Techno / House

Downtempo, Psychedelic, Techno … Using the Turkish psychedelic project Insanlar as a jump off point, Honest Jon’s have enlisted Ricardo Villalobos to turn out one of his grandiose remix projects that gels so naturally with more exotic sound sources.

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!

studio mule is proud to announce the latest release from one of japan’s most respected producers and musicians, kuniyuki takahashi.

this new single was created with the atmosphere of our listening bar studio mule in mind, and showcases kuniyuki’s unmatched ability to bridge dance music with sophisticated musical expression.

the a-side, “open window,” is a modern classical piece inspired by the light and breeze flowing into his sapporo studio—an uplifting, deeply moving composition. on the b-side, “tobira” offers a dreamlike journey of ethnic new-age jazz, evoking the sensation of stepping into a new world.

kuniyuki is a rare artist who has continued to push boundaries across genres, and this release is no exception—a future classic in the making. the artwork has been designed by yoshirotten, a leading figure in tokyo’s contemporary art scene.

with this release, studio mule delivers an inspired response to the timeless legacy of ecm, while continuing to explore new musical horizons.

Aphex Twin's Grammy-winning masterpiece heralds a miraculous comeback! Released unexpectedly in 2014 as his first full album in 13 years, this groundbreaking work sent music fans worldwide into a frenzy. Intricate rhythmic structures intertwine with warm synth sounds, constructing a unique world that feels mechanical yet somehow human. This work, distilling Richard's musical philosophy, won the Grammy Award for Best Dance/Electronic Album, propelling him back to the forefront of the global scene. Truly the pinnacle of electronic music representing the 2010s!

Following the announcement of his comeback album Syro, Aphex Twin achieved a full-fledged return with two EPs and a revival project under the AFX moniker. This 2018 release features the lead track “T69 Collapse,” which explodes with near-frenetic hyper-speed beats and searing melodies, shocking the world alongside hallucinatory visuals by artist Weirdcore. Throughout the entire album, the complexity of the soundscapes and the precision of the rhythms reach unprecedented levels, where chaos and sensuality, violence and beauty coexist in a delicate balance. This definitive work proves Aphex Twin is a “genius in the making” and further carves out the future of IDM!

"Selected Ambient Works 85-92" is one of those rare albums where a composer provides clear evidence that he or she is in that special class of artistic genius where true originality is possible. I'm not suggesting that this is Aphex Twin's best album, as best work was yet to come; nor am I suggesting that this is one of the greatest electronic albums of all time. Perhaps it is, but the key is its influence. "SAW" is practically synonymous with that early Warp Records sound (although SAW wasn't actually released on Warp). The album is one of the sacred texts of the Intelligent Dance Music (IDM) movement and on this disc, you can hear the ideas that helped make electronic music what it is today. "SAW" dates back to a time when Aphex Twin was using a lot of analogue gear and the tracks have a nice warmth to them. Many of the sounds on this album will already be familiar to most listeners since they entered the canon of electronic sounds long ago. The cool thing is, this album is where so much began.

"High Contrast used to work in a record shop in Cardiff called Catapult Records. We lived on the other side of the city, but were always in there buying vinyl. Tough Guys Can’t Dance was everywhere, and If We Ever was the anthem. Ahead of summer this year we put together our own version just for fun, and the reaction was so wild, we ended up playing it in every set. Big thanks to High Contrast for this one. It means a lot to us" - OVERMONO

Detroit’s baddest yungers get down on their ones with a 2nd self-released volley of modern ghetto-tech and hyperlocal jit, reprising the road-ready sound of the late ‘90s and early ‘00s for new crowds hungry for this shit

Including a killer 2024 single indicative of what to expect in the tabla and jazz key puckered slam of ’SPANK!’, the 14-track ‘Honeypaqq Vol.1’ says its bit in a brisk half hour of scudding subs and sampler chops racked up at 160BPM. The levels are typically up there and lyrically lascivious from the bucking ace ‘Take Yo Panties Off’ to the ruthlessly sped-up R&Bop ‘Freak in Full Effect’, deftly reinterpreting and factoring the groundwurk of DJ/producers Funk, Assault, Rashad and Maaco for 2020s needs.

Since staking their sound with two LPs for Omar-S’ FXHE and a ruck of acclaimed live shows, Hi Tech have become standard bearers for a brand of ghetto house that found international favour some 25 years ago and long since long bubbled away in the background. The trio of King Milo, Milf Melly and 47chops aka Hi Tech are almost single-handedly responsible for renewed interest in this zone, paralleling the pace and intent of Chicago’s renowned footwork sound with similar but distinctively jazzy Motor City tekkerz.

Trust it twerks and fizzes in all the right places. Putative jit and deb dualities juke it out in the itchy but sublime ‘Norf Cold 304’s’, while they balance bebop and crunk in ‘New Jazz Schmell’ and snap to quicksilver electro-soul in ‘Empty Bus Stop’, or push out into that sort of weirdo scuttle that the 313 does so well on the spooked-out ‘Adultswim Doctor Etrange’ or ‘Queenbootyathenaaphrodite’, saving a superb sting in the tail for ’Shadowrealm.’

On the record New Chapter, sound from all directions of the sky is transformed as it flows through the bodies of the musicians. The source material is Viola Klein’s solo record Confidant and the collaboration with the Sabar Ensemble Diop from Saint Louis, titled We. Whodat in Detroit, Kassem Mosse in Leipzig, Nídia in Lisbon, and Viola Klein in Cologne and Dakar reshape the places where Deep House, Leftfield, Kuduro, and Mbalax originated and/or continue to thrive: the USA, Germany, Portugal, and Senegal.

Deep hypnotic ambient techno from Kommune trio George Thompson, Kyle Martin & Jonathan Nash. Recorded live in converted barn, October 2014. Four long-form compositions showcase mastery of TR-808 & dub techniques. Profound minimalist electronic journey.

Music from Memory is delighted to announce the forthcoming release of Oast by Kommune, a double LP of deep, hypnotic ambient techno that captures a fleeting but profound moment in electronic music history. Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015, emerging organically from the intertwined musical journeys of three close friends living near each other in North London. At the time of Kommune's formation, Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin) was putting the finishing touches to his debut album Hipnotik Tradisi and also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune served as a creative outlet for exploring analogue machine music in an improvisational context, with sessions in their North London studios leading to a handful of memorable gigs at venues including Hamburg's legendary Golden Pudel and London's LN-CC.

This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, the trio drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, they immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow.

Across the four long-form compositions that make up Oast, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo.

Recorded entirely live and improvised without any overdubs, Oast offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation. The album stands as testament to the magic that can occur when talented musicians come together in the right place at the right time, creating something that transcends the sum of its parts. Each member would continue to develop their individual projects following Kommune's dissolution, but Oast remains a unique document of their collaborative chemistry and shared vision for electronic music that bridges the gap between ambient meditation and dancefloor hypnosis.

Oast will be released on LP and digitally on July 25th 2025 via Music From Memory, with sleeve art and design by Michael Willis.

TTT catch Basic Rhythm in neurotic hardstep flow on four cuts of the tightest D&B following his killer mixtape in this mode OG pirate radio DJ for Rude FM in the ‘90s, and multifaceted producer since the 2010s; Anthoney J Hart is a true survivor of the hardcore ‘nuum. ‘The Bounce’ chases up his superb ’23 mixtape, ‘Straight From the Bedroom’ with a high calibre selection of cuts relating to that session, nailing a dead tuff seam of millennium-era pressure that variously plays deep into, and fucks with, its classic form. Living up to his mantle, Hart’s ascetic production values keep everything chiselled and rictus, but with nuff funk in its flex, tying D&B back to roots in the rigidity of OG electro and betraying its foundational links to earliest dark garage and grime. The title tune shadowboxes with clinically compressed snares in dank negative space, and ‘Tubby’ ups the neuro factor with shearing synths and grinding, granite-cut bass wobble. ‘Fists in Pocket’ is pure early ‘00s warehouse menace straight out of a Loxy or Dylan DJ set, and ‘Unworthy’ rudely distorts the structure with noisier, eye-wobbling compression fuckry.TTT catch Basic Rhythm in neurotic hardstep flow on four cuts of the tightest D&B following his killer mixtape in this mode OG pirate radio DJ for Rude FM in the ‘90s, and multifaceted producer since the 2010s; Anthoney J Hart is a true survivor of the hardcore ‘nuum. ‘The Bounce’ chases up his superb ’23 mixtape, ‘Straight From the Bedroom’ with a high calibre selection of cuts relating to that session, nailing a dead tuff seam of millennium-era pressure that variously plays deep into, and fucks with, its classic form. Living up to his mantle, Hart’s ascetic production values keep everything chiselled and rictus, but with nuff funk in its flex, tying D&B back to roots in the rigidity of OG electro and betraying its foundational links to earliest dark garage and grime. The title tune shadowboxes with clinically compressed snares in dank negative space, and ‘Tubby’ ups the neuro factor with shearing synths and grinding, granite-cut bass wobble. ‘Fists in Pocket’ is pure early ‘00s warehouse menace straight out of a Loxy or Dylan DJ set, and ‘Unworthy’ rudely distorts the structure with noisier, eye-wobbling compression fuckry.

Emotional Response is delighted to present Aaron Coyes (Peaking Lights / Leisure Connection) new project, as Exotic Gardens. An additional music universe as his love of dub expands to include new wave, goth and acid psychedelics across 5 catchy, bass heavy songs.

While the continuing journey of his duo band, Peaking Lights, with his wife Indra, earns plaudits and fans alike, his early years as a one-man lysergic music polymath that saw his youth in punk and hardcore bands, expanded during a mid-90s burst of “living in San Francisco” creative expansion, devouring music, genres, and influences for life.

Started as a sub-project to Peaking Lights and his personal dub excursions, Exotic Gardens pollinates a rich tapestry. Recording through the pandemic in their then home in Amsterdam, before being archived, assembled, and completed following the move back ‘home’ to the West Coast, California.

Re-embracing that love of his inner goth, the analogue warmth is all there, now featuring Coyes’ dub-languidity of stripped drum machines, widescreen bass, haunting guitar lines and an almost idle voice to peddle true, raw songs.

Combined, the pop layer of hooks and tight grooves instantly catch you. Opener and EP title, Drugs & TV is the perfect anthem for the Exotic Gardens sound, before the “dubwave” of Last Of The Light and Tonite shimmer that yearning melancholy of youth.

In the almost 10 minute dub house opus Organize Your Movement an appreciation and understanding of the psychoactive properties of the Roland 303 and 909, they also hark to a love of Industrial / Noise bands, a lineage from the death pulse of his cult project Rahdunes through to Sound Design and Sound System culture to the pop-dub psychedelics with Indra, now melded here to include a dark assault, whispering invocations and pulsing pads.

To close, Turn It On is a roaming multi-genre evocation, an exotic end from this constant troubadour, cassette junkie, record dealer, sound system builder, always looking to get back on the road, to live to roam.

“I turn it on, you lose your mind’.

Mark Fell’s Nite Closures EP marks his return to rhythm-focused electronic music after a decade of acoustic explorations. Released on his own label, National Centre for Mark Fell Studies, the 12" features intricate polyrhythms, dub-infused textures, and minimal techno structures. The EP builds on his Sensate Focus series, blending experimental precision with club-ready grooves. Tracks like “Nite Closures (Extended Dub)” and “Auchterhouse (Inversion)” showcase his signature rhythmic complexity. It’s a bold re-entry into dancefloor abstraction from one of electronic music’s most cerebral figures.

Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.

For those who have been paying close attention, this project will come as a welcome return to the vulnerability and playfulness of early Om Unit records such as his sub-radar single from 2010 ‘Lightgrids/Lavender’ (All City Records) or the unearthed chugging ambience of ‘Friend of Day’ (Idle Hands) and indeed in some sense draws from similar wellsprings as moments on 2013’s Bass classic ‘Threads’.

Whilst being perhaps an ‘interim project’ this is still a vital and important expression of exploration and playfulness. A study in the true sense and borne out of a subtle but pervasive frustration with the rigidity found in musical words he has up to now been cohabiting, Acid Dub Studies comes from the pressing need to break with perceived expectation and to explore an honest and natural space away from the genre labels and tags that had been often lazily applied to his sizeable catalogue of music.

With no desire to reinvent the wheel, rather to paint pictures in an honest framework, the LP was crafted using a medley of classic analogue mixing techniques inspired as much by the adventurous dubbing of Adrian Sherwood as by the inward-delving haze of Scott Monteith’s Deadbeat project. Created during a period of lonely introspective walks through his home town of Bristol, the cover art is a photograph of some of the iron kerbstones that are found almost exclusively in the characterful and hardy city which were installed in the late 1800’s to protect pavements from cart wheels. Something about the permanence of those iron slabs and cobblestones inspired a sense of comfort and determination.

Acid Dub Studies is due for release as yet another self-released label-free project leading on from recent EP titles ‘Violet’ and ‘Submerged’ both of which hinted at some of the shapes found in this full length album.

Once again Jim has shown a rare convincing adaptability that few electronic artists can embody. Another step on the journey of personal and creative curiosity that fans are sure to appreciate. 

Known as an early member of Napalm Death and later a pioneer of industrial and dub’s deepest realms with Scorn and Lull, Mick Harris returns with a long-awaited new album, issued on vinyl by U.S. stronghold L.I.E.S.—a bastion of industrial and raw techno. Across nine tracks, Harris sculpts an abyssal soundworld where cavernous bass pressure and grainy textures descend like a dive into the deep sea. Delay and reverb loop like chisels carving stone, layering dub’s decay with the grit of noise to construct shadow-filled spaces. Probing the very limits of lightless zones, this work stands as a weighty statement at the outermost edge of industrial dub.

A-side is taken from Metri-album. The ending of the track is slightly altered.

B-side is the first version of Mika Vainio's Sahko Movie Soundtrack.

Ludvig Cimbrelius returns with his third full-length album on ASIP under his illustrious ambient jungle/drum’n bass alias, Illuvia. Shifting focus from the stratospheric highs of 2021’s Iridescence Of Clouds, Ludvig now reflects on the meaning and spectrums of life on Earth. "According to my lifelong research, Earth appears to be a modulation of light. It is said that what the eyes receive are rays emitted by a star, whose flow of photons is invisible to the human eye until they are reflected and modulated by matter. Matter — the patterned dance of charged particles appearing out of nothing. Simultaneously, it is observable that light converts into matter. And matter converts into light. Logic tells me that they are one, appearing as two. And, as a consequence of their division and subsequent interaction, the spectrum of a world appears. Being a manifestation of something as ethereal and ephemeral as light modulated by the dance of charged particles, the world feels surprisingly solid. Less like a prism and more like a prison. That is what the surface tells us. Those who seek freedom look deeper." –Ludvig Cimbrelius (Illuvia) Earth Prism will be available on A Strangely Isolated Place on transparent vinyl, gatefold 2LP + digital formats from June 20th 2024. Mastered by Hollis Nolan, Lacquer cut by Andreas LUPO Lubich, featuring artwork by Noah M / Keep Adding. ***** “The rhythms are complex and riotous, but they feel like some elemental process taking place thousands of meters up (perhaps in the titular iridescent clouds), surrounded by layer upon layer of mist and radiance.” Joe Muggs (Bandcamp, Best Electronic Music, 2021) ***** “The typical Illuvia track is panoramic, majestic, and ethereal; packed with detail, the material engulfs like a blinding snowstorm.” - Textura, 2021 ***** “Forget liquid d’n’b, this is steam drum and bass” - Forestpunk, 2021 ***** “Full of pastel soundscapes and poignant melodies, Iridescence Of Clouds luxuriates in its gauzy aesthetic, weaving in kinetic percussion and rollicking Amen breaks that would likely be quite ferocious on their own; here, however, they’re largely kept in check.” - Shawn Reynaldo / First Floor, 2021 ***** “Creative mixers combined drum ‘n’ bass with ambience and a hint of dub, creating a hybrid that was simultaneously soothing and exciting; Iridescence of Clouds falls into this vein, an hour-long set that unfolds like a dream.” - A Closer Listen 2021

This EP was suddenly released in 2015 and, as the title suggests, contains tracks produced between 2006 and 2008. Characteristic of the AFX moniker, aggressive acid lines and hard-hitting rhythms take center stage, drawing listeners from the dance floor into the depths of experimental music. It brims with raw sonic intensity and analog warmth, while simultaneously showcasing the meticulous construction typical of Aphex Twin. An essential work that inherits the lineage of IDM dating back to the 90s while updating it for the future. An indispensable album when discussing Richard's work under his various aliases.

Originally self-released under the artist name 'Stereotype' in 1994, an hour of raw, dancefloor-focused early Squarepusher productions, fuelled by pirate radio and rave, remastered from the original tapes. A companion of sorts to the debut album under the Squarepusher name, Feed Me Weird Things, which was recorded around the same time before emerging on Rephlex Records in 1996.

Stereotype will be released on 24 October via Warp Records, recut as a 2 x LP vinyl edition (the original release crammed nearly an hour of music onto one 12” single!), and available on CD and digitally for the very first time.

A landmark in Detroit deep house.

Forevernevermore is Moodymann’s second full-length album on Peacefrog Records. This 2000 release sees Kenny Dixon Jr. at his most soulful and experimental, blending dusty samples, live instrumentation, and hypnotic grooves into a deeply personal sonic collage. Drawing from his earlier KDJ releases, the album reimagines rare cuts into a cohesive, emotionally rich journey through love, loss, and the spirit of the Motor City. Essential for fans of deep, narrative-driven house music.

Originally released in 2004, Black Mahogani is arguably one of Moodymann’s most revered and sought-after works. It completes the puzzle laid out by his rare and elusive KDJ 12” releases from the mid to late '90s. With the help of Detroit legends like the late Amp Fiddler, Roberta Sweed, and Norma Jean Bell, Dixon infused his analog soundscapes and samples with a new organic warmth—expanding the deep house genre while simultaneously paying homage to 1970s soul and cinematic soundtracks.

Dixon’s masterful control of tension—knowing exactly when to hold back and when to let go—makes Black Mahogani an enduring masterpiece. It's not just a landmark in electronic music, but a definitive statement in 21st-century Black American music.s

Silence In The Secret Garden is an intensly personal and spiritual journey into the heart & soul of black music.

From the reckless dark minimalism of the title track Silence In The Secret Garden to the irresistible funk of Yesterday’s Party… this classicalbum has continued to surprise and inspire.

Smokey 2LP with limited edition Obi Strip to celebrate Peacefrog Records 35th anniversary.

'TTT grip Reckless Records don and record collecting heavyweight Toru Yoneyama on a mad cosmic noise mission sparked off with bony dancehall and mutant tekno-electro pulses – think Conrad Schnitzler meets Jeff Mills at Heinrich Mueller's lab afterhours, it's that wild.

The 92 minute 'Rescue at SW4' is among the best of TTT's already deadly run of '25 so far. Toru's eight trax take all the time needed – nearly up to 20′, and more often at least 10′ – to work out unpredictable permutations of spiny machine rhythm and rudely activated arp leads that seem to have a jazz-noise-tekno mind of their own.

An ideal case in point is the opening passage '052 T.HOLE', which spends the first 10 mins coaxing analog machines to sputter like a Schnitzler-meets-Dilloway jam, overeasy on the curdled chromatic distortion, before crystallising into a gnashing dancehall and Kongo tekno drum pattern whilst the synth wheezes psychoactive spumes. The transition is as effective and it is unexpected, and sets the tone for a class session of strangely sidewinding treats.

'BITT 35ER' stays in the longform lane with a more direct, if wobbly, traction from the offing, recalling some noisy Drexciyan probe and Mills' offbeat jazz-techno treks, whilst a pair of acrid palate cleansers set off a 2nd half encompassing pulsating, kosmiche dub techno noise in 'SPKXXX042', to Ra-esque wormholer '254222 BC' resolving in coiled acid tekno, and the stewed 303 gunk of '052 T.HOLE (048 bottoms)'.' (Boomkat, June 2025)

Nine of the densest ambient and meditative music pieces since the dawn of music!! Sounds both extremely of this time, and of no time whatsoever. Monolithic and stark but extremely warm, intensely personal, and for every one in every which way. We are very happy to present to you "For Those Of You Who Have Never (And Also Those Who Have), an album by Huerco S.