‘Crying In The Chapel’, with LP2’s closer’s coming from Roy Orbison and Roger Miller, with the essential ‘King Of The Road’.

The Righteous Brothers’ undeniable ‘Unchained Melody’, a hit on release and a #1 in 1990 following it’s feature in the film ‘Ghost’ opens LP3 ahead of a wealth of huge pop hits from The Walker Brothers, Cilla Black and Cher – and rock oriented chart-toppers from The Troggs with ‘Wild Thing’ and The Spencer Davis Group with ‘Keep On Running’. The Everly Brothers’ ‘The Price Of Love’ leads into era-defining hits from Barry McGuire and Bob Dylan’s hugely influential ‘The Times They Are A-Changin’ reflecting the growing social awareness and changing approach to songwriting…and over to the final side opened by The Supremes with ‘Stop! In The Name Of Love’ ahead of The Toys with ‘A Lover’s Concerto’ and The Shangri-Las’ legendary ‘Leader Of The Pack’. Classic singles from Marianne Faithfull, Petula Clark and Sandie Shaw feature before the collection closes with a trio of timeless tracks: The trans-Atlantic top 5 ‘Sloop John B’ from the Beach Boys is alongside The Mamas & The Papas’ ‘Monday, Monday’ (a US No.1 and UK Top 5), whilst the aptly titled ‘Homeward Bound’ from Simon & Garfunkel – their first UK hit - signs off this superb collection.

NOW Yearbook Presents – The 60s – Volume 3: 1965–1966 – a snapshot of a rapidly evolving pop era where pure pop, soul, rock, beat, easy listening and songwriting sophistication converged.

Kito Jempere has spent more than two decades building a universe of his own, with releases on Mule Musiq, DFA and other influential labels, alongside remixes from Ewan Pearson and others. With Other People’s Aesthetics, that universe finally opens outward. After years of protecting his own musical language, Kito lets the outside world in—embracing the sounds, artists and scenes that have shaped him, from house and techno to Aphex Twin, Warp, Ninja Tune and Omar-S. The result is a personal universe merging with the world beyond it. The album opens with “Change For Now,” a collaboration with longtime friend Lipelis (L.I.E.S., Public Possession, Running Back), marking a friendship that has grown over the past decade. “Teaser,” originally released on Mule Musiq, returns in a new album “Dub” version, with fewer vocals and a stronger garage-house feel—a direct statement of love for David Lynch. “OPA” looks back to Kito’s original half-jazz, half-drum’n’bass sound and the Uniquetunes era of the early 2000s, alongside the music he absorbed from CDs by Amon Tobin, Squarepusher, Skalpel and The Cinematic Orchestra. “Listens To Selected Ambient Works Once” is a direct homage to Aphex Twin, given a Warehouse-style treatment for bigger dancefloors. “I’m Not A Doctor, Either,” featuring mishinuki—previously heard on Green Monster in its Moloko homage—builds towards an epic, euphoric string finale. “Kobayashi Porcelain” closes the record by combining memories of Usual Suspects with Moby-like atmosphere and an Omar-S-type beat. The release of Other People’s Aesthetics will be followed by a Japan tour in December 2026 and Kito Jempere’s ongoing residency at Honeycomb Hi-Fi in Dubai. Early support from: Ata, Reznik, Horse Meat Disco, Vladimir Ivkovic, Tim Sweeney, Max Pask, Rich Thair of Red Snapper, Ame, Ellen Allien, Benji B, John Tejada, The Blessed Madonna, Hard Ton

"Things are looking better than ever for GENERATION STEEL! The quintet from Wetzlar/Germany, has reinvented itself on all fronts and is set to take the music world by storm with its upcoming third studio album, Steelmachine.

With the addition of guitar wizard and songwriter Thilo Herrmann - who made his debut in 1985 on the FAITHFUL BREATH classic “Skol” and has written heavy metal history throughout his career with RISK (including “Ratman”), RUNNING WILD (including “Black Hand Inn”, “Masquerade”), and GRAVE DIGGER (including “Ballads of a Hangman”) - bandleader and guitarist Jack the Riffer now has a living legend by his side.

There has also been a change behind the mic: from now on, Swedish vocalist Mike Stark - who currently sings for the Argentinian band FEANOR and the Swedish group STORMBURNER - is setting the tone. His powerful, high-pitched yet dynamic voice gives the new tracks an absolute seal of quality.
GENERATION STEEL stands for authentic, traditional, '80s-influenced heavy metal, combining the styles of ACCEPT and JUDAS PRIEST.

The ten neck-breaking tracks on the band's third full-length album were produced by Piet Sielck (IRON SAVIOR), who has previously refined classics by GAMMA RAY, GRAVE DIGGER, HEADHUNTER, STORMWARRIOR and BLIND GUARDIAN.
The cover artwork, designed by Gyula Havancsak (who has also created artworks for POWERWOLF, ACCEPT and BLIND GUARDIAN, among others), is equally eye-catching.

Anyone who loves honest, traditional German metal will quickly embrace “Steelmachine”, because the quintet not only takes us back to the '80s, but also shows just how timeless true metal is. Ten home runs, including the four singles “Steelmachine”, “Witches Cross”, “Wings of Fire” and “Fields of Pain”.
Stay Metal – Stay Steel!"

THEODOR are a musical export from Darmstadt who are now well known far beyond the insider scene, enchanting audiences worldwide with their atmospheric, slightly psychedelic-sounding sweet soul. GERD JANSON, meanwhile, whoseNew Release Information musical roots also lie in Darmstadt, has been sending house, techno and disco
ravers into ecstasy worldwide as a DJ for decades. The @robertjohnsonclub resident also runs the @runningbackrecords label, which has been in existence since 2002, and regularly tinkers with electronic productions and remixes alongside his sound engineer @lopazz_mixmastering.

Sundae Soul, a Darmstadt-based label, has now, in a mathematical masterstroke, put two and two together and brought THEODOR and GERD JANSON together musically. It just had to be done. The result is a 7” single featuring the boogie-style track “Your Love” (to be found on THEODOR’s second album “Holocene”) on one side and the “Your Love – Gerd Janson 7” Mix” on the other. The term “mix” is almost misleading in this context. For his remix, Gerd has taken “Your Love” apart on the musical dissection table, filleted it and put it back together completely from scratch. The remix builds on the original with great skill and squeezes a technohouse club hit out of the producer-DJ’s repertoire.

We all agree – this one’s got to go straight into the club. So let’s get down to business and grab that vinyl.

To kick off our 5th year party celebrations the label begins its new set of releases starting with the joined forces of Regal86 and IMOGEN. The artists contribute two tracks each to the four track vinyl alongside remixes of each other's work, meeting at sonic crossroads.

The EP journeys through rave nostalgia filled with warmth and hope for the future, recollecting some favourite memories of the dance floor.

The A side is fast, driving with a sense of longing for the Halcyon Days and the offline times of partying when things felt easier. The release opens with ‘One Night In 1992’, IMOGEN’s nostalgic ode to an earlier rave era, built around a vocal recollection of her mother’s experiences on the dancefloor in the 90’s. Raw, hazy and deeply personal, it sets the tone for a record rooted in memory while remaining firmly in the present. Regal86 follows with ‘Rush’, bringing a different energy to the record. Driven by rolling rhythms, playful movement and a strong sense of groove.

The B side takes a more optimistic turn looking into the future with dubby aquatic pads and euphoric breakdowns, carrying a feeling of forward motion. There is a lightness to the tracks, a sense of joy running beneath NC Station and keeping the momentum locked whilst turning inwards on the final track, IMOGEN’s ‘Midnight At Bret’ rounds out a release that moves naturally between nostalgia, propulsion and the shared language of the dance floor.

As the next release launches, IMOGEN takes wigs on tour for a five year special run of shows starting on release at Tresor for a two club take over following with further cities: London, Milan, Dublin and more.

Compiled onto one vinyl album for the first time, Landlocked (Numbers, 2026) presents Hallucinator’s 1999 debut album originally released under Mark Ernestus and Moritz von Oswald’s label Chain Reaction. Writing much surrounding the culture of what would be later considered ‘Dub Techno’ and its’ primary distribution center, Hard Wax, leads one down roads of shifting primary sources and decades old overheard smoke break recollections. Maybe brevity primes the listener to the paralinguistic to approach the sound on its terms; focusing on how things are uttered and not what.

This theory will remain unconfirmed. Hallucinator original press release left us with three or so gestures to consider over the years since:

“A new act on CHAIN REACTION”s distinct productional thesis. HALLUCINATOR are 3 people from he UK/London and this their first release ever- that’s all what the artists want to let us know…. This record is dedidacted to the memory of Stephen Lawrence!”

The first gesture is one of personnel. Since ’99, we’ve gotten to learn a bit more about the artists behind the Hallucinator project. All London-based, all writers, composers, and sound-designers— Anna Piva, Edward George, Trevor Mathison. These three seem to flow between parameters as aesthetic tactic and tacit structure to the work itself. For example, other collaborative shapes have come from this lineup including Flow Motion (Piva, George and Mathison) as well as the now defunct Black Audio Film Collective of which George and Mathison are founding members.

The second gesture is in the second line of the previous press release, “distinct productional thesis.” Much of Landlocked’s affect and sequencing seems to suggest an emotional study of entropy at the level of sediment. Rhythms play with space and capacity through polyvalence. The production chose subtractive vertigo, often switching and bringing back in elements that vanished from the track 6 minutes ago. Dubbing out so much of a track, one begins to associate sound akin to memories held in the experience of running your hand across a concrete block as a child. Felt (re)memberance in lieu of narrative tale. Using textures that flicker between colour and percussion, Hallucinator’s 12-tracker of loudspeaker perception music might be a mediation on the psychic wake of the Cold War. Intermittent strata of ambience and groove convects an active margin rifting event underneath a scorched geology of power in Western Europe. Again, this is all grapevine hearsay.

But it’s silence that voices the third gesture. The album’s sparse application of the written word touches on the ennui paradox of being landlocked on an island. Stuck. Trapped in the psychosis of occidental hypercentricism. A looping silence of Black British tragedy: “to the memory of Stephen Lawrence”. 18 year-old Lawrence was stabbed to death at a bus stop in southeast London by six white men in 1993. The rift of grief and implicit reiteration of modern subordination left by this hate act went legally silent for almost two decades until Lawrence’s killers were ultimately sentenced to virtually life in jail in 2012. Only six years removed at the time of Hallucinator’s initial invocation of rememory, the mind-numbing accretion of what Black Studies Professor Denise Ferreira da Silva might call “unpayable debt”, finds demonic ground across Landlocked, forming an aural sense of what continues to be refused.

The album ventures through spaces of overactive non-happenings: ‘Red Angel’’s factory floor dub flashes between smokestack and jungle visions, or the halfway mark’s stilted breath of ‘Dusk’ lending its mood to the sort of sedated dreams built from daily life under colony rule for instance. That linked rhythm links us back to our linked fates across Black and Brown folk is real, thus the syncopated signals through this work behave on the level of transnational radiotelegraphy, sounding out its windswept tension of a body negotiating a meat-grinder schema of linear production and wage for others to know that unspeakable thing can be broadcast in every drum tongue.

As the silence continues to reverb, we return to the sort of meaning-making that cannot be told but felt. Soothing to some, disturbing to others. Landlocked, a Rorschach test for a crumbled empire.

2026 Repress

Snad is back on Smallville.

Shyam Anand is a long-term friend of Smallville and an MPC wizard with a wide-open heart. We are super happy to finally present a 12“ that is fully his own.

After an amazing contribution to Smallville 49 (check out Exerpts!), Snad aka Spandrel aka Shyam Anand presents a full 3-tracker on Smallville, packed with his irrisistible grooves, the usual unexpected twists and an overall magical atmosphere. Growing up near Philadelphia, then moving to Chicago and later exploring the global underground scenes of Berlin and Mexico City, among others, Snad is a busy man. He runs his own imprint Spandrel, co-runs We R The Aliens and has an impressive back-catalogue of contributions for several favourites like Running Back, Courtesy of Balance, Kimochi, Long Vehicle, 20:20 Vision, Phonica and many more.

On this 12" the A side belongs solely to Bubblescope - 14 and a half minutes of mesmerizing Ensoniq DP/4 Vocoder driven modular spheres, an endlessly deep bubbling piece of art that builds an intense feeling that could last for hours.
The B side sees Snad staying deep – Lukewarm Lava explores the broken beat world before taking you on a ride. The beloved B2-spot goes to Tanni - an integral part of Julius' warmup-sets since forever and thus a special one to finally put on wax.

Bubblescope comes with a Full Cover Artwork by Stefan Marx.

Trixie Whitley returns with 'Folded Time', her first full-length album in seven years and one of her most adventurous and rhythmically driven records to date. Written largely at the kitchen table of her Brooklyn apartment and recorded between Brussels, New York and Montréal, the nine-track album finds Whitley moving freely between rock, soul, R&B and more experimental territory.

Rhythm sits at the heart of 'Folded Time'. Whitley plays drums, bass, guitar and piano herself, with her love of polyrhythms running throughout the record. Heavy, slow-moving drums turn opener 'Carry' into a mantra, 'Fascinating and Fun' grew out of studio improvisation, while on 'Carnaval' Whitley and Cem Misirlioglu face each other behind two drum kits for what she calls a "drum rave". Her unmistakable voice remains at the centre, moving just as easily between restraint and raw power.

Across the album, Whitley looks at motherhood, womanhood, heartbreak, desire and forgiveness, and at how the past continues to shape who we become. It is a record about taking stock without standing still: instinctive and physical, but full of detail.

Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.


The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.


The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.


Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.


She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.


The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.

Cruise Music really does what it says on the tin - serve up the sort of grooves that are easy to slip into a ride along with, especially when the sun is out and the mood gets a little more playful than usual. Their 16th edition of this long-running series is another super fly collection of effective groove and classic house attitude. Makito opens with the funky licks and disco colour of 'Jailhouse Funk' while Mark Funk, Danny Cruz pull back and allow plenty of sunshine and jazzy sax warmth into 'The Vibe.' On the flip, Bonetti gets remixed by Vertigini for some filter-driven and dusty house goodness and Raffaele Ciavolino & FederFunk bring a little Latin heat and percussive texture. Classy stuff.

Jason Wilkins aka Cammile welcomes Lello Di Franco to his long-running Adeen imprint. As usual the Italian veteran has an eye-catching selection of collaborators in tow. Chief amongst these is Javontte, who not only guests on opener 'Do It Right' - a nostalgic chunk of classic house/boogie/jazz-funk fusion - but also flipside cut 'Elements', a hybrid deep house/Afro-house/disco house bouncer topped off with poetic spoken word vocals courtesy of Yvette Garrett. Alongside the duo's original vocal mix, we also get a jacking, stripped-back Toddsonic33 take and a propulsive, percussion-rich 'Vocal Dub'. Elesewhere, Orlando Voorn lends a hand on the appropriately titled 'The Deep', and Di Franco offers up the languid, organ-rich mid-tempo house shuffle of 'Lely The SBT'.

2026 Repress

KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.

Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.

Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.

The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.

One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.

Alex Barbu – Paths Lead Inward marks Alex Barbu’s first release on Bosconi Records, following previous releases on Digital Finesse and Maeteria. Across four tracks, Paths Lead Inward explores the space between minimal, techno, deep house and psychedelic trance, combining stripped-back structures with hypnotic rhythms, dubby textures and subtle traces of Goa-inspired psychedelia.
The EP opens with A1. “Tokyo”, a straight-to-the-point dancefloor missile. A rolling bassline, delayed voices and a simple but highly effective rhythmic structure push the track towards trance territory, with hints of Goa psychedelia filtered through a minimal sensibility. Immediate, hypnotic and built to keep the floor moving.
A2. “2006” takes a darker and deeper turn. A dubbed-out minimal techno cut populated by subterranean sounds, blurred textures and distant voices. Its slow-burning atmosphere makes it particularly suited to the deeper, more intense moments of an afterhours set.
On the flip, B1. “Hello Everybody” brings a heavier deep-house pulse into the equation. Hypnotic arpeggios, deep vocal elements and a rolling groove give the track a physical, almost stomping quality, while maintaining the murky and psychedelic character running throughout the EP.
Closing the record, B2. “Blobfish” dives deepest of all. A heavy bassline anchors a strange and unsettling landscape of anxious breathing, dark textures and disorienting sounds. Hypnotic rather than aggressive, it gradually pulls the listener into an upside-down dimension — a proper late-night trip for losing yourself on the dancefloor.
Paths Lead Inward is not only about movement on the dancefloor, but about what happens underneath it. Four tracks that touch you deeper in the soul and make you reconnect with it.

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

Bristol trio Jabu return with their first release for two years. Following on from their widely acclaimed third LP ‘A Soft and Gatherable Star’, this stand-alone double A-side Disco Mix 12” features four exclusive new tracks, while signposting fresh material currently being written, recorded and mixed for their forthcoming LP, due 2027.


If 2023 LP ‘Boiling Wells’ documented Jabu learning to be a live band, leaning into writing collectively in-the-moment, ‘A Soft and Gatherable Star’ took that record’s ad-hoc/mixtape blueprint, and fleshed out their transformation from an outfit rooted in hiphop and dubstep, to a guitar-based band with a unique take on dream-pop. It saw them described by The Face as “an experiential trio blending the raw edge of industrial dub with dreamy layers of ambient pop and shoegaze", and by The Wire as “like Mazzy Star remixed by The Mad Professor“.


Jabu have continued to grow in the space between releases, touring regularly for the first time, playing festivals such as Rewire and Le Guess Who?, and supporting the likes of Maria Somerville and AR Kane. Their extended live line-up now regularly incorporates those that contributed to ‘A Soft and Gatherable Star’, with new material often further developed as it gets passed back and forth between collaborators. Cellist Josh Horsley (Powders / Nightingale Floor) and multi-instrumentalist Will Yates (aka Memotone) both feature here, under the guiding hand of Birthmark’s mixing.


Titled after the rural, estuarine landscape bordering their Bristol hometown, ‘Severn Flood Plain’ sees the band pivot towards a more jagged and up-tempo, post-punk sound. It runs on a nagging drum machine pulse that feels closer to Joy Division than Sly Stone; while the echo-laced vocals and tremolo guitar phrasing hark back to the ‘50s slapback sound of Lee Hazlewood or Duane Eddy. Written and sung by Jasmine Butt, the lyrics describe a visit to a friend near the mouth of the Severn, and hint towards a darkness that can also be felt across that tidal landscape.


Dropping the pace to a languorous, sensual sprawl, ‘Where You Run To’ is plaintive and yearning, an opiated, ethereal flipside to ‘Severn Flood Plain’s more urgent, anxiety-laced opener. Alex Rendall’s vocals glide over a stripped, metronomic backdrop, eventually entwining with Memotone’s ghostly, processed clarinet.


If the band’s musical reference points appear to have shifted, their process remains indebted to dub and still very much rooted in the multicultural cross-pollination peculiar to their home city of Bristol. Both tracks are extended, with dub versions courtesy of Birthmark. The band sat in on those sessions, completing the circle that began with J’s on-stage mixing of their live sets. The strands provided by Will and Josh provide introspective counterpoint to the sound system leanings.


Jabu’s influences are threaded together as naturally here as on their long-running NTS radio show, ‘Music For Lovers’, which now occasionally guests on the Early Bird show slot. They are due to play World of Echo’s ‘Expected Music 2.0’ at London’s Walthamstow Trades Hall on 21st November with Loopsel, Insides, Giulio Erasmus, Thomas Bush, and Raime amongst others.

Ltd pressing, Widespine, black paper inners.

Tectonic Recordings presents Tectonic Sound: Vol. 2, the second instalment of the various artists series curated by label founder Pinch. Following the first Tectonic Sound collection, released in 2025 to mark the twentieth anniversary of the label, the series continues Tectonic’s forward-facing approach; bringing together artists from their wider family and connecting dots across the underground.
Longstanding figures of the UK Bass scene such as J:Kenzo and Roska sit alongside a new gen of artists including Ehua, Manami, Cimm, Denham Audio, Henry Greenleaf and SHXCXCHCXSH. Beatrice M. also returns following the release of their acclaimed debut album Sinking earlier this year, while Jay Carder and Sir Hiss make their first outings as solo artists on the label, after both appearing as collaborators on Sinking.
Pinch says: ““As Tectonic enters its third decade, the spirit and passion behind the music hold true to its roots. I love every single track on this compilation and how it shows off the various corners of the label's sound. Each artist has delivered something truly special!”
Each artist arrives with a distinct sound and history of their own, but across these twelve original tracks there’s a shared understanding of what Tectonic represents. Different strains of the UK bass continuum come together, creating a space where sounds collide, and new forms take shape. 
Pinch leads the charge with ‘Hold On!’, an upfront, high-definition 4x4 propulsion tool that pairs rolling momentum with seismic bass pulses. Manami enters with ‘Turning Point’, further solidifying her newer direction, leaning into deep, dubbed-out territory with a sound that feels both vast and exploratory, while remaining heads-down and locked in. Henry Greenleaf steps in with ‘Whist’, an ominous and otherworldly offering, reminiscent of early dubstep productions that fell somewhere between the lines of dark garage, 2-step and grime.
Elsewhere, SHXCXCHCXSH’s ‘NexxxD’ and Sir Hiss’s ‘2TUFF’ form a middle climatic point of pure chaos, with Sir Hiss serving up a raw slab of gnarled grime waveforms and cascading claps. Beatrice M. & Cimm bring things back down with ‘Pad City’, a cool, meandering cut of shuffling house, while Lorem closes the compilation with ‘Console Corners’, exploring the outer rims of sound manipulation and deconstruction before tying it all together.
Since its formation in 2005, Tectonic has been a trailblazing force in electronic music, helping to define and continually redraw the boundaries of dubstep and its surrounding sounds. The compilation arrives in the middle of a serious run for the label. Earlier this year, Tectonic released Beatrice M.’s debut album Sinking, a major moment for the label that was embraced across the electronic music community. Pinch has also continued his long-running creative relationship with legendary grime MC Trim this year, following their joint 2025 EP No Caller ID, with recent single Striker.
Across Tectonic Sound Vol. 2, those different strands of Tectonic’s history and present day meet head-on. The music moves between familiar forms and stranger territory, with rhythms and frequencies refracting across the collection. It’s a record that feels cohesive without being uniform, reflecting a label whose sound has always been defined by forward movement.

Maltese producer and live performer Melchior Sultana returns with Rhodes In The Middle, Built around Sultana's signature Rhodes piano work, the title track unfolds with effortless elegance, combining fluid musicianship with a hypnotic dancefloor pulse.

acclaimed German selector and Running Back boss Gerd Janson delivers a remix that transforms the original into a finely tuned club weapon.

There is a strong sense of place running through 'North West Tonight', as God Colony aka Crack Copies label heads and Liverpool-raised duo James Rand and Thomas Gorton sketch out a hazy, after-hours portrait of their hometown. Drawing on 80s new wave melodies and rough-edged club rhythms, the EP balances sounds of yore with present-day energy. There is crunchy, disrupted bass on 'The Column', backlit broken beat on 'Middle Eye' and more sun-kissed depths on 'Rhyll Sun Centre'. 'The Paradox' stands out as a darker, more edgy and club-ready sound while the rework by Sasha stretches the track into something built for wide-eyed dancefloors.

Common Language is a project of the Community Library label. We started it as a way to reconnect with the ideas that drove ComLib’s inaugural releases back in 2005, uncompromising and eclectic DJ 12’s. We’ll be focused on this imprint for a while, and near-term, putting the emphasis on releases by label cofounders and our closest friends.

On CLANG02, the Middlemarch 12” EP, Solenoid transmutes his signature buoyant syncopated acid, electro, and mutant techno into moodier, reverberant territory. If you previously knew Solenoid for his restless, sophisticated Braindance-adjacent stuff, this EP is totally consistent with his long discography. Here though, he gets into a dreamier, and also bassier zone that is equally rewarding either in the innerspace immersion of headphones or in the warmth of your favorite local underground club’s sound system--lots of detail and atmosphere to sink into.

“Middlemarch” is moody deep techno-- a clatter of distant percussion encircles eerie pads and an extra-bassy, double-filtered TB303 bassline. “Ways and Means” rotates perplexing polyrhythmic patterns driven by bright, elasticchords that keep it moving (reminding me of The Martian’s stuff on Red Planet a bit). “A Winter Walk” offers a skeletal, skittering rhythm that wouldn’t be out of place next to a Livity Sound track; and the closer, “Dvv Waltz” reserves a 3/4-time experiment for the bravest / most inquisitive DJs.

Edition of 300 vinyl copies includes special full- color insert
Mastered by Dietrich Schoenemann

About Solenoid
Solenoid is the primary musical vehicle of David Chandler, a lifer underground producer, musician, and visual artist. As a lone electronic voice in the wilderness of early-90s Portland (which was at the time a grunge-saturated third backwater) he started out releasing adventurous, now- unobtainium tapes on his DIY Pharmacy label. Solenoid then became known internationally at the turn of the millennium as one of Portland’s persistent ambassadors for underground crossover electro and techno, releasing on labels like Outward Music Company, Emanate, Orac, and many others (most recently, on the Paris label Partout). He’s a real legend honestly--doggedly clocking in almost 40 years of uncompromising experimentalism with a signature sound and vision running all the way through.
-- Paul Dickow (Strategy)

Roulade is back, and this time, Ursule is running the show!

When Ursule and his squad hit the town, expect a proper rave and a few wild shenanigans.

Providing the soundtrack for this urban night out: P.O, the (not so) Mysterious T, Occibel, and Roulade 3000.

Come join the party - tonight we ride!

2x12" 180g black vinyl
Gatefold
2x printed Innersleeves
Dl-Card
D1 "Running" exclusive track - only available via album vinyl

Monolink's second full-length musical opus, which follows on from the critically lauded release of his debut LP Amniotic back in April 2018, Under Darkening Skies features twelve exquisite new vocal-led compositions, including his internationally celebrated hit singles, Otherside and The Prey.
Speaking about the album: "Under Darkening Skies is an album that's connecting different dots in my life, representing phases or moments I went through. I wanted to go back to writing actual songs again instead of adding vocals to a beat, which gave me the freedom to express more musical facets of myself. Eventually it became the most diverse record I have made so far, influenced by a time of global social and economic uncertainty at an ever-increasing tempo of change, like a dark cloud approaching. "

Who, or, what, exactly is a Matured Sinner? In this case it's the result of a meeting of both minds and bodies between Swedish producer Johan Blende, freshly relocated to Athens, and fellow Eskimo artist and native Athenian NTEIBINT. Between the decidedly weak minds of succumbing to night time activities and day time regret an idea was born to create the best Greco-Norse creation since ABBA stole a bouzouki and used it shamefully for the best part of Mamma Mia (OST ?).

"I took one of my half-baked beats to George (aka NTEIBINT) to see what he could add to it and voilà - Mist 9000 was born!" explained Johan. Now complete with pulsating analogue arpeggios, a throbbing bass line and increasinglydistressed synths all writhing together in composed ecstasy that dance floors are made for, the track that emerged from George's studio left them hungry for more.

Returning to the studio, it isn't long before the song that would give this new project its name emerged. Created with the help of a friend Olga on backing vocals and an unnamed, equally sinning, young lad, Matured Sinner paired hypnotic disco beats, sinuous synths, squawking sine waves and almost queasily blissful sighs with a cautionary tale of drugs, flying saucer cults and a spiral deeper and deeper into sin and moral ruin.

Was it enough? It was. But then the third one came around, mainly by sheer want to continue, lingering like the third child of a marriage running out of ideas. Shall we keep going? "Of course we shall, this is our gift to the world!" Like a modern day cult, Bright Bum was conceived in a non-sexual context from leftover sounds after a nightof confusing creations and not necessarily tender compliments in an equal manner, chugging synths squelching their way over a mesmerising guitar loop as bright stabs cut through the humid funk of the track's insistent rhythm which, like all good nights out, increasingly fray at the edges as it rolls towards oblivion. Nobody requested it but like the nature of humanity itself, it must keep going.