VINYL ONLY release! Another EP from the newly resurrected duo. Long format house tracks and tools for you!

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Oi... big house tunes alert!! 2 big tunes from the North that sounds like the hay days of Club House in the mid and late 90's! Fresh house bangers from the Karlovak label honchos them selfs!!

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After nine successful releases on their KVK series of the Karlovak label, KVK1000 will be the tenth and final release on the KVK imprint.


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Pitch black party music!



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Next up is KVK900 with the much sought after track 'House Music'. A 14 minute long mesmerising house journey that's already been included in Ryan Elliotts Panorama Bar 06 mix. On the B-side you'll find 'The Glitch', a psyched out tech-bomb stuck in the Karlovak machine.






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Karlovak delivering the goods. Another 12" by these guys from the north with solid pumping house bombs. Nice job by Mr.Tophat & Alfie!




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Swampy techno for all the toads in the pond. Bring out the smoke!



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Loco Dice & Samo DJ remixes for these nordic youngesters of Karlovak records. Tight functional tracks by Tophat and Art Alfie getting the remix treatment by Desolat label boss Loco Dice on Crab At The Green Hunter. On the flip you'll find producer virtuoso Samo DJ turning inside out of No Holdings. Efficient modern house cuts with some of that Nordic flavour.

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Two more bangin Karlovak tracks for the neverending party!



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Tapping into the strong current of quality electronic music coming out of Sweden, the latest Bass Culture shines a light on two talents working out of the Stockholm underground who have created their own imprint on the European house and techno scene. The Pajala Sunrise E.P marks the first release that Mr Tophat and Art Alfie have issued away from their shared base camps of Junk Yard Connections and Karlovak, two labels that showcase the pair’s commitment to pushing 4/4 dance music forwards wherever they can. Energy lies at the heart of the sound that Oscar and Rudolf (to give them their real names) conjure up, both in the urgent pulse of their full-bodied drum arrangements and the spiritual lilt of their melodic content. Take “Pajala Sunrise”, the A-side on this latest offering, which surges forth on an immersive kick and hat combo coloured with a deceptively funky bass lick. While this rugged exterior provides the momentum to the track, the esoteric keys and pads that come drifting in deliver the soul. With a peak populated with wayward sirens and sunkissed piano stabs, it’s a club ready workout that speaks directly to both body and mind.Where the A-side is all joyous celebration, “Ressle Restroom” heads into moodier territory where percussion dominates the frequency range. It’s a slow-burner, holding back on all the elements for as long as possible to truly draw the mind into a sparse soundscape populated by abstract vocal snippets and pumping locomotives of drums, inspired by the choppy funk of micro house but welded to a more weighty rhythmic framework. The deeper into the track you go, the more the sound world builds up around you, from crowd ambience to momentary diva croons, the track never peaking or troughing as much as constantly burrowing into your subconscious. For their first adventure away from their own highly-regarded labels, Mr Tophat and Art Alfie have demonstrated the skills that have brought them so much success on their own terms. Bass Culture is only too happy to help spread that talent even further afield.



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nofitstate chalk up their 3rd release with the much talked about Swedish duo Mr. Tophat and Art Alfie providing ‘Vretis’, an elongated groove fit to bursting with tension thanks to its extended filtered intro. ‘Locked Groove’ provides the remix on the flip, opting for a more blissfully melodic approach for those early morning sessions whilst ’Takelant’ rounds things off in fine style with a low down and dirty slice of machine-phunk.


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The young guns of Karlovak with a sub series... Karlovak Chrome. The murkier and more twisted sound for the demented hours at the floor. This is the third side of the coin from Mr. Tophat & Art Alfie. Limited supplies... so dont sleep on this one!

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VINYL ONLY release! Another EP from the newly resurrected duo. Long format house tracks and tools for you!

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Rival Consoles has been concurrently in the foreground and background of electronic music since the late 00s; conjuring tense melancholia for Black Mirror soundtracks, playing in front of 10,000 dance fans at Drumsheds, selling out London’s Barbican Hall, and logging an expansive, wandering collection of synth-sculpted albums that explore a myriad different styles and aesthetics—but always with human emotion as their lodestar. Landscape from Memory, the ninth studio LP from the UK producer and musician born Ryan Lee West, finally blossomed following a frustrating fallow year away from the production desk. For West, having spent the past decade producing and writing in a habitual way, falling out of love with creativity meant a slowing of the clock that makes him tick, a sense of being swallowed whole by some elementary force. However, the time out also made room for his most invigorating record yet.

Partly stitched together from a scrapbook of discarded audio snippets, Landscape from Memory demanded a degree of openness and vulnerability in its assembly. “There is a kind of strange beauty to it because it involves the past, present and future in a very strong way,” offers the Erased Tapes mainstay. He set to work massaging melodic kernels into full tracks, like the skippy, haunted club shuffle of memory-jogging lead single ‘Catherine’, which is dedicated to his partner. “It’s extremely open, just a naked melody on drums, so exposed as an idea… I think because she was so excited by it, I was like, ‘Oh, yeah, I'm excited too, actually, I just didn't realise,” he reflects.

Appropriately, the title track became the first piece of music that made West “feel an emotional reaction after a long time of having zero reaction”—closing the record transcendently in a fever dream of euphoric synthwave—although ‘Catherine’ can be understood as the spark that lit the fuse, bristling with energetic joy. Similarly, ‘Known Shape’ makes a play for an otherworldly dancefloor, melding a loping drum pattern to a twitchy soundscape. Granted, some of the standout moments of the LP can be found lurking in its weirder, wilder corners, from the broken-sounding synth that runs like a rough river through ‘2 Forms’, to the head-nodding, disembodied bounce of uncanny valley bop ‘In a Trance’. “I remember making that in a New York hotel room, starting it, when Robert (Raths, Erased Tapes founder) was doing something on his phone and I was just being annoying in the background,” recalls West of one of several pieces made on the road. Yet Raths expressed his excitement about the track as he was hooked instantly.

“I like music that has a sense of momentum, really pushing forward,” he adds of the ‘Landscape from Memory’ ice-breaker. “And it just instantly has that from the first breath. So I kind of like moments like that when they appear.”

These climatic productions are characterised by their propulsive quality, and driven by West’s own push to step outside his comfort zone, having found inspiration flowing from new and unfamiliar sources. After his self-built Hackney studio suddenly felt too controlled of an environment, West altered course, mapping out tracks away from his desk. To that end, Landscape from Memory is a travelogue of creativity on the move, a collection of postcards from everywhere, and an album defined by its restlessness.

Just like the record itself sprang from conflicting emotions, bliss and dread tussle audibly for dominance throughout. You can hear this tug-of-war in the radiant swell of ‘Nocturne’, an eerie, reverb-drenched meander through classical tones, or the warm piano figures that collide with percussive crunch on ‘If Not Now’. Away from the music, this essence resides in a grainy film photo that in West’s eyes holds the record’s emotional DNA: a serene vista of tall green trees that hide the roaring A12 road beneath this studio. “I just think it’s quite evocative because even though it was an alarming place, it also looks really comforting at the same time,” he muses.

This dichotomy flourishes in that sweet spot between knotty ambient and widescreen electronica, where environmental tones and electro-acoustic textures converge to create a living document of sound. On Landscape from Memory, sonic touches hint at something intimate and familiar: cracking ice, the buzzing of a fridge, the distant hum of the motorway. Investing more time with the acoustic guitar in the initial stages helped West convey this homespun quality. For instance, on ‘In Reverse’, gossamer melodies are layered to create “a tapestry of guitar parts” while ‘Gaivotas’, which was born out of a residency at Lisbon’s synth hotspot Patch Point last February, contrasts “extremely digital synths” with a cheap acoustic guitar that snakes through dense, rhythmic terrain.

“A lot of things that go on in the music are like a guitarist's perspective of treating sounds,” he offers, explaining that much of the record involved “crudely recording” ideas into a laptop microphone. “I just like the honesty of it,” he says of the guitar, also pointing to the record’s additional array of “unusual recording techniques.” Among these, drums were placed on the sofa to create the muffled, deadened sensation on ‘Coda’, where a woozy shoegaze fog and angel sighs build into a jumpy, organic groove. Or ‘Tape Loop’, which “importantly, was recorded with a microphone. So not only does it slow down the music, but also the dimensions of the room the microphone picks up changes,” he explains.

Growing up, West would often mess around with the materials on his parents’ land in the small town of Syston outside of Leicester, hammering nails into wood and “sawing stuff,” which ignited a strong curiosity for making and materials from childhood. He soon found his way into music, starting on the guitar before teaching himself digital production and going on to study music technology at Leicester’s De Montfort University. He later became the first signee to the nascent London label Erased Tapes in 2007, establishing the label's shorthand for exploratory post-minimalism. IO, his debut album as Rival Consoles, came out in 2009, while his output has since evolved across nearly two decades of activity, from the critically acclaimed 2018 offering Persona to Landscape from Memory’s 2022 predecessor, Now Is.

As a multidisciplinary artist he has always been passionate about imagery and how it relates to and inspires music. His 2020 record Articulation was informed by drawings he made in his sketchbook. He has also been experimenting in various motion media, from programming particle animations in Max MSP to filming and editing daily video clips, and manipulating imagery in Touchdesigner or Blender, which would shape the visual counterpart in his live A/V shows since 2015.

As Rival Consoles, West’s calling card is his ability to channel hope, pain, sadness, and euphoria in one fell swoop, twisting the key in the lock of his internal world and telling stories without words. Crucially, Landscape from Memory is as much about zooming in on the details as it is about seeing past the horizon. Like a saturated photograph or an abstract painting daubed with bright splotches, Landscape from Memory is a riot of colour, an album blazing with a sound-shaper’s renewed love for his craft.

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Take Me, I’m Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter’s faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I’m Yours is neither a typical Abrahams record nor a classic Jelinek album—it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design.

The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. “It started as an experiment, and over the past few years grew from a few tracks into this album,” says Abrahams. He describes recording the basic material as a “tantalizing” process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams’ voice.

Jelinek heard something “fragile” in this voice, “moments of doubt and dark premonitions.” He points to Forever as an example. “Alan’s original song reminded me of classic vocal house, but his voice seemed to almost break,” he says. “This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening.” He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams’ pieces, Take Me, I’m Yours functions as a dialogue between those two singular artists.

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After a long hiatus since the release of Medicine Music 001, the scalpel has been sharpened and in full effect in the DP studio with the master surgeon cutting and splicing some fine edits to create a frenzy on the dancefloor.

Delivering 4 edits, providing the perfect prescription for all terrains.

Supported by LNTG, Michael Gray, Greg Wilson, Sgt Slick, Casual Connection, Mell Hall & Trent Rackus!

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This Spring, the Psionic imprint returns with its seventh chapter, welcoming rising Uruguayan talent Juanma Alegre to the fold. Across four forward-thinking, rave-infused cuts, Alegre blurs the boundaries between mysticism and pure dancefloor drive.

The journey opens with “Capsule of Time”, a deep, pulsating opener awash in acid-laced atmospheres and hypnotic grooves. Next up, “Selvinter” delivers a seismic mix of rolling drums, liquid acid lines, and dreamy pads—built for moments of late-night transcendence.

Flipping to the B-side, “Intrus” locks into intricate percussion and mind-warping textures, maintaining pressure without letting up. Finally, “Going Inside” closes the record with breakbeat pulses and off-kilter rhythms, channeling raw emotion straight to the heart of the peak-time floor.
Juanma Alegre opens the portal—step through if you dare.

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Stone-cold deep house from Italy, straight from 1991! Q-Base’s legendary Atmosphere EP isn’t just a record—it’s a deep house masterpiece. Revered by DJs and music lovers across the globe, this gem, crafted by the iconic duo Andrea Gemolotto & Claudio Zennaro, is an absolute must-have for anyone who craves melodic, dubby, and otherworldly sounds. Originally released on the groundbreaking DFC label, this EP is a shining moment in its history. And now, it’s back—better than ever! Alongside the three timeless original tracks from 1991, we’ve added a killer bonus: the Idjut Boys' electrifying 1999 version. Repackaged, refreshed, and fully endorsed by the DFC crew—this is the ultimate edition of a true deep house classic. Get ready to step back into the Atmosphere and feel the Q-Base magic all over again!

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Clinical Records delivers another essential vinyl release for house music lovers, seamlessly blending the past and present. This highly anticipated house music EP features a sought-after repress of De’ Jah Voo by Vil-N-X (originally released in 1992) alongside brand-new, cutting-edge tracks from The Nathaniel X Project. A must-have for DJs, vinyl collectors, and deep house enthusiasts alike!

Side A – Classic House Reissue from Vil-N-X

Rediscover the magic of De’ Jah Voo with two standout cuts:

The Vil-N-X Mix (A1): A high-energy groove with signature rap vocals, bringing that raw 90s house feel.
The Rendezvous Mix (A2): A deep, melodic journey featuring hypnotic flute solos and lush harmonies—a masterfully arranged classic.
Side B – Fresh, Future-Forward House Grooves

The Nathaniel X Project brings two brand-new house anthems:

“I Know Me” (B1): A deep house masterpiece, blending warm pads, soulful melodies, and an irresistible bassline.
“Kwantum Leap” (B2): A bold, driving track with hypnotic rhythms and deep harmonic energy—100% dancefloor-ready.
Whether you’re a fan of classic house, deep house, or underground electronic music, this limited-edition vinyl EP is a perfect addition to your collection. Secure your copy now and experience the fusion of house music history and future-forward sound!

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4 Monstruous Tracks Straight From the Basement Feat. One of the Original House Music Creator Ron Hardy. All the Real Djs Were Looking for Those for Years. Grab It Before It's Sold Out, We Have Very Few Copies. a Must Have. Essential Item Limited Edition No Re-Press...

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