MUSIC

The landmark work from Steven Hitchell—better known for his Deepchord and Echospace projects—returns under his Intrusion alias. Originally released in 2008 and later expanded into a two-disc CD edition in 2014, this long-awaited reissue brings the second disc to vinyl for the very first time via echospace [detroit]. Evocative deep dub techno visions such as “A Night To Remember” and “Under The Ocean” sit alongside iconic pieces like “Tswana Dub (Phase90 Restructure)”—also featured on Deadbeat’s classic mix Radio Rothko—while overlooked gems “Love In Lofi” and “Never Forget” finally get their due. The set also includes the live recording “Kingston’s Burning Dub [Live in NYC]”, balancing archival significance with immersive sonic force. Remastered by none other than Stefan Betke, aka Pole, who lends even greater depth to its already profound resonance.

先鋭的英国のテクノ・プロデューサー、ShiftedこもGuy Brewerが"Carrier"名義で放つ最新作『FATHOM』が、Perko主宰の〈FELT〉よりリリース。ミニマルな構造の中にドラムンベースのリズムを再構築し、金属的な質感と抽象的なサウンドデザインが融合した全4曲を収録。幻覚的な抽象性を帯びたグリッチ・プログラミングと霧のようなアトモスフィアが特徴的な"FATHOM"や粘性のあるベースと点滅するパルスが印象に残る"The Cusp"、有機的なディテールが際立つ"Trooper"など、IDM、実験的テクノ、アブストラクト・エレクトロニカの愛好者にとって、現代的なリズムとサウンドの探求が詰まった一枚！

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment. Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forward-looking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles. There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more self-aware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light. Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway—feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

“Anonymously operating under the name 8004, this 12-inch release is built from material recorded in Chicago, weaving abstract dub rhythms with stripped-down minimal sound design to create a stark yet immersive sonic landscape.

Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project. There had, of course, been signs of what was to come. Back in 1995, Voigt essayed the first GAS release, a slender, yet remarkable four-track EP, Modern. Its centre label featured a reduced symbol – an overhead or lamp light, switched on, its glow radiating outwards in four bold black lines – a perfect representation of the tight, stylised ambient electronic pop contained on that 12”. A few curious compilation tracks were floating around, too, for Mille Plateaux’s Modulation & Transformation and Electric Ladyland series. If you were attentive enough, you could tell something was up. But nothing quite prepared us for the languorous, effervescing loops and regular-like-clockwork beats that Voigt folded together on GAS. Its six long tracks, all untitled, neither begin nor end but hazily fade into earshot, vibrate majestically in your cochlea for fifteen-or-so minutes – some a bit shorter, some longer – and then meander away, reading the mise-en-scène for the next example of Voigt’s drift and dream logic to unfold. The material is referential in the most distant way, and you can sense only the most evanescent of ghostly presences, haunting these six compositions. GAS feels, also, like a more pliable hint at what’s to come, as the GAS concept really solidified on its successor, 1997’s Zauberberg, and reach its apotheosis on Königsforst and Pop. Those three albums share a very similar palette – blurred, hazy samples, often of classical music, stacked and cross-thatched across a muted 4/4 thud. GAS, then, is an outlier of sorts: it’s more expansive in its remit, lighter in its mood, perhaps more fleet of foot. This, of course, is part of its charm. In clearing space for Voigt, by preparing the terrain, GAS sits both at the edge of the forest, and at the verge of an expansive, wide-eyed future; one where GAS would become truly eternal.

A lifelong admirer of DAF, Fixmer has been playing El Que in his DJ sets for years, considering it one of the band’s most enduring and powerful pieces. His connection to the track and to DAF’s groundbreaking legacy is the core inspiration behind these two new remixes, created with both reverence and bold creative vision.

On the “El Que (Terence Fixmer Leather Remix)”, Fixmer remains close to the original’s raw, muscular pulse while injecting a sharp, modern club sensibility. The remix builds on DAF’s unmistakable rhythmics but adds a contemporary momentum that feels like a natural extension of the band’s DNA. “It was like imagining what I would do if I were a member of DAF today,” Fixmer says.

The second version, “El Que (Terence Fixmer Drive Remix)”, ventures deeper into Fixmer’s own territory: darker, hypnotic, and peak-time focused. Tension and release are crafted with surgical precision, taking the original’s spirit into a harder-edged, suspense-driven sound world. It’s a version built for late-night floors without ever losing the soul of El Que.

Fixmer explains:

“I’ve been playing DAF’s El Que in many of my DJ sets for years. It’s a track I deeply loved from the first listen. I’m super proud to have remixed DAF — one of my cult bands and a major influence on my sound and electronic universe.

For the "Leather Remix", I wanted to stay close to the original while bringing modernity and club momentum. For the "Drive Remix", I pushed the track toward darker, peak-time and hypnotic techno, keeping the soul of the original intact.

I wanted to make versions that make you think: ‘I know this track… but wait — what is this version? I want it!’ When I tested them, that’s exactly what happened.”

DAF remains one of the most influential bands in electronic music history. These new remixes by Terence Fixmer reinforce the timeless power of El Que while offering two striking, club-ready perspectives for a new generation of listeners.

Released in 2016, this album was created primarily using the legendary vintage 1980s Cheetah MS800 synthesizer, showcasing Aphex Twin's signature experimental spirit. Layering retro textures, it weaves thick basslines and uniquely distorted electronics into undulating currents that gradually pull listeners deeper. Its inorganic yet oddly humorous, strangely addictive texture is Aphex Twin's signature sonic magic. A singular classic born from the fusion of vintage gear devotion and futuristic soundscapes.

AI-31 sees the debut release from a new collaboration between Samuel van Dijk (Netherlands) and Rasmus Hedlund (Finland). Both key proponents to the scene in Northern Europe, they come together with mutual understanding and a common vision to sound. Dialog acts as a conversational exchange that sees the interplay of dynamic frequencies, evocative imagery and contemporary sonic art. Spread across four sides, the album as a whole exists as a kind of metaphysical process, eternally growing and contracting — change is the only constant, marked by a continuous progression of sound and space.

A raw and addictive 12-inch from Robert Bergman, 9 Lives Of The Cat – Lives 1–5, drawing inspiration from Chicago house and lo‑fi electronic music from the Dutch West Coast.

A miraculous union of techno and dub reggae, featuring two tracks remixed by Mark Ernestus & Moritz von Oswald's Basic Channel, "Remake (Basic Reshape)" (1994) and "The Climax (Basic Reshape)" (2001) under the name Carl Craig-Paperclip People. A universal masterpiece of immersive ambient dub techno, remixed by von Oswald's Basic Channel.

unification of techno and dub reggae. The long-awaited 2023 repress of the Rhythm & Sound catalog number 3, which was originally announced in 1998! A one-of-a-kind solitary acoustic space by Mark Ernestus & Moritz von Oswald's Basic Channel.

unification of techno and dub reggae. An outstanding universal masterpiece of sound dub/minimal techno released in 1993 by Mark Ernestus & Moritz von Oswald's Basic Channel, repressed in 2025.

A miraculous union of techno and dub reggae. The outstanding universal masterpiece of acoustic dub / techno released only on CD in 1995 by the Basic Channel of German Mark Ernestus & Moritz von Oswald is vinylized with a full-length version longer than the original cut.

This was his first studio album in four years since his last album, "Endless Talking", and the first release since moving to EPIC/SONY RECORDS. This work was the result of sessions and collaborations with Arabian musicians, with an inclination towards the 'world music' that was gaining attention at the time. Deployed often in pop culture as punchline, Hosono takes such sight-seeing and transforms it into a metaphor for sample-heavy electronic music, drawing from various cultures and weaving them together into a new holistic vision. Omni Sight Seeing is the clearest iteration of this concept, as he alights on Algerian raï, Martin Denny exotica, and acid house, too. It’s one part Jon Hassell-esque Fourth World, one part Duke Ellington “jungle music,” with Hosono’s singular outlook running through it all.

Since his debut in 2001 on Chain Reaction — the sublabel of the legendary Basic Channel — electronic music producer Shinichi Atobe has fascinated not only dub techno and minimal club audiences but also devoted music lovers around the world. After more than a decade of silence, he began releasing consistently from Manchester’s DDS (Demdike Stare’s label) in 2014, reaffirming his unique presence in contemporary electronic music.

In July of this year, Atobe suddenly launched his own private label, Plastic & Sounds, and now announces its second release, “A1. SynthScale / A2. Disappear | AA. Between Thoughts”, available as a 12-inch (45RPM / limited press) vinyl and in digital formats.

Opening track, elevation synth dub tech “SynthScale” intertwines ascending and descending synth lines with a driving rhythm, revealing hints of progressive rock within its elevation of synth-driven dub techno. “Disappear” follows with floating high tones, an unexpected piano motif, and bursts of tightly struck drums that create a surging momentum. The over ten-minute-long “Between Thoughts” centers on a deep, weighty bassline, interwoven with subtle voice samples, unfolding softly and gracefully into a long-form minimal house piece in Atobe’s unmistakable style.

Mastering and vinyl cutting were handled by Rashad Becker in Berlin, who has worked extensively on Atobe’s previous releases.

Growing up in the sound system culture of Leeds in England, George spent a fiver, courtesy of his mum, on a battered old speaker box he named “Echo45”. That box led him to Kevin Harper, a founding member of Nightmares on Wax, a chance meeting that would change the course of his life.

With the latest music “Echo45 Sound System”, Nightmares On Wax takes that lineage a step further—a mixtape that feels like both a celebration and a declaration. It's a living, sound system journey inspired by the original “Echo45” speaker box that merges soul, roots, hip-hop, dub, and electronic textures with a fearless spirit.

Featuring a carefully curated ensemble of collaborators—including Yasiin Bey, Greentea Peng, Sadie Walker, Liam Bailey, and more—the record doesn’t just reflect where Nightmares on Wax has been. While deeply rooted in his origins, sound system culture, and pirate radio, it boldly announces where he’s going.

A Day of the Sun is a spiritual jazz masterpiece full of poetry by two geniuses of the Japanese musical scene. Masahiko Togashi and Isao Suzuki, pivotal figures in jazz with a unique talent and sensitivity that transcends conventional jazz forms and styles. In addition to being skilled performers they demonstrate extraordinary compositional talent that transcends their sensibilities and wisdom of more conventional jazz. They are together a wonderful combination of techniques, but without the eyes and ears of these two artists, the mutual understanding, friendship and cooperation that only certain artists are able to recreate together, would never have given rise to this music. The album is based on Togashi's drums/percussion and Suzuki's bass, with occasional changes to cello and piano/synths, and is skillfully performed by just the two of them, creating a unique worldview; a performance that far exceeds expectations. The mystical melodies of the East, earthy percussion, and the sensibilities of the two intertwine to create a unique groove, resulting in a universal masterpiece that will never fade away and connects with today's sound makers and DJs. Top sound quality from original master tapes. Includes 4-sided insert with a very interesting interview at the time with the two musicians regarding the record.

Om Unit surprises us with a second volume of his 'Acid Dub Studies' project, once again fusing his love for the 303 with studio techniques given to us by musical heroes such as King Tubby, Adrian Sherwood, Jammys and Basic Channel

This second volume further solidifies the convincing narrative created by its best-selling predecessor, heading in a more groove-based direction in places whilst being underpinned by the same sonic narrative that has been enjoyed by many music fans from a variety of different spheres for the past 18 months or so

Support so far for the Acid Dub Studies project has come from many corners including some of the most highly respected names in UK Radio such as Don Letts and Steve Barker, Benji B and Tom Ravenscroft as well as a whole host of truly global worldwide underground support both via radio and in the dance

Om Unit says of this record: 'I felt encouraged by the sheer love for the original selection of works to go back in again and continue to experiment with this approach to writing whilst refining some of the process. Being able to combine processes and influence has been the mainstay of my creative life and I hope this next volume of Acid Dub will be enjoyed by everyone who was a fan of the first'

The beloved 303 bassline continues to inspire every new generation and Acid Dub Studies II is another storybook of sound in that vast continuum that shows no sign of slowing down

Silver Threads is proud and genuinely honoured to share our second release, “If Not Now, When” by the incredible Raica (Chloe Harris), out on 28th November 2025 and available to pre-order from 18th here and from selected shops.

Chloe Harris (Raica) lives and breathes music. A vastly experienced and unique DJ, a hugely talented and inquisitive recording artist and live performer, co-founder of the legendary Further Records’ label and shop, event curator and psychedelic visual artist (check the cover of her album Dose).

“If Not Now, When” is her fourth album as Raica. It follows her much-loved album, The Absence of Being on Quiet Details earlier this year, a tender transmission of love to those in another realm. Lucent Glances (Greta Cottage Workshop - 2016) and Dose (Further Records - 2015), are incredible, too. Exploratory and untethered, with powerful bass expression.

“If Not Now, When” is a magnificently expansive album that shows Raica’s breadth as an artist – at times delicate and intimate then mindbending and tough, as Chloe leads us on a journey only she could take.

This is a sophisticated, creative album that came out of a difficult time (which we won’t go into again here) and has huge potential to become an instant classic. There’s darkness, warmth but also playfulness and a sparkling lightness of touch. There are mesmerising rhythms, gentle pulses that give the album momentum and reflect Chloe's love of dance music and 90s ambient.

Chloe has a strong and distinctive voice that carries through this album’s range of moods, sounds, textures and tempos. She says, “I felt a sense of freedom, perhaps since I didn’t think anyone would hear it.” I relate to that sense of freedom in obscurity but I’m very pleased Chloe was wrong about that, and that the title – chosen recently – suggests she’s going to share more of her music with us. “It’s just about being able to communicate ideas through sound. Maybe sometimes they land well and others don’t but it’s OK to let it go. Just allowing yourself to just be in the moment and not worrying outside of that.” I couldn't agree more.

I hope “If Not Now, When” touches you as much as it has us. Thanks you to Chloe for trusting me with this precious album.

The CD album of "If Not Now, When" is glass mastered, mastered by Alex Gold at quiet details, with his incredible patience, care and attention, and the beautiful cover art and design is by Emile Facey (Plant43) in collaboration with Raica. The cover art spills out of the frame and the six-panel digipack opens to show another stunning original artwork by Emile.

It follows the same layout as ST01 (Jo Johnson - Alterations Volume One) opens to show a large original illustration that spills and the stitch motif along the bottom links the two releases together when they sit side-by-side on your shelf while the colours of each are unique and contrasting.

Huge thank you to Alex Gold for his support to Silver Threads. Thanks also to Loula Yorke, Philip Sherburne and Neil Mason.

Jo Johnson (erstwhile member of ‘90s riot grrrl legends Huggy Bear) launches her Silver Threads imprint with a double album of bittersweet transmissions of ribboning arps and iridescent greyscale atmospheres conjuring comparisons to Barker, the pastoral kosmiche ends of Border Community or Craven Faults.

"This double album is the inaugural release on Jo Johnson’s Silver Threads label and compiles her ‘slow album’ – work created and shared (in a limited way) in real time from January until June, in response to “bleak and often distressing times”. Alongside each of the five album tracks compiled on CD 1, Jo created Remnants, reworks and original tracks from “discarded audio and coincidental field recordings” that were shared exclusively with her Bandcamp subscribers and these seven tracks are compiled on the second CD.

Alterations Volume One was album of the week in Moonbuilding. In Futurism Restated, Philip Sherburne said it was, “A coherent and enveloping piece of work in which melodic motifs unfold against an ever-changing landscape of pads, drones, and arpeggios. It moves like a slow, broad river throwing off sparks at sunrise.” Electronic Sound said it was “spellbinding” and “never less than mesmerising” in the October issue and will feature an interview with Jo in the December 2025 issue. Surgeon said, “Beautiful restraint and Galactic emotions.” He called the final track, Unpicking, a “masterpiece”."

Low-key legend and occasional spar to everyone from Will Bankhead to Jamal Moss, Duster Valentine throws down a killer deep house meta-mixtape for YOUTH, hustled from myriad Chi-Detroit-NYC-Italian++ records - huge RIYL the OG’s.

Manc-Greek oracle Duster Valentine is the nom de plume of Paul Bennett, a heads-down but vital figure known for nudging disco, deep house and related strains of dance music since the ’80s (maybe longer, nobody knows), influencing everyone from Jon K to Christos Chondropoulos and Sockethead, with work deployed on a secretive, cult edit label and the likes of Berceuse Heroique and MAL.

For YOUTH, your man tends to a perennial touchstone - deep House - with over 90 minutes of cuts screwed and stitched with reeeel passion, parsing slivers of foundational tunes and reassembling them with additional pads and strings, into an eyes-down, pumping and swanging session judiciously tempered with dubwise digits on the mixer, plus a little post-production. It’s deadly stuff from top to bottom; obsessively methodical in its approach, effortless in its hypnotic traction and effect.

Numerous trax breeze by with a timeless guile that speaks to a lifetime immersed in the good stuff, with all his influences writ explicitly in the music and the j-card - dozens upon dozens of the artists whose drums, vox and stabs he cadged, pruned, and puckered. Like Paul himself, there’s no need to overstate it; it’s simply a masterclass, for the heads.

Co-released by Cairo's HIZZ imprint and Heat Crimes, Upper Egypt’s “King of Trobby Music” detonates another singular vision on Raasny—a 9-track suite of bruised street rhythms, electro-shaabi fireworks, and raw emotional voltage, beamed direct from El Minya to the world.

Abosahar has spent the last decade carving out his own micro-genre—Trobby, short for “True Being.” Here it comes into sharpest focus yet: a sound that blurs electro-shaabi, house, techno, trap and pop into dazzling, rough-edged collages, powered by cracked software, busted machines, and the immediacy of lived experience.

Raasny loops wedding-party ecstasy into journeys from Minya’s dusty streets to Cairo’s neon clubs. Tracks like “Bs Ya Baba” and “Shaabi Alarab” fold shaabi’s serrated synth stabs into mutant pulses; “Moled w Samar Haz” and “Moled Altenee” lock into hypnotic folk-ritual cadences; while the title cut “Raasny” surges with an almost devotional intensity, all cracked voices and distorted beats tumbling into the red.

What sets Sahar apart is his refusal of polish: everything is left jagged, overdriven, improvised, alive. His music is inseparable from the weddings, streets, and daily life of Upper Egypt—rooted as much in the dust and electricity of Minya as in the people who move to it.

Raised with little more than a battery-powered radio and homemade instruments fashioned from grass and cardboard, Sahar’s DIY ethos is burned into every second of Raasny. His recordings double as ethnography and autobiography—part diary, part sound-system weapon, part spiritual exorcism.

Already hailed across Cairo’s underground and carried abroad to stages in France, Switzerland and Germany, Sahar’s music still belongs first and foremost to the streets and weddings of Upper Egypt. Raasny makes that clear: this is music of and for the people, loud, ecstatic, and uncontainable.

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.

エジプト・カイロのプロデューサー、Elkotshによるデビュー・アルバム『rhlt jdi』が、カイロの〈HIZZ〉と〈Nyege Nyege Tapes〉系列の〈Heat Crimes〉による共同リリース！エジプトのストリート音楽「マフラガナート」のリズムとエネルギーを基盤に、インダストリアルやトライバル・テクノ、エクスペリメンタルな要素を融合。伝統的な旋律や宗教的なチャントが、歪んだビートやグリッチノイズと交錯し、現代エジプトの都市風景を音で描き出していきます！中東の伝統音楽と現代のエレクトロニクスが交差する、革新的な一枚。