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dgoHn reappears in AF with this 4-tracker EP called "Portus", a dreamy exercise in fast/slow rhythms, atmospheric drumfunk, IDM and experimental electronica. Un-bloody-missable. New music from John Cunnane is always exciting, surely one of the modern scene's most forward-thinking artists. After the brilliant "Undesignated Remixes" in Love Love Records, this is another stellar release by dgoHn and Analogical Force!!!

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Longtime friend of the label Eraserhead returns after over a decade away from producing music due to his surreal MS Paint work as 'Jim'll Paint It' becoming an unexpected cultural phenomenon. With his debut full-length, 'Violence', Eraserhead presents a truly eclectic electronic LP featuring collaborations with established producers such as Om Unit, Enduser, and Brain Rays, as well as the vocal talents of Nadia Rose, Beans (of Antipop Consortium), and Cadence Weapon. An album held together by theme and tone rather than style or tempo, 'Violence' is the culmination of a bitter wave of inspiration, initially conceived in the wake of a personal tragedy that quickly grew into a broader polemic about the state of the world. Originally linking up with Love Love in its breakcore netlabel infancy with his refined, breaks-heavy breakcore/gabba, Eraserhead's flair for tight, intricate productions was evident in his finely tuned tracks of controlled chaos. This time around, his work is a darker, more expansive evolution of his sound, with the scale upsized and the stylistic scope massively broadened, remaining unfaithful to any single genre, but with firm nods to Breakcore, Grime, Drum & Bass, Techno, Rave, Dubstep, and Footwork, all chewed up with a hard industrial edge and cinematically framed by a backdrop of apocalyptic synths. Opening with the cold tech-noir of 'Shining Brainless Beacon' to set the tone, the album quickly locks in with the blistering spoken-word headrush of 'Hurricane With Teeth' alongside rapper Beans, before Om Unit lends his expertise on the sharp groove and clinical bass blasts of 'Operation Hardtack'. The album shifts and morphs constantly throughout the runtime, moving from the raw and urgent acid techno of 'Crowd Control' to the crunching military march of the Gore Tech collaboration 'No More Worlds' and the tribal sci-fi footwork of the Brain Rays collaboration 'Night Visions'. 'Monolith' provides a final burst of catharsis, channelling Underworld by way of Nine Inch Nails, complete with writhing screams from Amée Chanter of sludge-punk-noise-rock duo Human Leather, before the heart of the album is laid bare with the painfully bleak closing dirge of 'Animal'. In its final moments, 'Violence' leaves the listener suspended between devastation and awe - an unflinching portrait of an uncaring world.

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Polymania is a collaboration between Earl Grey and Aroma Nice, both of whom hail from the North West of the UK and are known for their genre-pushing productions in and around the overlapping modern Drum & Bass, Jungle and Drumfunk spheres. This record is a euphoric ravey jungle affair with strong acidic inflections, extrovert and dancefloor-focussed, where effortlessly slick percussive flair shines and rolling acid lines squirt out through the seams - the result of two long-time friends with heaps of production experience having a lot of fun. A-side opener 'Farce of Nature' sets the tone with high energy stabs and a big grooving bassline, rooted in 90s jungle techno but rendered in full high definition, while 'Happy Slaps' continues the theme with crisp drums dancing over an undulating resonant acid line. 'Tank Ammo' deftly ramps up the euphoria with a spiralling melody rising towards a lethal switch-up midway, using filtered choppage to burst the tension with extreme precision. Bouncy acid breaks bubbler 'Give U Up' closes the EP slowing the tempo a touch and dialling up the funk - a refreshing palate cleanser laced with rich braindance melodies and an infectious vocal hook.

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Mattias Östling makes a welcome return to Love Love as Rolando Simmons for new LP 'Animatronics' after recent forays on Analogical Force and Furthur Electronix and nearly 8 years on from his Love Love debut 'World Building'. Hailing from rural Sweden, Östling creates understated but rich and dreamlike productions which have seen him become a familiar name beyond the braindance circles his music first found a home in, recently playing live at venues in the UK like Fold and Houghton Festival. As is characteristic of Rolando Simmons' work, a strong sense of narrative runs throughout this LP. 'Animatronics' stylistically plays across the gamut of Electronica, from the lush, playful braindance of 2nd track 'Purple Soap', to the upbeat syncopated rhythms within 'GlobalGroove Dust Club', and the slowly advancing icy ambient techno dirge of closer 'Memory Defrost'. The ephemeral ambient elements laced throughout allude to a sense of comfortable sedation but darker shades no doubt loom beneath. Measured in its operation and warm in its presentation, the album often steers into unknown spaces, moving through a range of tonal shifts, all the while feeling contained within a unified and detailed imaginary world.

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After roughly 15 years out of the game, Marc Kushin makes a highly anticipated return with his Ely Muff project - a label favourite since its inception - debuting proper on Love Love with 4 tracker 'Human Nature'. Kushin's proto-tekno take on the early breakcore sound was a stand-out of a particularly noisy strain of hardcore which emerged in the UK in the late 90s and early 00s, releasing on the likes of Headfuk, One Inch Punch, Deathchant, as well as Kushin's own labels Kinky Stump and Dead Pig, run alongside longtime collaborator Tantrum. Unpretentious, unserious and completely unapologetic, 'Human Nature' features four tracks of brutal hardcore spiral tekno, distorted and mangled but retaining groove and swagger. The EP features two re-released classics from Kushin's back catalogue: the pumped-up pirate radio pastiche of 'Hold Tite The P, No Need For London' and the feedback-laden blunt lobotomy of 'Automatic Predator', two decades on from their original releases in 2005 on Capsule Core and One Inch Punch. Complementing them are tracks 'Human Nature' and 'Cycle Dirty', previously unreleased spasmoid gems from the same era, unearthed and seeing the light of day for the first time. All four tracks have have been lovingly (re)mastered by Love Love's own Ben Pest for a maximal sonic experience, shining a light on this criminally overlooked corner of UK rave heritage.

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Luke's Anger (real name Luke Sanger) delivers his first outing on Love Love, Ceiling Walker. Sanger is a relentlessly interesting hero of the underground, probably best known as a techno and electro producer and an active player in the live experimental techno scene across Europe, notably including multiple appearances at Berghain/PanoramaBar. Based out of Norwich, UK, Luke has put out a plethora of banging records for two decades in styles from across the rave spectrum on some of our favourite record labels like Tigerbeat6, Don't and Sneaker Social Club, as well as an increasing amount of more ambient-leaning releases under his real name in recent years. Recognised as a true techno stalwart, Luke has received support from the likes of Surgeon, Dave Clarke, The Advent and Jerome Hill. This EP fits firmly into the 'banging' camp - more than a nod to classic stateside sci-fi electro stylings as well as UK dance music's bleep techno bass foundations, this is popping, caustic, mechanical phunk expertly engineered to make you shake and wiggle. Particle Swarm kicks the EP off with strung-out synth chirps and plenty of latex squelch before moving onto the bounciest number, Threshold Rider, with buoyant bassline droplets poking through a solid 808 framework. On the flipside, title track Ceiling Walker utilises rushing crescendos and fluttering analogue rhythms to keep the dancefloor in rapture while closer, Silicon Boogie, achieves maximum levels of funk by aptly juxtaposing digi vocal snippets against square wave bass.

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Essex-based Nasty Rhythm is a raver from the good old days who turned his hand to making music a few years back during UKs lockdowns, causing a minor sensation on youtube after uploading his very first track. The raving spirit shines through brightly here, capturing the vibe of 1992 hardcore like lightning in a bottle on the 2 original A side tracks. Backed with pumped up remixes from The DJ Producer and Rognvald the whole EP provides a breakneck trip along the hardcore continuum.

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Love Love host a collaborative release by two of the freshest contemporary Avon producers, Best Pest and Kursa. Kursa (also one half of S.Murk) has built a notable following in the UK as well as in the USA, playing out often at big stateside events with his own style of tight, maximalist bass music - think Tipper, Eprom, Noisia etc… Ben Pest is no stranger to Love Love with 2 previous solo releases under his belt, best known for his crunchy techno & electro and ripping hardware live-sets. Here they come together for a 5 track genre-hopping EP, each flexing their respective production sensibilities, splicing elements of dubstep, grime, hardcore & garage together, along with a healthy dose of multi-dimensional sound design, to make some of the noisiest modern dance music going. Early support from: Clouds, Giant Swan, Rob Hall, A Made Up Sound, Om Unit, Nikki Nair, Luke Sanger, Deft, Warlock, Second Storey...

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Drumfunk/braindance don dgoHn (John Cunnane) returns to Love Love for a collaborative 4 track EP, 'Talk To The Planets', alongside avant-garde experimentalist Danish friend Oliver Duckert. Oliver is an electronic evangelist and the founding member of chameleonic cyberjazz group Badun, created in Århus, Denmark, but often found tuning in and out of the space/time hyperlink. John who needs no introduction at this point makes his first appearance on the label since widely-lauded 2020 album 'Undesignated Proximate' and follow-up 2022 remix project which featured an array of peers such as Skee Mask, Djrum, Meat Beat Manifesto and Equinox. White coloured vinyl in a full colour spined sleeve.

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Hellfish and Bryan Fury, the Axe Gabba Murda Mob, are two of the biggest innovators in hardcore techno / gabba. Both have been pushing the genre in all kinds of directions for over two decades providing the pulse for thousands of parties around the globe. So with this in mind, we are honoured to present 'Baby Eaters', an earth shaking joyride to the very edge of the human psyche and beyond.

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Long time collaborators Meat Beat Manifesto (Jack Dangers) & DHS (Benjamin Stokes) get together on fresh new 12” EP ‘Man From Mantis’. Both artists have rich musical histories, Dangers having released an extensive collection of music as MBM since the late 80s including pre-hardcore/jungle breakbeat touchstones (Helter Skelter/Radio Babylon) & late 90s masterpiece ‘Prime Audio Soup’, released on Trent Reznor’s Nothing Records and recognisable from its use in The Matrix. Stokes on the other hand has a smaller back catalogue but no less influential, having been responsible for all-time-classic foundational techno blueprint ‘House of God’.

Dangers & Stokes have always played around beyond the edges of the familiar and this EP is no different: 4 tracks of breakbeat techno future-sound that live in a world of their own. ‘Pandemic’ opens the EP with squeaky-clean mechanical acid, intentional and direct, tight and well-controlled, underpinned by a revolving, bubbling acid line. ‘Aggressive Mantis Squad’ comes bearing weighted breaks and hinterland bleeps, spanning the past and the future. B-Side opener ‘Automatic Mouth’ is a twisting chugger, occasionally breaking down to reveal a whirring & stuttering machine-spirit before the EP closes with the drum-fest dream sequence of ‘International Sound System’.

These are lab-grown rhythm bombs, finely tuned off-kilter grooves, razor sharp crucial beats ready for the future, out on Love Love Records, June 9th 2023.

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Precision electro-acid house? Bass-injected rumble techno? Call it what you want, this new 12" from Si Begg perfectly shows off this legendary UK producer's hold on sonic manipulation, coming beautifully presented on a white coloured 12" in a full printed spined sleeve.
Recording music since '93, Si's catalogue of music has always pushed the boundaries of dance movements of the day: electro, breaks, garage, bass, techno and almost everything else. With a weird and wide-ranging career that includes a 2004 Peel Session and music put out alongside Tipper and Neil Landstrumm on labels like Tresor, Fuel and Novamute, Begg has proven himself as one of the true greats of the sound.
Focusing his career on TV and film in recent years has meant a slow-down in the rate of bangers making their way outside of Begg's studio but "400 Million Pieces of You" shows that they are still very much being made, and are perhaps bigger than ever in their magnitude.
A side track "P1 Tek 2 Neu Anfang" takes the form of a subaquatic acid monster with a bubbling urgency coursing through its veins. The Drexcyian inflection is clear as tracks "Elektronisch For Pleasure" and "P1 Voltage 2 Repeater" take the full plunge into a fizzing electro sea. While the trance-like "When We Were Young" harks back to a more hedonistic time the robofunk grooves found on "400 million Pieces of You" still sound like they're from the future.

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Dutch techno producer Troy, has long been a steady presence in the deeper realms of contemporary techno. Known for his timeless sound on labels such as Klockworks, Non Series, and KEY Vinyl, Troy continues to explore the intersection of raw energy and refined sound design on his first Double EP 'Echoes of Ancient Life' on Function's Infrastructure New York. Across these 8 tracks, Troy constructs a continuum between the mystical and the mechanical: deep, tunneling synth lines, evolving textures, and precise rhythmic flow pushing his punchy techno sound to the next level.

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Djrum is a perennially acclaimed underground artist, since his first release in 2010 who’s quietly built a list of fans that reads like a who’s who of contemporary dance music. As an artist, Djrum has formed a reputation for his unique fusion of a range of genres ranging from jazz, hip hop and dubstep to ambient and techno. His music swells with oceanic bass laded beats, cavernous atmospherics and deeply emotive melodies. An accomplished DJ his compositional approach feels like a natural collage of his influences which has seen him release for the likes of the Zenker Brothers Ilian Tape imprint as well as the influential 2nd Drop label, plus remixes for Ninja Tune and Domino. Felix now steps up to the plate at R&S with one of his most visionary releases to date. Deeply meditative melodies twist and turn through stuttering rhythms and pulsing low bass, hypnotic pads and woozy atmospherics. Manuel’s music somehow manages to retains the urgency and dynamic pressure of the dance floor with the intimacy and elegant detailing of the best headphone music. A natural fit for R&S, there is a full length Djrum album in the pipeline in 2018 - looks like it’s going to be an exciting year ahead.

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I met Aaron Parr back in 1992 aka the golden era of electronic dance music. Everything was kicking off in the L.A Underground and he was working slap dap in the epi-center at Beatnonstop Records on Melrose Avenue in the heart of Los Angeles. At the time I was living in Santa Barbara still doing my college radio show "The Joy of X" and coming down to L.A on the weekends almost every week since 1989. Aaron had been a mainstay down the street at Streetsounds Records where my then Young friend 19 year old Steve Loria worked alongside warehouse dj & underground legend Barry Weaver.

These were heady times. Clubs, after-hours and renegade break in warehouse jams were the order of the day…every day! The shops fueled the dj's with the dope records and the ravers with the party flyers, the Record Stores were the hub of the whole scene and the key was befriending these upwardly mobile soon to be underground superstars if you wanted fat slabs of wax AND to know where the real deal undergrounds were shaking…literally.

In 1992 I got selected for the U.S Olympic Basketball team and headed back to Europe in an effort to make it to Barcelona and get smashed for the GOLD by the dream team in front of the whole World…no thanks! We got knocked out by Petrovic and the Czechs right b4 Barcelona!
Anywho after 3 months I returned to Cali and there had been a shift, Steve Loria moved up the street from Streetsounds & opened Beatnonstop and it was HUGE! It had quickly become the largest independent record store in the U.S. The scene was massive, everything had exploded. I got in where I fit in and started a weekly Techno club "Happy Planet" on Tuesdays and a House club "NYC" with Doc Martin on a Friday. Both were rammed.

Aaron the industrious Brit from Nottingham & his bredren Dave Fong went to work early too, putting out the Rudiments EP on Worldship Records and then following up with Psycho Ray in 1998.. In 1998 II closed my Culture shop "Soma" down in Santa Barbara, packed up my studio & sound system and moved to L.A official. I had gotten the offer to manage Beatnonstop on Melrose after Steve Loria left and jumped at the chance.

I quickly put together the Beatnonstop Record Label, releasing a double pack "Pacific Coast House EP" feat myself and local producers Aztech Sol, CPen and Kenneth Graham/Steve Loria. I then kicked off PCH Records with "Rhodes Through Space" and after a drunken rendezvous at the Hall of Records Studio one night I signed Aaron & Daves Teflon Dons "My Vice" to the labels.

Vice was right down my alley a dark, grimy acid track with menacing Pacino samples.
After a buying trip for Beatnonstop to NYC. Harry the Bastard from Watts took me down to meet fellow Brit Stefan at Dance Tracks in Manhattan where I found the sample "Our Music" on an accapella in the bins. Super inspired after two weeks trolling round every record distributors warehouse (Watts, Nemesis, Syntax, Downtown etc) and hitting every record store in Manhattan (Vinyl Mania, Discorama, Frankie Bones shop, Satellite and on and on) I came home to L.A and me and Nate loaded up the Emu 64 Ultra sampler and penned "Our Music."

The track is obviously very New York inspired and was received well by Big Apple Dj's David Morales, Junior Vasquez, Roger Sanches & Baby Hec Romero. I would definitely say this track was a slow burner elsewhere and took off later getting the nod from DJ Deep in Paris, + Terry Francis, Eddie Richards and Mr. C in the UK.

It got no love in L.A surprisingly but everywhere else across the country with Miguel Migs and DJ Garth in the Bay, King Britt in Philly and DJ Pope in Baltimore. Now it's back on wax after 25 years remastered by the mighty Martin Iveson and I think the World is finally ready!


Track list:
A – Teflon Dons – Vice
B – The Coastal Commission – Our Music

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Troy is back on non series white with another dense, powerful 4 tracker ep

Tracklist
A1. Troy - Shadow Of The Comet
A2. Troy - Slow Burn

B1. Troy - Twilight
B2. Troy - God´s Flesh





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Coastal Commission “Bring Down the Walls”
“Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring
Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One.”
We gave the tune a Californian psychedelic twist with conga laden drums, a moody
synth, low pulsing 303 patterns + Benjamin Zephaniahs patois call to “Move the Body
Rhythmwize!”
The first PCH releases had dropped Worldwide to International acclaim from DJ’s far
and wide across the Globe with support in London, Paris & New York. However the
local scene here in L.A that preached “Love, inclusion & Unity” was anything but that.
L.A at that time was very tribal & divided up into 3 camps. If you weren’t affiliated with
any of them (aka independent) then you were pretty much locked out of getting any kind
of gig support or the Dj’s from those camps actually playing the music.
The local feedback from Dj’s was that what we were making wasn’t “house,” but
“Techno” which was absurd to me. “Bring Down the Walls” was a mantra to “move the
bod”y and in doing so “bring down the walls” of separation not just in L.A but throughout
society in general. Thank goodness for support from people like Terry Francis, Eddie
Richards, DJ Deep & Philly Stalwart King Britt.
After years of copies going for upward of $100+ on Discogs the now freshly remastered
copies by At Jazz’s Martin Iveson are finally hitting the platters this Spring.
Jesse Outlaw “Let it Go”
I met Jesse at Beatnonstop Records on Melrose Ave with Miguel Placencia in the late
90’s. Miguel (RIP) was a mainstay in the Underground scene and had always been very
supportive of my endeavors. He had had success with a huge release on Yellow
Orange and was working with Jesse under the moniker “When Worlds Collide.” I signed
“Brighter Days” & “Set you Free” from them and released the tracks on my Seductive
imprint. They told me that they were making the tracks on a Sony Playstation “Music
Now” program and I was like FFS “What.s more Underground than that!?”
Later Jesse gave me some of his solo work. The track “Let it Go” was never mastered &
only ever cut to Dub-plate and featured on my 1st PCH mix “Pacific Coast House
Sounds.”
It has now been mastered by Martin Iveson and is available in all it’s glory.
The dreamy vocal “You need to let it go” beckons over the top of driving percussive
Latin beats and church organ which is a great compliment to the flip side of “Bring down
the Walls.”
All in all two West Coast stompers now finally available remastered on PCH in Orange
vinyl.

A - The Coastal Commission - Bring Down The Walls
AA - Jesse Outlaw - Let It Go

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The second reissue from Sam Robson’s, Pacific Coast House Recordings. This time round it’s Lance DeSardi with the Jazz Salad EP. A Deep House classic from the West Coast going for upwards of £100 on Discogs.

A1 – Lance DeSardi - Jazz Salad
B1 – Lance Desardi - Boing
B2 – Lance DeSardi - Boing Boom Shox

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Tracklisting
A1 Filtrack - Before I Go
B1 Filtrack - Uhhh... Spooky... I Like It

Sales Note
Molekul sub-label.

Filtrack brings a breath of fresh air to Loud Pressings with a signature sound at the forefront of modern techno. He develops his ultra-minimalist techno style through a highly technical approach, blending textured sounds, refined percussion work, and dark yet elegant atmospheres.

The result is a two-track EP that is sharp, effective, and impactful in its purest form.

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Limited Orange Vinyl EP

Dallas Native Lance Desardi arrived in Los Angeles alongside his roommate JT Donaldson sometime around 1999. At that time I was the head buyer & managing L.A’s largest independent dance music shop in the heart of Hollywood “Beatnonstop” on Melrose Avenue. We had just put out a double pack vinyl on Beatnonstop and a single on PCH feat. Myself & Cpen on both.

Lance & J.T were introduced to me by Chris Penny aka CPen who was also a Dallas transplant to L.A and as chance would have it they were both looking for jobs. The two had been sojourning in Chicago for about two years under the tutelage of Spencer Kincy aka Gemini and the House Mayor of Chicago Derrick Carter.

I hired them both and we soon became fast friends. I would lend them pieces of gear and keyboards etc to work on projects and suddenly we had this little community of producers and artist’s working on beats, bringing them into the shop for “show & tell.”

This created a healthy atmosphere of us all pushing each other to make songs for the labels. This is one of the reasons Seductive, Pacific Coast House & Pacific Traxx etc were started to house the different projects and alias’s of us at that time.

One day Lance showed up to work at the shop beaming from ear to ear a some pep in his step. Him and another co-worker Jaime G had gone into the studio that week and banged out “Jazz Salad.”
As soon as Lance slipped in the DAT tape and the track came thundering through the speakers with Jaime’s deep Latin intro I knew it was going to be a big tune in the underground. Such a groove and so infectious it is undeniable even today 20 odd years
later.

So nice to see it back out on wax and not at the hefty discogs price tag of over a hundred quid! The flip side “Boing” is a deep late night groover that fits nicely into a Mark Farina style set with bonus beats to boot. Not to be missed. Classic.

Words above from Sam Robson of Pacific Coast House.

A1 - Lance Desardi - Jazz Salad
B1 - Lance Desardi - Boing
B2 - Lance Desardi - Boing Boom Shox

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Coki’s seminal double A, “Tortured/Shattered”, finally repressed,

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Early support by Ben Klock, Alarico & Setaoc Mass.
James Ruskin's Blueprint Records continues its 30-year celebrations with a new EP by Kr!z who returns with his fourth EP for the label. Kr!z made his Blueprint debut in fine style with his "Neutrino EP" in 2022 and went on to deliver the "Revelation EP" in 2023 and "Horo EP" in 2024 so it's fitting that he's back to join in this landmark label anniversary.
Kr!z has been at the forefront of techno for more than a decade. Influenced by the hypnotic and energetic sound helmed by veterans such as Jeff Mills, Steve Rachmad and James Ruskin, he gradually but steadily developed his own identity in the international techno scene.

Tracklist
A1. Kr!z - Build & Destroy
A2. Kr!z - Footprints
B1. Kr!z - Kobold
B2. Kr!z - Into Thin Air



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Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity. It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving. Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties. The tone set, the EP moves through ultra-rarefied glass-like p

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More