Jerome Hill returns to the long running Don't label (24 years strong) with a four tracker of big boned Techno/Booty music that swaggers along, at times with tongue in cheek and mainly giving no fucks.

On the A side, taking inspiration from Relief and Dance Mania records, 'All My Friends' meets the bombastic New-New-Beat rave stylings of 'The Ghost Of New Beat' while over on the flip, you're faced with 'Dog Booty', an obscenely filthy Ghetto Techno track that only your dog will understand, before finishing off with the Miami Bass apocalypse that is 'Blip Trick Track'.

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Jerome Hill returns with his 5th full EP on the label to warm you up for winter and it’s maybe stylistically, his widest offering yet.

A joyous mash of influences collide and Hill spits them out of the blender with some typically unexpected curveballs.

From the strikingly moody break beat acid of The Warning, to the 8 minute long extended Disco workout of ‘Harlseden Shuffle’. Then on the flip side, a reliably gnarly wedge of Technoey Acid House in ‘Combustion Zone’ and the EP culminates with a tip of the hat to mid nineties House with the rumbling bass and catchy percussion of ‘House Thing’.

Its obvious Jerome’s having fun with this EP and hopefully you will too !

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Turntable magician and champion of all things strange in the world of dance music, Jerome Hill, joins Craigie Knowes for his debut record on the imprint. 4 mind-melting acid trax primed to contort even the most rigid of dancefloors.

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At the very coalface of the UK rave/breakbeat/techno/call it what you like scene since the 1990s, Jerome Hill is something of a hidden treasure amongst the plethora of DJs and producers to have dropped both bangers and bloopers over the ensuing three decades. With minimum of fuss and fanfare, Hill has steered record labels like Super Rhythm Trax, Don’t, Fat Hop and Hornsey Hardcore to revered acclaim, as well as firing out a consistent stream of releases for imprints such as Matthew Herbert’s Accidental Jr, Exalt Records, and I Love Acid, to name but a few. Surprisingly, ‘Flow Mechanics’ is Hill’s debut album after a production career that kicked off in 1998 as one half of Groove Asylum. And its collection of unabashed acid and rave bangers is a perfect fit for the Hypercolour label, whose personnel over the last few years has included Luke Vibert, DMX Krew, Shelley Parker and Gary Gritness. Tracks produced directly for club play; the album features 8 cuts destined to fit in cross-genre sets. With pumping electro cuts such as ‘Deafening Lull’ and ‘Knob Jitter’, four to the floor acid stompers like ‘Walk The Plank’, the mutant garage of ‘Brought Up Badly’ and the house groover ‘Stax Had The Funk’, ‘Flow Mechanics’ is a joyous romp through rave’s sound palette, replete with playful samples and skits (featured on the vinyl LP version), and a mischievous demeanour that affords the listener an lively album that doesn’t take itself too seriously. ‘Flow Mechanics’ by Jerome Hill is available from 3rd March 2023 on Hypercolour.

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Jerome Hill returns to the label with a solid 4 tracker to mark his fourth EP on the label.

Each track offers something different, the crispy and playful minimalism of ‘Mind Goes Blank’ pairs up with the wistful crunch of ‘Knock Knock’ on the Aside, while things take a decidedly more ACID approach on the flip beginning with the big boned banger of the EP ‘Bombing With Imase’ and culminating with weaving 303 lines sets against strangled otherworldly transmissions in ‘A Million Ways To Get ill’ .

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Long time friend of Dixon Avenue Basement Jams and collaborator (going back 20 years) makes his debut on the label with four helpings of weird and wonky machine funk jackers. This ep perfectly encapsulates the sound of Monox where we all met many years ago. If you close your eyes whilst listening you could be there - minus the damp smells and farting subwoofers!

Presented on lurid pink marbled vinyl and hand stamped labels with insert art from the talented Matt Consume!
Enjoy!

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Jerome Hill, the man synonymous with the UK Underground for a couple of decades now arrives on DEXT with this 4 track EP and shows just why he is one of the country’s most underrated talents.
After his superb remix for Nightwave on our LTD label, we had to get him on board for an EP. The Super Rhythm Trax / Don’t Records boss really flexes his muscles on these heavyweight offerings – effortlessly blending super sharp drum programming with his signature “acidic bleeps and breaks” style, delivering 4 clever-yet-no-nonsense jams to make you move for a long time to come.
This is a man unquestionably at the top of his game both in the studio and behind the decks, and we couldn’t be happier to have him as part of the DEXT family.


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We welcome Jerome Hill with his stomping acid monster Mole Hole Acid plus an insane remix from Auto Sound City. Pressed on a one-sided, hand stamped and numbered standard weight black vinyl release. Accompanied by a printed info sheet insert.

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Super Rhythm Trax boss Jerome Hill is back on the label with 3 otherworldly tracks cut loud for maximum dancefloor devastation. Beginning with the wistful acid pump of ‘Back & Forth’ moving through to the alien jacking of ‘Weird Language’ and leaving you wide eyed in the grip of ‘Close Encounters’.





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Jerome Hill (Super Rhythm Trax / Don’t) dons his Techno hat once again for an outing on fresh new label ’Swords’ and opens up with ‘The Creeper’, a brooding ear worm of a banger that skulks around unhinged as FM synthesis drills a hole in your eardrums with solid and moreish bass keeping things very heavy indeed. On the flip we have ‘Drum War’ which is just that; Sharp snare rolls puncture a heaving carcass of crunchy kicks and bass with tension riding high. Also included is a bonus Drumapella for DJs to utilise when extra snares are needed!! Lastly, the original mix of ‘Plastic Jam’ gets a deserved release after a more stripped back drum heavy mix appeared on the excellent Power Vacuum label last year. The original mix sees a happy melding of broken beat Techno with old skool 1992 Hardcore.



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Super Rhythm Trax follows up Mike Ash's immense 'Return To Acid' EP with another smasher.. With a slew of releases due to drop on some very respected labels in the coming months, DJ's DJ, Jerome Hill steps up and serves up 3 tracks of pure groove Acid music. Owner over at Don't Recordings and Fat Hop, Jerome zones in on that 'Ultra-Vibe' and takes you back whilst keeping you up to date in a style all of his own.. Never one to release music for the sake of it, Paper Bag acid is finally seeing a Vinyl release after being tried and tested extensively on the airwaves of London's finest Rinse and Kool FM and in the clubs and festivals over the summer..This one's a killer!

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10 years since the last installment, Herbert returns to the seminal Parts series synonymous with his trailblazing work in leftfield house music that began with Part One nearly 30 years ago.



It features the first of a series of pieces written with, and sung by artist, producer and drummer Momoko Gill (fka Metta Shiba and performer with Tirzah, Coby Sey, Alabaster de Plume amongst others).



Part 9is the first in a planned resurgence of forthcoming Herbert releases, withPart 10lined up for later in 2024 and his seventh album under this moniker slated for early next year.

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One of Matthew Herbert's more demented, concrète-technoid aliases, Wishmountain gives up its first album in a decade - think Pierre Bastien meets Thomas Brinkmann at a DIY store. Back in the late '90s Wishmountain 'fessed to the tuffer side of Herbert's concrète house principles and was a key part of the movement toward minimal techno that endured for many years after. 'Stonework: 1000 metres down' pits Herbert back in the minimal techno mines to hammer out 10 hypnotic, jiggly rhythmelodic workouts full of barebones but colourful percussion and mechanically recalled electronics that patently manifest Herbert's innovative ear for intriguing sounds and knack for drivingly playful, club-ready arrangements. Made for close listening as well as harder working DJs who like to get busy with long blends and the EQ's, a familiar palette of foley-like tones subtly shift permutations of tempo and pattern in the album's cyclical carousel. The panel-beating canter of 'Tap' and clipped tattoo of 'Tool' hail why Wishmountain's work has long been name-checked by everyone form Ancient Methods to Pangaea, while the offbeat swang and grind of 'Headrush' and experimental trample of 'Dig' or the lo-slung swang of 'Deep' join dots between Brinkmann and likes of Kirk Barkey's Bambooman. The best, however, is saved for last with the nine minute 'Walk' evoking analogs to Muslimgauze's more locked-in, tripped-out, unyielding loop-based tekkerz in its Arabic-toned drums and atmospheric workshop noise.

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The Accidental label pushes on in it’s 21st anniversary year with ‘Thanet House EP’, a no nonsense, no pretention house 12” from renowned sound artist and designer Yuri Suzuki. Born in Tokyo in 1980, Suzuki studied in Tokyo and London, exploring the relationship between music and technology. His design and sound work is widely lauded, with examples of his practice being found in, among others, Tate Britain, MoMA and Mudan. In 2016 he was recognized by Design Miami, receiving their Designer of the Future award and in 2018 became a partner at the world’s largest independently owned design studio, Pentagram.

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Stalwart German producer Jackmate signs to Herbert’s Accidental Jnr for his new EP 'Werk' out on July 3.

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Matthew Herbert’s Accidental Jnr imprint are back with their second release of the year, this time inviting rising London based star Third Son into the fold. The Polymath label boss has been causing quite a stir in the house music scene with releases for 17 Steps, Skint and Sincopat as well as clocking up remix credits for among others Marc Romboy and Maya Jane Coles (under her Nocturnal Sunshine alias).

‘Bag O’ Bones’ opens up proceedings with its clattering toybox percussion, throbbing kick drums and dissonant lead stabs. The track has a brittle, dry quality to it, but Third Son’s ear for the dance floor is clear as the arrangement smoothly rolls along at firm a pace. More of the same is served up in ‘Chime Salad’, with layers upon layers of wonky, shifting percussion, building up into a tower of sound that feels as though it should come crumbling down, but somehow always stands firm.

The B1 ‘Phase Of Going Through Life’ brings the energy back down to earth with its slightly sparser arrangement and clips of bird songs, while still maintaining the off kilter pace of the previous pieces. The record then closes with the feel-good club work out, ‘The Brain Named Itself’, where we find Third Son administering a last-minute, sharp injection of groove. The dissonant synths that opened the record are replaced by brilliant, euphoric chord sweeps and pounding drums that are sure to move any dancefloor.

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The Accidental Jnr label has just passed it’s second birthday mark… so at 2 years and 15 releases in it only seems appropriate for the next 12” release to come from the artist that kicked the label off and has made it his home for the past 2 years… Bambooman, with a remix from label boss Matthew Herbert himself on the b-side. The track can really speak for itself as this one is something special for the dancefloor, the only difficulty is choosing which version to play...

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Gerry Read launches his new campaign to look at Preventing Violence Against Ears in all of its forms. In partnership with the Accidental Jnr corporation, Gerry hopes that this campaign will not just raise awareness but will actively work to prevent these alarming new practices. We urge you to take notice and to assist us by making sure that your peers, foes and family alike listen closely to this important movement. Relevant recordings have been produced and are available now via both 12” vinyl and digital mediums.

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