Tracklisting
A1 Ocirala - THE DAY I DIDN'T GRADUATE FROM UNI
A2 Ocirala - KITA
B1 Ocirala - SUB MODULE
B2 Ocirala - JUST A LITTLE BIT LONGER

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WAS - Word and Sound Medien GmbH
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Árni’s Reykjavik-based label NIX builds on early momentum with a third fresh EP, this time from Ocirala - a new anonymous project from an already established artist. Ocirala was born and raised in London and moved to the Bailiwick of Guernsey to study ornithology aged 18, where they built up a database of the local flora and fauna with a focus on birds. Now they emerge from the wilderness with four mesmerising club tracks on Icelandic imprint NIX that are so naughty the artist behind them decided to pick a new name for the project. A global online marketplace for freelance services was used to read out the vocals in the tracks with the instruction to be “cheeky, sensual and horny”, with the result coming in the form of the four-track ‘I Want To Lick Your Brains’ EP. What results is pure club sleaze. Opener ‘Track For NIX’ is a pounding techno cut with vast rubbery kicks, raw claps, dark libidinous vocals, and groans of pleasure up top. It’s an unrelenting banger to release your inner kink, while ‘I Want To Lick Your Brains’ is a punchy, high-impact house cut with slamming drums, as freaky synth stabs and edgy sustained chords are peppered with provocative spoken words. ‘No Fap Day 37’ drops into deep subliminal techno with sonar pulses and bleeping synths topped off with more erotic talk, before the twitchy and funky techno pumper that is ‘Gina Doesn’t Love Me Enough’ adds steamy and seductive vocals bringing real sexuality while the bold grooves power on.

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WAS - Word and Sound Medien GmbH
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Barcelona-based producer Ikari debuts on NIX with When It’s Over, a tightly constructed EP that brings together the weight of low-end pressure with crisp percussive detail. Built for the club but with a strong emotional pull, the release folds bass-rooted aesthetics into tightly wound techno frameworks, led by carefully sculpted sound design and a deep sense of mood. Each track acts as a standalone world, but together they form a cohesive whole, driven by feeling rather than formula. There is a subtle melancholy running through the release, not overbearing, but present in the tonal shifts, textural tension and soft-release moments that flicker throughout. It is a record that sharpens Ikari’s already distinctive voice, pushing his technical process further without losing the raw edge that defines his work. On When It’s Over EP, the focus isn’t on maximalism. Every choice feels deliberate: harmonic details, spatial effects, rhythmic structure. All of it is aimed at stirring something visceral in the listener. It is the sound of an artist locked into his own narrative, inviting us to step in. Mitsubishi Fuso is the first single from Ikari’s debut EP for NIX, out on 4th of July. The full EP follows on the 18th of August as a limited stamped white label, mastered and cut by Tim Xavier at Manmade Mastering.

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Nathan Alexander returns on NIX with a hand-stamped white label, unveiling the Skin EP on the 2nd of May. Nathan set out to craft techno that drives the body while maintaining a magnetic sense of mystique: “I didn’t want to make techno that felt inherently evil,” he explains. “I wanted these tracks to carry that moment of stepping into a hidden corner of the night, with glowing lights and a strange, hypnotic tune you’ve never heard before. You look around and everyone is moving to this unearthly groove, with no motive but to dance.” This ethos resonates across all three cuts. “Language” opens with sharp synth stabs and an undercurrent of tension - ideal for setting a moody, yet inviting tone in the early hours. “Pulsewidth” follows, a peak-time stomper brimming with powerful low-end and surreal sound design to send floors into a collective frenzy. Closing out the record, “Skin” extends into a seven-minute dive through tribal-laced percussions, warped vocal snippets, and hypnotic filter sweeps. A true hip mover, perfect for those moments when reality starts to blur and dancers lose themselves to the groove. Skin EP is a three-track journey into the thrill of nocturnal discovery, channeling a spooky, sexy energy that lingers long after the final beat. This is a limited release, don’t sleep on it.

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WAS - Word and Sound Medien GmbH
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WAS - Word and Sound Medien GmbH
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Established in Iceland and now based in Berlin, Árni’s NIX label takes pride in unveiling its inaugural V/A, NIX005. This collection comprises four meticulously curated tracks, each focussed on the dance floor. The compilation seamlessly blends the work of new acts and familiar faces, offering listeners a preview of the label's forthcoming releases. Consistent with its predecessors, NIX005 reaffirms the label's ethos of showcasing fresh and singular material.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Árni’s Reykjavik-based label NIX builds on early momentum with a third fresh EP, this time from Ocirala - a new anonymous project from an already established artist. Ocirala was born and raised in London and moved to the Bailiwick of Guernsey to study ornithology aged 18, where they built up a database of the local flora and fauna with a focus on birds. Now they emerge from the wilderness with four mesmerising club tracks on Icelandic imprint NIX that are so naughty the artist behind them decided to pick a new name for the project. A global online marketplace for freelance services was used to read out the vocals in the tracks with the instruction to be “cheeky, sensual and horny”, with the result coming in the form of the four-track ‘I Want To Lick Your Brains’ EP. What results is pure club sleaze. Opener ‘Track For NIX’ is a pounding techno cut with vast rubbery kicks, raw claps, dark libidinous vocals, and groans of pleasure up top. It’s an unrelenting banger to release your inner kink, while ‘I Want To Lick Your Brains’ is a punchy, high-impact house cut with slamming drums, as freaky synth stabs and edgy sustained chords are peppered with provocative spoken words. ‘No Fap Day 37’ drops into deep subliminal techno with sonar pulses and bleeping synths topped off with more erotic talk, before the twitchy and funky techno pumper that is ‘Gina Doesn’t Love Me Enough’ adds steamy and seductive vocals bringing real sexuality while the bold grooves power on.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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NIX001 features a collaboration between NIX founder Árni and Icelandic synth-disco producer Hermigervill. The resulting track, Gott, is a fragmented soundscape of abstract beats and distorted granularized sequences, with an obscure Icelandic female vocal interspersed between the percussive rhythms. The unlikely combination of the two artists, coming from very different sonic directions has yielded an incredibly surprising and fresh cocktail of elements.
About PTU: Alina Izolenta and Kamil Ea, also known as PTU, perform at the joint of techno, experimental electronics and sound design. PTU creates multi-layered dance works, lacing them with non-linear plots and often accelerating up to 150 bpm. The duo’s ‘Broken Clock Is Right Twice A Day’ (2017) and LP ‘Am I Who I Am’ (2019) were released by Nina Kraviz’ ???? label.

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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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The seventh edition of Defected’s vinyl series continues to commit the labels’ biggest digital releases to wax, delivering upfront packages of house heat previously unavailable on vinyl. Italian duo Havoc & Lawn open up the A-Side with their Defected debut ‘Give It Up’, partnering with London vocalist Jinadu on this soulful and atmospheric club cut. Up next rising star of Defected and house music maestro OFFAIAH delivers his signature bass-driven style on ‘Soldier’. On the flip, Endor’s Defected debut and incredible smash hit ‘Pump It Up’ sets the B-Side off to an electrifying start, before the otherworldly Chicola remix of Sandy Rivera & Rae’s ‘Hide U’ rounds off this essential release from the Defected camp.

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In celebration of !K7's 40th anniversary year,Jayda G’s seminal DJ-Kicks is re-issued on a beautiful gold 2LP with a brand new Jayda G DJ-Kicks playing card. Jayda G's mix takes you on a journey that moves through loved classics and new
bubblers. This includes original productions from HAAi, DJ BORING, LNS and Australia- based friend Jennifer Loveless

Limited gold vinyl pressing of this classic DJ-Kicks to celebrate the series 30th anniversary
Includes new DJ-Kicks playing card
Tracklist:

A1 Jayda G - All I Need
A2 Fred again.. - Diana (You Don’t Even Know)
B1 LNS - Bitumen
B2 Jennifer Loveless - In 10,000 Places
B3 HAAi - Good Ol'Fashioned Rugs
C1 DJ BORING - Gardenia
C2 House of Jazz - Hold Your Head Up
D1 Glass Beams - Taurus
D2 Royale - I Want Your Body
D3 Benny Sings - Summerlude

Text:

In celebration of !K7's 40th anniversary year, Jayda G’s seminal DJ-Kicks is re-issued on a beautiful gold 2LP with a brand new Jayda G DJ-Kicks playing card.

Jayda G's mix takes you on a journey that moves through loved classics and new bubblers. This includes original productions from HAAi, DJ BORING, LNS and Australia- based friend Jennifer Loveless – whose track ‘in 10000 places (then what)’ swells with trance euphoria – as well as appearances from ‘Both of Us/Are You Down’ collaborator Fred Again, DJ Koze and FIT Siegel.

Each selection, Guy explains, is attached to a memory – whether it’s starting her career in Vancouver’s nascent electronic scene, her time DJing in Berlin or reconnecting with friends from home. “I really wanted to involve friends who I've had shared experiences with. The people included are people I've shared trips with, had late night DJ sessions with or made music with. They’ve been really formative in my artistry.”

As a result, her DJ-Kicks album is an exercise in connection; a look to the past and the future, the good times and bad. “This mix is full of nostalgia; music is nostalgia for me. It’s happy and sad at the same time,” she says. “A friend and I were looking at old pictures from when we used to throw underground parties in Vancouver and you have that feeling of like, ‘Wow, it's changed. And there's a sadness to that, but an awesomeness to it as well. At least we get to look back at these times and feel like yes, we lived.”

Ultimately, that’s what draws you into the mix. It’s a much-needed shot of enthusiasm, yet acknowledges the converging feeling of melancholy of our troubled times. Listening to the mix evokes a feeling of familiarity, like revisiting memories on dancefloors past or texts of encouragement from an old friend. A testament to positivity, a work that chooses joy. The message is simple: “I’m an optimist. I want people to think, ‘We're listening to good music and brighter times are ahead.’”

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WAS - Word and Sound Medien GmbH
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