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Wisdom from the child’s mouth always tells us the truth. It’s hard to overstate the influence of Ditterich von Euler-Donnersperg on A Colourful Storm; indeed, it’s almost impossible to imagine the label’s existence without it. A figure whose movements within Germany’s industrial avant-garde span almost forty years, it would be in 2010 that he unknowingly entered our orbit through two important releases. At the time, SPK’s Auto-Da-Fé and Throbbing Gristle’s Journey Through A Body left some impression on us, their discovery propelling an interest in the possibilities opened up by industrial music that we still explore today. Responsible for publishing these releases was Walter Ulbricht Schallfolien - who, or what, were they? Founded in 1980 by Hamburg-based Uli Rehberg, Walter Ulbricht Schallfolien was a base for Laibach, Asmus Tietchens and Werkbund as well as Rehberg’s own artistic endeavours: the most devilishly humorous his adopting of the name Dr. Kurt Euler, spokesperson of a satirical political party comprised of musicians Felix Kubin and Gregor Hartz. The project would foreshadow the life of Ditterich von Euler-Donnersperg, an alias unveiled in 1998 with the first in a series of spoken word 7” picture discs that have since become highly collectable. Attracting an enviable list of collaborators throughout his career (John Duncan, Thomas Köner and Column One have all lent their expertise), it is perhaps the enigmatic Werkbund project that remains most coveted within the world of von Euler-Donnersperg. Cloistered and clandestine since their inception in 1987, their brooding, synthetik atmospheres have long been speculated to be the work of von Euler-Donnersperg himself. Listen to Werkbund’s Skagerrak or Stahlhof and tell us we’re wrong... The culmination of decades of sound research and electroacoustic investigation, Weisheit aus des Kindes Mund tut uns stets die Wahrheit kund is significantly also a tribute to von Euler-Donnersperg’s children, their voices and spoken word hocus-pocus conjuring clairvoyant visions amongst soaring metallic sheen and spectralist digital debris. Cybernetic ooze spilling into servers and causing subdued bleep signals and static. A slasher film soundtrack starring the German avant-garde dressed in laboratory coats. The latest piece of von Euler-Donnersperg’s peerless, endlessly imaginative puzzle.

Dizzee Rascal's debut album "Boy In Da Corner," released on the prestigious XL Recordings label, won the UK Mercury Prize and became the first UK rap album ever to go platinum, and is being reissued as a 3-disc set to celebrate its 20th anniversary!

Anderson do Paraíso is one of the most influential and seminal DJs and producers behind the downtempo and dark baile funk sound of the city of Belo Horizonte. At 27 years old, the artist gained notoriety with songs that draw an unusual ghostly atmosphere full of suspense and mystery to the frantic whirl of the famous Brazilian beat.

Anderson started producing music in his bedroom in 2012, taking the Tamborzão funk from Rio de Janeiro as a reference. But his sound went through a profound transformation between 2015 and 2016 when he started attending Baile do Serrão, the street party in Aglomerado da Serra—the largest favela in Belo Horizonte and the second-largest group of favelas in Latin America.

When Anderson started going to Baile da Serra, the funk parties in Belo Horizonte were also experiencing a remaking in their geography and sound. The city has a funk scene whose history goes back to the 1980s. However, until the 2000s, the main bailes took place in closed spaces, on sports club courts, like Baile da Vilarinho. The music back then was closer to hip hop, with MCs singing verses about the hard times in the hood, violence, crime, hope, and faith in better days ahead.

However, in the mid-2010s, the bailes were popping up in the streets of favelas. And it was there that a completely new musicality emerged. The MCs focused on verses about sex, drugs, and having fun, while the beatmakers began to invest in more minimalist and ambient arrangements, with slow pace and full of reverb, highlighting beats with high frequencies, as heard in "Sadomasoquista" and "Duvida Não Letícia". This is the sound of Funk BH (or Funk Mineiro), a scene that has been influencing musicians on a national scale as Belo Horizonte DJs and MCs amass hits on streaming charts and go viral on TikTok.

Anderson do Paraíso— o "queridão", the "dearest," as he is also known— is one of the sound architects of this music. His signature is the contrast of electronic elements (such as the robotic sounds of "Todas Elas ao Mesmo Tempo" and the trap hi-hats in "Pincelada de Angolano") with classical music instruments, such as the piano in "Se Faz de Santinha," the violins in "Aula de Putaria," the soprano backing vocals in "Quarentena Cheia de Ódio" and the timpani used as snare in "Blogueira Que Virou Puta". "União dos Rlk" is a collab with two other producers, Ph da Serra and Vitin do PC, that showcases a intricate sound craft and a futurist vision of the genre in mixing different types of baile funk beats in a single track.

Brazilian funk became internationally known for its chaotic energy. However, Anderson's music has an unorthodox and innovative approach that strips down its elements for a radical minimal sound, underlining silence to build a cinematic suspense. "Blogueira Que Virou Puta" showcases the whispery voice of MC Paulin do G floating in a refined and sparse structure oscillating between sensuality and terror, while the haunted bells of "Chama as Sua Colegas' and the choir of "Ultimo Medo do Ano" conjures an haunted aura of baile funk. And yet people create different ways to dance to this sound, stretching the boundaries of the dancefloor.

Root Echoes is described by Pedro Elías Corro, better known as DJ Babatr, as “a celebration of resilience, joy and solidarity on the dancefloor.” The album offers a raw, powerful snapshot of the raptor house sound in one of its most formative and expressive periods. Carefully selected from Babatr’s personal archive, it connects ground-shaking tracks produced in Caracas between 2003 and 2007 with more recent material that keeps the genre’s pulse alive today. Recognized as a foundational figure in the creation of raptor house, Babatr shaped a style defined by its fusion of Afro-Venezuelan percussion, tribal techno, acid, Eurodance, and the street-level intensity of Caracas working-class neighborhoods. His tracks spread organically through minitecas, bootleg CDs, and street parties, becoming part of the shared sonic vocabulary of a generation.

These tracks were born within the vibrant miniteca scene of early-2000s Venezuela. Known locally as changa, this was the catch-all term for the electronic dance music, house, techno, Eurodance, that powered matinées and street parties. From that ecosystem, raptor house emerged as its own distinct identity, marked by galloping rhythms, serrated synths, and hypnotic structures designed to energize and empower. Opening with 2024’s “1 2 3 4 Ladies on the Floor”, the album delivers a relentless floor-filler that fuses technoid drive with Venezuelan percussive textures, a contemporary statement of Babatr’s ability to refract global sounds through his own lens. It then moves back to 2003 with “The Tech Sounds”, where trance-like synths spiral around tough, wooden drum patterns in a track as raw and defiant as the dance floors it was built for.

These are not just tracks. They are sound documents of space, community, and survival, a genre built for collective release and celebration, echoing from the barrios of Caracas to sound systems worldwide. More recent cuts like “Let’s Do It” layer classic TR-909 kicks and echoing vocal stabs with synth work that nods to foundational techno. “You I Wanna Bass” (2005) reimagines 90s Euro club leads with a Caracas edge. “Call Space” channels the mysticism of pre-Hispanic flutes into shrill, trance-infused riffs, pulling the listener into its own sonic ritual.

Root Echoes is an intimate and deliberate selection from over 700 tracks Babatr has recorded across two decades. It captures the heartbeat of a movement that never stopped, music that traveled hand to hand, through bootleg CDs, online sharing, and word of mouth—ultimately finding its way into the sets, remixes, and samples of DJs around the world, resonating across global club networks.

As an avid believer that some songs shine only under the right circumstances Balduin doesn't shy away from weaving repetitive loops with patterns of ambience just to let some hands-up moments unfold every now and then. He doesn't like to think in categories. This approach is also reflected in his diverse musical productions. By reinterpreting genre-specific elements, discovering unheard soundscapes and with a good portion of nostalgia, he sculpts little stories that vibe on dancefloors and in living rooms alike. Following multiple appearances on labels like QC Records, Kompakt or his own GLYK imprint – DJ Balduin lands on KANN with a full lengths worth of downtempo, ambient and extasy inspired house cuts. Concrete Mimosa rolls out with 11 tracks to shine in full effect.

Bebedera takes the style of Tarraxo to a heightened awareness of its sexual nature. Tight, wicked layers of percussion, a suggestive ID ("Drinking is his life"), a slow pace that's not only perceptively slow, it sounds charged with intent, even malice, dissolution. Letting go of morality may be the big attraction in the music, permission to get down, this time in a heavy, conspicuous manner instead of a spiritual, breezy floatation. One has to recognize the impulse in ourselves. Once at peace with this rough nature, there are sublime grooves to follow, mind-boggling arrangements, a freedom from judgement in connecting with what may seem to be at first a very masculine take on dancefloor sensuality but which is in fact only human. Just with less filters.

In other ways, an aural combination of metal and flesh produces this notion of a cyborg, a very expressive physical body making its weight known to everybody around, a sort of walking fortress as in the "Moderan" group of sci-fi short stories. A glorious rattle of lata percussion, scraps from the junkyard. A sense of unease, even slight danger starts a flow of adrenalin. According to DJ Marfox, it's not the only thing flowing, there's also a strong desire for intercourse when a Bebedera tarraxo is playing. His very distinctive style has been a cult favourite for years. Accordingly, it took years to make contact, to reach an agreement, and the result is a set of classics that stretch as far back as 2014. Still the same punch, still the feeling no one has really stepped into this territory with such force.

Flipping the construct on its head, there's two Bebedera house tracks, we'd say almost an oddity, an abrupt change from the previous density of atmosphere, though they retain all the percussive bounce. Sensual, sure, a different tempo also letting through a romantic disposition other than the sheer physical attraction. One of the titles sums up the aesthetical power at play: "I Will Beat The Top High". As in reaching further out, further up. Wanting to. Time freezes - 2014 and 2016 (production years of these two tracks), fold up and melt into the Present. Where it matters.

南アフリカ出身のDJ DadamanとMoscow Dollarによる最新作『Kagaza』が、ウガンダ版〈PAN〉な大名門〈Nyege Nyege Tapes〉から登場。本作では、バカルディ、クワイト、アマピアノ、ハウス、シンセ・ポップといった様々なジャンルやスタイルを横断した全6曲を収録。ミリタリスティックなスネア、プロト・アマピアノ／ポスト・クワイトのベースライン、ハウス風のM1ピアノ・フレーズ、曲がりくねったシンセ・シークエンスが特徴的。バントゥー語のXitsongaで歌うMoscow Dollarのヴォーカルが、タウンシップの生活を生き生きと描写していきます。南アフリカの豊かな音楽の歴史を伝えると同時に、未来を予言するようなサウンドが詰まった一枚！

DJ Desecrator smelts 70 minutes of radical metals and synth gloom on what TTT are touting as “our best mixtape?” - a must-check for anyone who copped the DKR session or Tom Boogizm's 'Hardcore' shotta. Utterly reeking of Ork armpits and putrefied meat, ‘Ritual Giblets’ lays out a feast of extreme hard rock and metal entrails by artists who have us by the short and curlies for the duration. Bookended by cinematic scenes of doom and decay in the opening blast of horns and drizzle, and its sublime closer, the meat of the mixtape is pure BM, grind and death metal sequenced for optimal possession, replete with the sort of synth intros Conrad Schnitzler made for Mayhem, or the foul medieval atmospheres to When’s ‘Black Death’ which inspired the Norwegian BM scene and are also found on NTS’ dungeon synth survey. Not for the faint hearted but manna for headbangers. full gnarrr.

DJ Haram's debut album Beside Myself is testament to the survival of the spirit as an artist reckoning with the present global hellscape. A reference for rage/grief and also the alienation of feeling out of step with the world, the album title functions as a double entendre. With a decade spanning career, the “multidisciplinary propagandist” insists on evolving in times of war and weaponized entertainment, challenging herself and her peers, she asks - “how can this be, how can we live with ourselves, how can we find each other and the truth, how can we get free?” The answer is never so explicit but the out-loud musing places her firmly “beside herself”, travelling a “lonely road”, building her space, sharpening her technical production and lyricism to new focus and intention.

On Beside Myself she is joined by a swarm of collaborators, finding her ‘lonely road’ full of peers, collectively navigating pain and purpose, and in occasional moments of joyful respite, mocking the strife. Haram describes herself as a “god fearing atheist” who makes “anti-format audio propaganda/anti-lifestyle immersive sonics”. Her music attests to this, as she brings in friends and collaborators some of whom she’s previously produced with, from MC's Armand Hammer (billy woods + ELUCID), Bbymutha, SHA RAY, her 700 Bliss partner Moor Mother, Dakn, through to co-producers like Underground rap god August Fanon, Egyptian producer El Kontessa, Jersey Club producer Kay Drizz, musicians like trumpeter Aquiles Navarro, and guitarist Abdul Hakim Bilal.

It's immediately identifiable as her work, but simultaneously unclassifiable; a syncretic ensemble built on middle eastern music, that finds equal space in its tormented live production for Jersey Club, punk, noise, electro-acoustic instrumentation and sampling, tambourines, shakers, darbuka drums and violin, matched with trancelike rave synths, walls of 808's and lurking, rumbling bass. Often at the centre is her own performance of unflinching, heartbroken poetic verse, in conversation with inspiring thinkers like Audre Lorde or Nawal El Saadawi (who’s words are featured on the album) and Kim Gordon in context, examining the material and the abstract in equal measure.

Shades of Yesterday is the new covers album by DJ Harrison – 11 tracks that pay homage to his musical heroes, representing some of his most treasured childhood memories, out February 9th on Stones Throw. It was created over several years at his home studio Jellowstone, where he also created his previous two Stones Throw albums, 2021’s Tales from the Old Dominion and 2017’s HazyMoods. The announcement comes with a new song, too. “L’Anthropofemme” is a cover of French group Syntaxe.“L’Anthropofemme” was first introduced to DJ by Tyler, the Creator during an L.A. studio session where the two artists shared some of their most loved songs. Last year, Harrison shared “Lil Birdie”, a cover from Vince Guaraldi’s iconic A Charlie Brown Thanksgiving special, and a cover of Donald Fagen’s “IGY”, which he decided to record after opening for the Steely Dan legend in his hometown of Richmond, Virginia. While DJ Harrison has spent his career as a sought-after collaborator, playing in the funk-jazz fusion outfit Butcher Brown and collaborating with Pink Siifuu, Joyce Wrice, and winning two Grammy nominations for his work with Kurt Elling, Shades of Yesterday was created solo, with Harrison playing almost every instrument himself.

DJ K started producing music at 17, diving deep into FL Studio tutorials and honing his craft. Now at 24, he’s emerged as one of the most daring and inventive voices in contemporary Brazilian funk. Hailing from Diadema, on the outskirts of São Paulo, DJ K quickly rose to prominence with his creation of bruxaria—a dark, noisy, and psychedelic spin on baile funk that redefines the genre’s boundaries.

Two years after his groundbreaking debut, Pânico no Submundo, DJ K returns with Rádio Libertadora, an album that’s even more aggressive, visceral, and politically charged. In his own words, it’s “an album against the system”—a sonic rebellion confronting urban violence, social inequality, and police brutality, while embracing the explicit sexuality of putaria as an act of freedom and defiance.

The album's title nods to Brazil's legacy of resistance against military dictatorship. Its opening track boldly declares “Down with military dictatorship,” sampling a historic speech by communist guerrilla leader Carlos Marighella, originally broadcast during a clandestine radio takeover in 1969. Featuring MC Renatinho Falcão, the track is a sonic assault—metallic noise, thunderous basslines, and layers of distortion collide with insurgent lyrics that paint the favelas as battlegrounds in an undeclared social war.

Rádio Libertadora channels the militant spirit of 1990s Brazilian protest rap—drawing influence from legends like Racionais MCs, Ndee Naldinho, and Dexter—while immersing itself in a brutal, corrosive electronic landscape. Tracks like “Troca Tiro e Faz Dinheiro” and “Sobrevive Contra o Estado” weave gunshots, alarms, and sirens into frenetic rhythms, throwing listeners into a warlike cinematic experience. In “Mega Suicidio Automotivo,” beats refuse to settle, shifting unpredictably through apocalyptic, hyperconnected soundscapes that mirror the chaos of modern life.

On cuts like “Psy Vem Fazer Neném,” “Techno de Favelado,” and “Ali Perto da Imigrantes,” DJ K reimagines club music through the lens of bruxaria. Sharp techno hi-hats and bouncing house basslines clash with hallucinogenic tuin squeals, laser blasts, and harsh distorted whistles, blurring the lines between rave and riot. In DJ K's hands, baile funk is weaponized—becoming the soundtrack for a surreal dancefloor insurrection on the periphery of São Paulo.

With Rádio Libertadora, DJ K pushes the boundaries of funk, transforming it into a visceral weapon of protest and liberation. This is more than an album—it’s a manifesto set to the raw pulse of São Paulo's underground.

Ambient, hip-hop, abstract, jazz, dub, electric sounds.... TALKIE'S MOOD SOUND TRACK#1", a cassette tape work created by DJ KENSEI and Jusanga's sessions, is now available. TALKIE" is a bi-monthly event held at Brooklyn Brewery's flagship store "B" on the basement floor of K5 in Nihonbashi Kabuto-cho, Tokyo, titled Cinematic Art Salon. VIDEOGRAM) are in charge of the visuals, and the brewery's space is designed to entertain the crowds. TALKIE'S MOOD SOUND TRACK#1" will be released with the support of cassette tape label Tastee T Production. The sound sources included in the album are selected and edited from the session recordings by DJ KENSEI + Jusangga played at the event. We hope you will enjoy "TALKIE'S MOOD SOUND TRACK #1" as a complete piece of work as well as feeling the atmosphere of the event.

Dancefloor fire bombs from Kolt, a DJ and producer thus far mostly operating under the crew name Blacksea Não Maya (with Perigoso and Noronha). This is his first Retirement record. No quotation marks here, Kolt is actually stepping down from a fruitful decade-long career as DJ and producer. Fat, techno-ish, idiosyncratic big room afro mind melt sounding like no other hyped or non-hyped dance cuts out there. Futuristic and decidedly non-European in structure, this set of 4 tracks carries a more synthetic DNA than previous material, if we exclude his quasi-gothic slow burners in BNM's "Máquina de Vénus" LP. But in "Verdadeiro" Kolt is all virtual open arms and bare chest, appearing to satirize this idea of the megastar DJ. But what comes across is distinctive and alive (consequently deadly on the club sound system), wiping out the floor of any zombie-preset-DJ vibes. Take "Bateste" as an example: an evil bassline, wtf beeps, a vocal snippet prodding the dancers and a final blissful 30 seconds to ease you out. "Shaman" is the final track, its title just maybe nailing the atmosphere felt by people on the dancefloor. Shamelessly epic and in your face, a simulation of a throwback to a more clichéd clubland but just so left of centre that one can't find a complete correlation to fit the picture. Yes, we all go OMG.

Matter-of-factly, Lycox exclaims "Yaaahh" right at the beginning. That's an affirmation but in times of distress it can also mean resignation, something like "Yeah, whatever". Lycox says he was only freestyling though. Then the bassline appears. Elastic, expressive, full-bodied. And it's not even present the whole time. He was "trying to develop a new formula for the Kuduro beat."

Songs for the club? Most certainly. Different sensibilities, one same focused mind. Lycox evolves within tradition, he has mastered the groove, the ambience, the right tones. Simply called "Energia", the last track circles above wistfully, menacing but maybe just promising some sort of action. With a few drops one could almost switch over to a parallel universe of old school Trance, a reference that feels as alien here as maybe this track feels to someone for whom the standard Afro House sound represents modern African music.

These songs pile up in a threshold balanced between styles, sensations, maybe in the middle of life itself. Such a concentration of energy is bound to need release and that comes figuratively through details in the music reaching out to receptive ears. "To Bem Loko" explicitly tries to "literally drive everyone crazy on the dancefloor." Once again Lycox provides vocals, as in "Edson no Uige", about a friend who embarked on a trip to the Angolan province of Uige and came back speaking only the local dialect known as lingala. A nod to tradition, very emotional, without compromising complex arrangements. Consequently, we the listeners are kept believing there is still enough space for a bright future. To ears accustomed to Lycox productions the title "Contemporaneo" (opening of side B) reads like a redundancy, then.

Maybe this music can never be quite as massive as other Afro styles. Without sounding pretentious, it avoids simplistic patterns, it demands a bit more mental processing while it certainly aims to loosen the limbs. Universal in vocation, underground at the core, Lycox definitely calls it Batida but for some it is still Ghetto Music. Like DJ Veiga said when describing a previous release for Príncipe, Ghetto is home, though. Lycox adds it is a foundation of personality. "Few in our community will recognize your work when you come from the same environment, but once you establish your reputation outside of the neighbourhood and even outside of the country, people will look at you differently, as if you were a star." 

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.

Feels as if we're stepping outside the known universe of Nigga Fox but simultaneously being invited in. It's not about being hermetic, shutting out followers of his trademark dance beats or making an experimental statement per se. All this music comes effortlessly during sessions such as any other, so don't throw away valuable time searching for a concept. "Chá Preto" sounds revolutionary but not so much in his discography, accustomed as we are to game-changing compositional solutions in the afro musical continuum but - never forget - also in Dance Music taken as a broad genre. But is it Dance? Certainly a fair amount of suffering and introspection comes clear throughout the album, namely in the sequence made up of "Má Rotina" and "Mutadoree Leonor". "Mutadoree" is a free, alternative spelling of "much pain" and each listener can process the info as s(h)e pleases. The music is also strikingly beautiful, so there's really no final word on this. Beats come sparse, a very personal phraseology, the dancefloor a memory. Or just something to keep in mind for a future night out. Presently there's no lack of adventure or excitement in these grooves, a uniquely themed one-person show of musical skills and bare emotion. It ends in a snap, not a trace of embellishment. Pragmatic and out of the loop. Rewind and feel it all over again. Any comparison in mind? Flip through History books and you won't find this chapter.

Rhythm fiends, your time! Lisbon’s DJ Nigga Fox swangs it wide, precise and deadly on his first new tunes since 2019’s outstanding ‘Cartas Na Magna’ LP and a killer live tape in ’21 Deploying four immediately upfront, naturally experimental workouts, ‘Música Da Terra’ marks just over 10 years since DJ Nigga Fox came to our attention on the ‘African Digital Dance’ compilation, and solidly affirms his role as the leader of Lisbon’s new school. Balancing a cosmic jazzy depth akin to Jamal Moss or Ron Trent’s deep house with more urgent, syncopated ghetto grooves, his music is the pinnacle of contemporary Kuduro, if you ask us. The lad’s catalogue practically charts the sound’s development from grimy and hardcore to more sensual, textured and rhythmelodically psychedelic in a way that places him like Kuduro’s answer to Dego or A Guy Called Gerald, and especially on this EP. Including an instant standout jam with fellow Príncipe don DJ Firmeza in the muscular bass churn, bolshy brass and groggy pads of ‘Sanzaleiro’, Nigga Fox absolutely bosses it on his three solo works. There’s the adrenalizing scorcher ‘Madeso’ at the front, with its shards of marching horns sliced up into swingeing heads-down swagger, but also laid with a mental breakdown, while ‘Gás Natural’ cools off for a hot minute with its exquisite, chill breeze melody and in-the-pocket log drums leading somewhere deliciously darker, and ‘Sasuke’ simply slays with jaw-dropping twist of cosmic acid broken beat soul, lathering hazy organs, 303 and nimblest drums into the tightest, inimitable step. Oh my days this is fucking strong. TIP!

London’s DJ Ojo expands his deep end club purview to a full album of purring downbeats, lilting rhythmelodies and technoid bassbin pressure with signature restraint and well-balanced weight for Blank Mind. It's really strong, tightly produced gear the far fringes of dub techno, somewhere between Monolake, Convextion, and the sort of thing Beneath and Kowton were up toback in the post-dubstep and post-UKF days of the late ‘00s...

One up to his label debut 12” of ’23, and a preceding EP for Significant Other’s Pain Management, the eight tracks of ‘Total Internal Reflection’ dwell in a vein of syncopated, offbeat UK bass music where deep house, dub techno, and electronic sound designer suss are reduced to barest essentials, as first shaped by the likes of Beneath and Kowton back in the post-dubstep and post-UKF days of the late ‘00s. It’s a sound that can sometimes take itself so seriously to the point of numbness, but is here inflected with just enough personality and sensuality in the tactile dub tech details and whirring, minimalist efficiency of the groove that buoys it to interest for connoisseurs of this sound.

A carefully plotted course emerges in the finely tempered escalation of tempo and opening of envelopes from a squashed, reticulated opener and nervier, skeletal 2-step parry of a title tune spangled with insectoid intricacy and adore dubbing, finding filigree variegation within a theme as the sloshing bleep swag of ‘Entropic’ nudges into mid-tempo swang shades from Paperclip Minimiser aces on ‘World of lens’, and echoes of Pole bounce around the sound sphere of ‘Axiomatic’, with a strong cap-tip to T++, but at depressed pace, on ‘Cruising’, and the sort of subs made for swimming in the club propel its most robust stepper ‘Isomorphic’.

Prime Cuts from the legendary Scratch Perverts crew with an upful six-tracker, full of life and intelligence, and teeming with fidgety, DIY, turntablist energy. For us it’s a bit like a raid on the racks at Honest Jons, over the decades… but fresh and bright. It kicks off with a headlong garbling of eighties jazz-funk, complete with synths, a vocoder, and some incipient Herbie, all sagging woozily into some nuts pitch control, before a mean beat-down. Some dubwise Channel One follows up, with almightily anthemic snatches of melody and unmistakable chords, almost breaking down under a barrage of skittering effects, scratching, laser-fire, strangulated melodica, and cowbell. Then three excursions in classic Detroit techno: moody electro funk, with a sprinkling of Harold Faltermeyer; hard-grooving minimalism, with a dash of It Takes Two; then a more industrial outing, with clattering percussion and gobbling synth. Finally an ambient interlude — overcast but twinklingly ambivalent — to close. Ace. A lot of fun. Check it out. Honest Jon's

DJ Python's first solo record since the release of the critically-acclaimed album Mas Amable. it's too nice to just have your thoughts float in the space of your head endlessly forever and you don't have to decide which you focus on unless you want to i got a stone to skip 6 times across the water on the river i grew up by now i like to get the heaviest rocks and the lightest ones and drop them in the river to see which sink most beautifully I have no interest in saying the right thing anymore just the true thing --- DJ Python on collaborating with UFO Parfums and Candle Object: "we all appreciate each other’s work and thought it would be nice to do something together :) both candle Object and ufo Parfums are involved in music and inspired by music. Dj Python is inspired by candles and perfumes. To light a candle spray your wrist or put on a record . Same thing yo (~,’"

From the creator of Deep Reggaeton and the hit record ​"​¡Estéreo Bomba! Vol. 1​"​, DJ Python, returns with the first masterful full length album "Dulce Compañia". Comprised of eight ethe-real, banging hits of the most unique and thought provoking calibre - mixing Deep House, Shoegaze, Trance, and of course, Reggaeton - these songs-not-tracks slide over the Dembow in the unique way only Python can dream up. Rated E for Everyone.

Pitchfork gave it a good score of 7.4! Anthony Naples and Jenny Harris are well known for their work on The Trilogy Tapes and Proibito, and are also known for their work on the Harris' "The Trilogy Tapes" and "Proibito" labels.
DJ Python is also known for the smash hit "Dulce Compañia," his 17-year debut LP on Slattery's hot label, Incienso.
DJ Python's second album is an immersive sound that blurs the boundaries between ambient and dance music. The second album from DJ Python, who has been known around the world as "deep reggaeton", is an immersive work that blurs the line between ambient and dance music, updating Jamaican dance sounds from dancehall to reggaeton to dembow with a deep ambient perspective. The preceding single "ADMSDP" (B2), which features poet/performer LA Warman on vocals, is a masterpiece. The soundscape is a complete knockout!

Known for his viral video series “Sexta dos Crias”, Ramon Sucesso is a virtuosic DJ who crushes, reimagines and rearranges songs to such a degree that the original tracks become virtually unrecognizable. He has turned his controller into a particle accelerator, creating firework-like bursts of classic funk carioca samples, his own productions, mainstream tracks, nonsense TikTok sound bites, and tons of his trademark beat bolha. All contained within an unparalleled, mischievously non-linear rhythmic flow. Ramon’s social network profiles are as outrageously unpredictable as his mixes. He posts interactive emoji games, bountiful fast-food feasts with his family, comments about the Flamengo football team and videos of him playing FIFA. He has a prolifically restless mind, constantly riffing and improvising; he does whatever it takes to get by, to navigate the reality of life in Brazil and overcome the daunting challenges of the music industry. His new album “Sexta dos Crias” is the culmination of Ramon's DJ work. A LP that embodies the newest in funk carioca, a faithful transposition of the bailes to vinyl. And forget copyrights; forget the notion of ownership – you’ll find none of that here. Ramon has unpretentiously ushered in a new age of experimentation for the genre – making a daring and unprecedented foray into a territory where extreme and radical sounds abound.

Ominira's owner Kassem Mosse a.k.a. DJ Residue's casette album released from The Trilogy Tapes. Features over 20 minutes drone ambient/experimental soundscape of surrealism.