Techno / House
650 products
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.
Yokota's most upbeat and playful release on the Skintone label.
Will heralded a disarming, groove-based return to deep house. A wild melange of bumping beats, freestyle samples and esoteric goodness. Recorded over the same period as Grinning Cat this anomaly within the Skintone catalogue was seen as a way to circumvent the swirling politics of his club-oriented releases elsewhere.
In itself Will was a reminder of Yokota’s ability to deliver a complex array of sounds within a more recognisable format.
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
The next installment of MFM's popular multi-artist compilation Virtual Dreams: 'Virtual Dreams - Ambient Explorations In The House And Techno Age, Japan 1993-1999'. As with Part One, released in 2020, 'Virtual Dreams II' shines a light on house and techno-adjacent music that helped redefine the definition of ambient music during the 1990s.
The focus of Part One heavily fell on music from techno and house producers in Europe, eagerly exploring new soundtracks for chill-out rooms and re-imagining the potential future of club culture from new perspectives. For Part Two, we narrow the lens to focus on a unique time and place, namely Japan between 1993-1999. Despite missing out on the 'Acid House Fever', club culture was beginning to take shape in Japan during the early '90s. In contrast to the rest of the world, where ambient techno / IDM emerged as a by-product or response to the scene, 'listening techno', as it is known in Japan, was a central pillar of the culture right from the start.
'Virtual Dreams II' aims to shine a light on this unique moment in time where the thread of ambient music weaved its way through the music of an emerging club culture. This period saw the birth of many great Japanese techno labels such as Sublime Records, Transonic Records, Syzygy Records, Frogman Records, and Form@ Records, following in the late '90s. 'Virtual Dreams II' features ambient, chill-out, and intelligent techno from these leading labels alongside other lesser-known but equally influential imprints, as well as ambient deviations from Japanese house producers. Much of the music featured has only ever been released on CD.
'Virtual Dreams II' is compiled by Eiji Taniguchi and Jamie Tiller, who have worked closely together on previous Music From Memory releases such as 'Heisei No Oto' and 'Dream Dolphin - Gaia'. It is also the final project Jamie Tiller worked on before his tragic passing in 2023. Jamie had been researching, planning, and compiling this version of Virtual Dreams even before the first chapter was released, believing that there were many great tracks in Japan that fit the concept of the series. Knowing how much love and energy he put into compiling it gives it an extra special place in our hearts.
Compiled by Jamie Tiller and Eiji Taniguchi with artwork by Kenta Senekt, design by Steele Bonus and liner notes by Itaru W. Mita,
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”."
A selection of unreleased works from the prolific and Eastbourne based artist B.L. Underwood. As often, it started with discovering a CD, leading me to the depths of the Internet Archive. I still remember the excitement of going through B.L. Underwood's recordings for the first time and realising how unique his approach to electronic music was, every track had something powerful yet moving within it, as he could play around with genres and tempos yet carrying a very distinctive touch. After a short detective work to get in touch with the artist, and quite some time curating the content of this compilation (the hardest part by far), System Of Objects is proudly presenting the remastered version of 6 of his tracks that showcast B.L. Underwood talent and uniqueness.
Originally released in 2014, Strut re-introduces Hardcore Traxx: Dance Mania Records 1986-1997, the highly sought-after definitive retrospective of one of Chicago’s most important and innovative house music labels. Emerging as a raw alternative to the powerhouses of Trax and DJ International during the mid-‘80s, Dance Mania continued to represent street-level Chicago club music into the ‘90s, helping to pioneer the Ghetto House sound. Hardcore Traxx traces the full story of the label from its heyday. Founded in 1985 and managed by Ray Barney from Barney’s Distribution HQ on Ogden Avenue (moving later to West Roosevelt Road), Dance Mania hit the ground running with its second release in ’86, the incendiary ‘Hardcore Jazz’ EP by Duane & Co. Barney quickly became a trustworthy outlet for early house and acid productions by upcoming Chicago artists such as Lil Louis, Marshall Jefferson and Farley Keith aka Farkey “Jackmaster” Funk. The label set out its stall with a series of landmark Chicago releases including ‘7 Ways’ by Hercules, Li’l Louis’ ‘The Original Video Clash’ and international smash ‘House Nation’ by Housemaster Boyz. During the ‘80s, it cemented its reputation for uncompromising club records and DJ Tools with sounds spanning raw garage (Victor Romeo’s ‘Love Will Find A Way’), acid trax (Robert Armani) and quality house (Da Posse).
Into the ‘90s, Barney unleashed the groundbreaking ‘Hit It From The Back’ by Traxmen and Eric Martin, ushering in a primitive new sound around faster, stripped down rhythms and X-rated party-starting lyric lines. Barney remembers, “Guys used to call in and ask for music on Dance Mania – they were saying, ‘gimme some of that ghetto stuff’.’ Dance Mania producer DJ Slugo adds, “when we made Ghetto House... we made music for the b*tches. Music for the grinding sh*t and all of that.” The sound spawned a whole new
swathe of homegrown producers releasing a fast flow of no-compromise dancefloor bangers: Paul Johnson, DJ Deeon, DJ Funk, DJ Milton, Waxmaster and Slugo all became leaders of the scene. The influence of ghetto house became widespread, not least for Daft Punk, whose track ‘Teachers’ from their ‘Homework’ album in 1997 was effectively a tribute to Dance Mania. The new wave of productions also paved the way for the later Chicago juke and footwork scene Now revitalised under the leadership of Ray Barney and Parris Mitchell, Dance Mania remains a cornerstone of Chicago’s dance music culture. With Hardcore Traxx, Strut delivers the ultimate tribute to the label, featuring a meticulously curated compilation of its classics, Ghetto House anthems, and hidden gems. The release was produced in collaboration with Dance Mania and compiled by Conor Keeling (creator of the popular Daft Punk-inspired Teachers mix) with contributions from Miles Simpson of Ransom Note.
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.
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.
Salty club dogs Beau Wanzer, Lukid & Tapes agitate each to stuttering 2-step, juke and rave noise extents on a frazzled session for TTT
The five trax of ‘Borez’ see all three flock around mutual poles of briny electronics and nervily restless rhythm programming within a framework of shattered but sharply effective club music. The gibber-jawed juke garage of ‘Point of Some Return’ pitches them into diciest wormholes of teeth-chatter 2-step, next to the dry-humped slam and almost Drexciyan lines of distorted, scudding, coruscating leads to ‘Rubber Eater’ on its 7’ arc to lusher resolution.
‘Darnell Can’t Polish a Turd’ pulls focus to sourest, piquant frequencies and bolshy bass blasts in a sorta bucking roll cage like Somatic Responses gone happy hardcore, and ‘Xylone Xylophone’ follows down that metallic wormhole like Evelyn Glennie on a mazza to the fizzy machine funk of ‘Lomp’.
With his 2006 masterpiece debut album Burial and his 2007 second album Untrue, which earned him the highest praise as “the most important electronic music work of the century,” Burial has established two monumental achievements. Despite his identity and background remaining unknown, he has captivated many music fans and influenced numerous artists. He has also generated significant buzz through split works with Thom Yorke and Four Tet, as well as collaborations with Massive Attack, continuing to captivate people across eras and genres as one of the most important musicians of our time. Now, he releases his latest single!