Om Unit presents Acid Dub Versions III, the third set of remixes of material taken from all three volumes of his legendary Acid Dub Studies album trilogy. Taken together, all three Acid Dub Studies releases and their remix companions have proven a highly influential series, and Om Unit’s best-selling work by far. He’s toured relentlessly throughout the EU and the US throughout 2025 presenting live versions of the material to consistently sold-out crowds and overwhelmingly positive response from both longtime fans and newcomers alike.

The album celebrates the legacy of the acid dub project with a high-caliber set of remixes. These include such prolific luminaries as Daniel Avery, Satoshi Tomiie, Richard Fearless (Death in Vegas), Tadd Mullinix (as Dabrye/Ghostly International) and Tilliander (TM404/Mokira/Kontra-music).

Portland-based dub generals Alter Echo and E3 (of BSI Records and ZamZam Sounds fame) and UK dance pioneer Bok Bok (Night Slugs) join forces with newer faces like Beatrice M (Tectonic/Tempa), Dubrunner (Menace), Azu Tiwaline (Livity Sound), N1_Sound (Spiritual World), Krotone (Of Paradise/Challenger Deep), Piezo (Subaltern/Hundebiss), RS Tangent (Trilogy Tapes) and lowkey noise/techno/ambient polymath Misseterspoon (Avon Terror Corps).

Each artist was given free reign to interpret using material from anything from all three albums. The result is a heady mixture of dubs from many angles, each one multi-faceted and high-quality. The variety of approaches puts Acid Dub Versions III firmly in the realm of legendary modern dub compilations as Macro Dub Infection and Box of Dub.

With the possibility of more acid dub in the works from Om Unit, Acid Dub Versions III stands as a testament to the project's ongoing evolution—bridging scenes, generations, and styles—and reinforces its lasting influence on the trajectory of 21st century electronic music. This is definitely one for the heads.

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Jim Coles’s fifth instalment of his best-selling ‘Acid Dub Studies’ series arrives in the form of the third set of original works exploring the infectious sound of the 303 bass-line in a dubwise setting. The album takes in traditional dub mixing approaches in a digital and roots/digi-dub style whilst also making space for more electronic and ambient processes to close the project.

‘Acid Dub Studies III’ arrives after 2 years of touring the material in a live setting at festivals and clubs including CTM at Berghain, Les Nuits Sonores, and Andrew Weatherall's Convenanza festival and is the culmination of some 5 years of experimenting with a style that has been met with critical acclaim, reaching far and wide into many a DJ’s box having been noted by some as a truly ground-breaking approach to working with the 303.

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Repress!

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.

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‘Threads’ was my 1st album as Om Unit and this 10-year re-mastered anniversary edition comes around at what feels like a similar time for me of experimentation and finding new ways to connect sounds. Something of a full circle of sorts but then again I am marking time with this re-issue at a time where I can look back and feel very proud of the work still sounding so convincing. Now even better thanks to Subvert Central’s Robert Macchiochi!

Reflecting on the past 10 years since this record came out, I can say it’s been an incredibly fruitful journey, with the most striking element of it all being the opportunity to travel and meet so many people from so many different backgrounds with different world views and stories. I found that ‘Threads’ for many was their first insight into my music, and for some people was something of a milestone in their journey of exploring music itself with tracks like ‘The silence’ and ‘Governor’s Bay’ having been mentioned over the years as amongst favourites alongside some of the work released on Cosmic Bridge and Civil

I want to take a moment to give my Love and gratitude to all the featured vocalists. Thanks to Simon Jinadu for his angelic voice on ‘The Silence’, to Charlie Dark MBE for his reflective words on ‘The Road’ and to Alex ‘Bogues’ Rendall aka MC Jabu (of Jabu) for his intense delivery on ‘Patients’ as well as Jneiro Jarel for his self-reflective narration on “just sayin’” All 4 are still outliers in their own field and upstanding creative forces to boot. I feel blessed to have been able to capture them on this project.

Threads was made in a bedroom of 2a Station Rise in Tulse Hill, a flat I shared with journalist and writer Laurent Fintoni, in a space that had such a great sound to it that I’ll always miss that room. I hope that you feel the warmth that I felt then whilst making it. It’s been an adventure since and whilst I’ve moved on from a lot of the tropes intrinsic to the album, it will always remain a body of work that is dear to my heart.


Enjoy!
<3

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It’s always a joy to release music from friends, and ZamZam 91 is our first collab with a dear one, Jim Coles AKA Om Unit. It’s impossible to frame the breadth and depth of such a storied career in bass music in just a couple lines- so suffice to say that releases over decades on a who’s-who of seminal labels including Exit, Fabric, Planet Mu and of course his own Cosmic Bridge have cemented his rep as an absolute force in production and DJing across any number of genres and sub genres.

Coles’ roots in Bristol and deep love of dub and reggae - made beautifully explicit on his recent Acid Dub Studies LPs - come through strong on both sides. “The Canopy (Armageddon Style)” opens with ravey, arpeggiated synths worthy of Vangelis, punctuated by a brooding piano chord, building steadily into a dark and utterly apocalyptic steppers guaranteed to storm & batter down Babylon walls inside and out.

“Mystic 808” is a deep meditation, a slow stepper that ices down the furious energy of the A side and drops the tempo to suit. Recalling the heady days of original late 90s/early 2000s UK Dub - as well as early dub techno - stabs and melody caress, restrained percussion swims and multiplies in reverb and echo, orbits locked to the gravitational force of the massive and truly timeless bassline. Proper sound system material that will satisfy the heart and soul long after the dance is done.

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Four tracks of forward-thinking club music featuring his signature sound, taking in elements of Acid, Broken Beats, UK Techno and Dubbed out atmospheres. Melodies, hooks and basslines are plentiful on this one and the sights are set firmly on the dancefloor with most tracks landing around the 130-140bpm region.

'Atlantis' is yet another step forward in the evolution of a well-decorated but never stagnant artist who is ever-keen on exploring new possibilities.

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Over the years Jim Coles has turned his hand to a fair few different styles and made them his own. These days, most know his Om Unit alias as a significant force in fresh developments within D&B (recently found larking about with Alix Perez, Binga and more in the Richie Brains project on Exit Records), but it's not always been that way. From initial moves in the dubstep world via Terrorhythm through to shimmering, playful electro-leaning business on Civil Music, he's graced plenty of high profile labels with his many-sided musical dice and come up trumps. A personal favourite moment for us came in the shape of the All City 7" Lavender / Lightgrids in 2010, which matched Jim's knack for rich and detailed production to a slower, more contemplative groove. This new release for Idle Hands comes from that era, a trio of secret weapons sat waiting for the opportune moment to step out into the world. With the warmer months upon us, it feels like the perfect time to let a track like "Friend Of The Day" roll out in a heavy-lidded haze of sun-kissed, ivory-tinkled finery. This being Om Unit, of course there are different shades on offer here as well. "Basement Superman" plumbs aqueous depths with its appropriation of dub techno tropes in a slow-stepping, meditative framework. "What It Is" too revels in introspection, a laconic bassline loping jauntily against the feathery beat in a succinct encapsulation of Bristolian laissez-faire. Jim's current exploits are reaching ever more interesting pastures, and there's an increasing recognition of his past achievements too (check the Kutmah-curated Lost Stories collection of unreleased 2tall bits from his archives), so it's a pleasure to add to the movement and support some truly special gems from a long time friend of the shop.

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Om Unit presents Acid Dub Versions III, the third set of remixes of material taken from all three volumes of his legendary Acid Dub Studies album trilogy. Taken together, all three Acid Dub Studies releases and their remix companions have proven a highly influential series, and Om Unit’s best-selling work by far. He’s toured relentlessly throughout the EU and the US throughout 2025 presenting live versions of the material to consistently sold-out crowds and overwhelmingly positive response from both longtime fans and newcomers alike.

The album celebrates the legacy of the acid dub project with a high-caliber set of remixes. These include such prolific luminaries as Daniel Avery, Satoshi Tomiie, Richard Fearless (Death in Vegas), Tadd Mullinix (as Dabrye/Ghostly International) and Tilliander (TM404/Mokira/Kontra-music).

Portland-based dub generals Alter Echo and E3 (of BSI Records and ZamZam Sounds fame) and UK dance pioneer Bok Bok (Night Slugs) join forces with newer faces like Beatrice M (Tectonic/Tempa), Dubrunner (Menace), Azu Tiwaline (Livity Sound), N1_Sound (Spiritual World), Krotone (Of Paradise/Challenger Deep), Piezo (Subaltern/Hundebiss), RS Tangent (Trilogy Tapes) and lowkey noise/techno/ambient polymath Misseterspoon (Avon Terror Corps).

Each artist was given free reign to interpret using material from anything from all three albums. The result is a heady mixture of dubs from many angles, each one multi-faceted and high-quality. The variety of approaches puts Acid Dub Versions III firmly in the realm of legendary modern dub compilations as Macro Dub Infection and Box of Dub.

With the possibility of more acid dub in the works from Om Unit, Acid Dub Versions III stands as a testament to the project's ongoing evolution—bridging scenes, generations, and styles—and reinforces its lasting influence on the trajectory of 21st century electronic music. This is definitely one for the heads.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
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Contact: [email protected]More

Repress!

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.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
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Germany
Contact: [email protected]More

Jim Coles’s fifth instalment of his best-selling ‘Acid Dub Studies’ series arrives in the form of the third set of original works exploring the infectious sound of the 303 bass-line in a dubwise setting. The album takes in traditional dub mixing approaches in a digital and roots/digi-dub style whilst also making space for more electronic and ambient processes to close the project.

‘Acid Dub Studies III’ arrives after 2 years of touring the material in a live setting at festivals and clubs including CTM at Berghain, Les Nuits Sonores, and Andrew Weatherall's Convenanza festival and is the culmination of some 5 years of experimenting with a style that has been met with critical acclaim, reaching far and wide into many a DJ’s box having been noted by some as a truly ground-breaking approach to working with the 303.

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Four tracks of forward-thinking club music featuring his signature sound, taking in elements of Acid, Broken Beats, UK Techno and Dubbed out atmospheres. Melodies, hooks and basslines are plentiful on this one and the sights are set firmly on the dancefloor with most tracks landing around the 130-140bpm region.

'Atlantis' is yet another step forward in the evolution of a well-decorated but never stagnant artist who is ever-keen on exploring new possibilities.

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DJ, producer, songwriter and cultural trailblazer Peggy Gou releases her latest single, 'D.A.N.C.E'.

This full sleeve 12" edition features the full extended version of 'D.A.N.C.E.' plus two alternative cuts for dextrous DJs on the B-side: the Grooveapella and Danceapella mix. The 12" also comes packaged with an exclusive sticker sheet k of the different cats that adorn the artwork.

“This track to me is all about connecting with joy and feeling free. I hope it makes people want to dance all summer long.” - Peggy Gou

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When the sun hovers near the horizon, the rays of white sunlight are scattered out of the beam by small particles and molecules in the atmosphere that sprinkle the sky with brilliant hues indicating that the day starts to fade. As night begins to fall, tree-tops redden and begin to glow. Darkness closes in and falls like a blanket covering the sky. It is late again and all is in shadow below. It is when stars align and dreams come true.

Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.

A1 - Sundown
A2 - Pop-Jazz Structures
A3 - Take A Break
A4 - Stars Align
A5 - Lunar Distance
B1 - Jazz At Night
B2 - Snowdrops
B3 - Stellar Plates
B4 - Asterism Waltz
B5 - Late Again

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Repress!

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.

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By welcoming the beauty of imperfection and simplicity, Sven Wunder applies the timeless wisdom of wabi sabi on this
musical journey. What you can hear is filtered through Ukiyo-e (which translates as “pictures of the floating world”), which
illustrates everyday life, as well as through Japonism, the study of Japanese art, and more specifically its influence on
European works. The result is a surface that creates an illusion by sound. The infusion of Min’yo with jazz rock, this hazy
scene evokes the landscape of Monet’s ”The Water Lily Pond”, which depicts the painter’s Giverny garden, with a
Japanese bridge, bamboo, ginkgo trees and the reflection of the sky in the pond. This illusion constructs both time and
space.
The surface of the music, like the canvas of the painting, invents a journey between now and then by interpreting the idiom
of folkloric and western art instruments. In this composition, the sound of the Western concert flute, which stretches back
to the Renaissance and Baroque periods, evokes the sound of the bamboo-flute (”shakuchachi”), which reached its peak
during the Edo period. The guzheng, also known as the Chinese zither, with a more than 2,500 year history, joins traditional
Japanese folk melodies with modern pop percussion and 20th century electronic instruments such as the Moog synthesizer,
Wurlitzer electric piano and electric bass.
This is the illusion that celebrates the fleeting nature of all things. A journey. A deep inhale and a slow exhale. It has a mix
of jazz (both funky and progressive), East Asian and South Asian sounds. The idea of fusing these styles and reframing them
with the aesthetic of wabi sabi is to reconnect with nature and concentrate on asymmetries and emphasize ornamentation
to generate new ways of looking at the world, here and now.

A1. Yugen
A2. Shinrinyoku
A3. Hot Winds Arrive
A4. Hanami
A5. Komorebi
A6. Blanket Fog Descends
B1. Wabi Sabi
B2. Bamboo And Rocks
B3. Kachofugetsu
B4. Onsen
B5. North Wind Rattles the Leaves

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Jim Coles’s fifth instalment of his best-selling ‘Acid Dub Studies’ series arrives in the form of the third set of original works exploring the infectious sound of the 303 bass-line in a dubwise setting. The album takes in traditional dub mixing approaches in a digital and roots/digi-dub style whilst also making space for more electronic and ambient processes to close the project.

‘Acid Dub Studies III’ arrives after 2 years of touring the material in a live setting at festivals and clubs including CTM at Berghain, Les Nuits Sonores, and Andrew Weatherall's Convenanza festival and is the culmination of some 5 years of experimenting with a style that has been met with critical acclaim, reaching far and wide into many a DJ’s box having been noted by some as a truly ground-breaking approach to working with the 303.

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This is the first stop on Sven Wunder’s musical journey. Wunder takes the listener somewhere around the easternmost part
of the Mediterranean Sea, around the Levantine Sea, where he paints a colourful portrait and illustrates the regions flora
through sound.
The fruitage is a vivid bouquet where Wunder fuses colours and pigments by using traditional and modern instruments
merged with arrangements and melodies that stretches from popular to folk music by portraying tulips, red roses, hibiscus,
hyacinths, chamomile, magnolia, daisies etcetera. With both fine and thick brushes are these flowers being pictured in a
both modern and classic idiom.
The outcome is prismatic. It stands between Anatolian rock and European jazz-funk with ponderous drum patterns, groovy
organs, far-out synthesizers, enchanting Saz and impetuous bass lines. Eastern Flowers sweeps through time and space
and points towards the future. It could appeal both psych and prog listeners, folk or jazz aficionados and as well the gourmet
hip hop connoisseurs.

A1. Black Iris
A2. Tulip
A3. Magnolia
A4. Lotus
A5. Lily
A6. Red Rose
B1. Hibiscus
B2. Magnolia (reprise)
B3. Morning Glory
B4. Chamomile
B5. Hyacinth
B6. Daisy
B7. Gilboa Iris

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Tracklisting
A1 Markus Suckut - Patience
A2 Markus Suckut - Resurrection
B1 Markus Suckut - Myth
B2 Markus Suckut - Moments

Sales Note
A highly respected figure for dancers and artists alike, Markus Suckut offers his signature built-to-last sound to Fuse with 'Moments'. In this style, confidence is key and Suckut provides soul to club music in a way few have been able to. Simple yet ever so refined, the German artist furthers his sound with the Belgian label with rolling tracks that reach beyond the dancefloor yet again. 'Moments' is just that, a collection of instances spent inside the mind or outwards into the world in order to move and connect.


The A1 remains usually the first impression of every record, so it makes sense that 'Patience' would mark the beginning of this eight release for the Brussels' club. A bubbly yet impactful track, 'Patience' rolls through six minutes in no time with eccentric percussion and a viscous low-end. Unafraid to break the codes in order to push his sound forward while respecting the essence of what makes the genre great, Suckut puts years of mastery at work in order to find balance and air between his elements. This impressive low-end rhythm is continued into 'Resurrection' - which is more of an exploration of dissonance and texture than its predecessor. With hi-hats whipping around the stereo field through metallic bends and a harmonic kick/bass, the record knows for what context 'Resurrection' is reserved for. 'Myth' then comes along to lighten the load with a positive groove and an extraverted arrangement, maintaining balance to the overall EP. Complete with a subtly modulating live-played percussion that echoes the character of a vocal and layered over an almost vintage drum sequence, the persistence of 'Myth' finds a sweet spot between techno and house, making it a versatile tool in almost any record bag. The soul of the EP, however, belongs to its title track 'Moments'. Appropriately named, this fourth piece concludes Markus Suckut's latest statement for the dancefloor. A suspension of time in structure as much as in melody, the producer takes the time to unveil each element of the record while maintaining a burning intriguing throughout. A truly timeless piece reserved for only the most special moments and most deserving crowds, Suckut proves once again that his understanding of emotion through his medium will echo his music across the world for years to come.

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The infamous and elusive DEETROIT gives another view into the deep unknown with 6 untitled pieces of textured chords, swinging rhythms and dubbed out bliss reminiscent of a vibe somewhere between BASIC CHANNEL, MIKE HUCKABY & RICK WADE whilst staying true to the OG sound we love.

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