1
Henzo - Noggin
2
Henzo - Take Stock, Touch Grass
3
Henzo - Worm Gruntin (Feat. Emby)
4
Henzo - A Bouguet Of Clumsy Words
5
Henzo - Plant Your Roots In Me
6
Henzo - Swell:Shrink
7
Henzo - The Rest Is The Mess You Leave
8
Henzo - Rustica Slump
9
Henzo - Blue Will Blue Me Blue
10
Henzo - Indulgence
With a clutch of EPs under his belt spanning a wealth of pallets, Henzo narrows the focus on his debut studio album “The Poems We Write For Ourselves” - a culmination of persistent iterations over several years, distilling his sonic milieu into something that feels decidedly his own. The album proper is coupled with a debut live performance which reinterprets the tracks and splices them with omitted material from the time of writing - recorded in full in the intimate confines of Manchester’s growingly infamous Stage and Radio basement. Honing his craft in the shadows of Lancashire, Poems is an expansive reflection of the producer’s time spent away committing to the scope of an LP.
A thread of stratified sound design weaves throughout the record, but with a discerning dancefloor proclivity mostly prevalent. Cold opener “Noggin” riffs on noughties Raster-Noton a la Byetone rebuilt with fractal tear out DnB, with closer “Indulgence” following suit on a puckered plod of Dub Techno ambience. More club-focussed moments come in the form of “Rustica Slump” and “Blue Will...”, the former’s sickly sweet vocals resolved by the latter’s stoic UKG/Techno rudeness. “A Bouquet of Clumsy Words” channels mechanical shuffle with a stripped back 2/4 pulse whilst maintaining a firmly FWD>>energy alongside “Plant Your Roots In Me” on a similar vector - swapping out a straight kick pattern for a bludgeoning 808 assault on an early Hessle-indebted tip.
“Take Stock, Touch Grass” harks to golden era ClekClekBoom and Night Slugs with a bare bones kick and vocal motif, updating the formula with a tweaking lead line that places it firmly in the contemporary space. “Swell:Shrink” sings from the same sheet with a shrieking, space age wobble doing the heavy lifting, knocking the pace back to a shoulder-lean swagger on a slow fast conundrum Henzo has shown his flair for on previous releases.
The outliers to Henzo’s more known approach, “Worm Grunting” with Belfast’s Emby, an amalgamation of halfest time DnB and illest mannered Road Rap, plus “The Rest Is The Mess You Leave”, a starkly anti-retro Ghettotek endeavour, give grounds to the LP. Clearly rooted in the comfortable universe of the dancefloor, these tracks expand the producer’s realm into loftier heights as he graduates into long play land.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A thread of stratified sound design weaves throughout the record, but with a discerning dancefloor proclivity mostly prevalent. Cold opener “Noggin” riffs on noughties Raster-Noton a la Byetone rebuilt with fractal tear out DnB, with closer “Indulgence” following suit on a puckered plod of Dub Techno ambience. More club-focussed moments come in the form of “Rustica Slump” and “Blue Will...”, the former’s sickly sweet vocals resolved by the latter’s stoic UKG/Techno rudeness. “A Bouquet of Clumsy Words” channels mechanical shuffle with a stripped back 2/4 pulse whilst maintaining a firmly FWD>>energy alongside “Plant Your Roots In Me” on a similar vector - swapping out a straight kick pattern for a bludgeoning 808 assault on an early Hessle-indebted tip.
“Take Stock, Touch Grass” harks to golden era ClekClekBoom and Night Slugs with a bare bones kick and vocal motif, updating the formula with a tweaking lead line that places it firmly in the contemporary space. “Swell:Shrink” sings from the same sheet with a shrieking, space age wobble doing the heavy lifting, knocking the pace back to a shoulder-lean swagger on a slow fast conundrum Henzo has shown his flair for on previous releases.
The outliers to Henzo’s more known approach, “Worm Grunting” with Belfast’s Emby, an amalgamation of halfest time DnB and illest mannered Road Rap, plus “The Rest Is The Mess You Leave”, a starkly anti-retro Ghettotek endeavour, give grounds to the LP. Clearly rooted in the comfortable universe of the dancefloor, these tracks expand the producer’s realm into loftier heights as he graduates into long play land.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Sneaker Social Club
1
Low End Activist - TWOC (Actress Remix)
2
Low End Activist - They Only Come Out At Night (Andy Martin Remix)
3
Low End Activist - Hope III (Demdike Stare Stressed Version)
4
Low End Activist - Just A Number (LEA Remix)
5
Low End Activist - TWOC (Shelley Parker Remix)
Stepping back into the socio-realist bass mutations of his 2024 LP Municipal Dreams, Low End Activist pulls together a heavyweight remix package responding to the source material in a multitude of ways.
Beyond the immediate soundsystem styles that inform the Activist’s sound, the scope for experimental sound design and charged, pensive atmospherics leaves a lot of space for reinterpretation. From a distinct but compatible angle, Actress naturally nudges the contours of ‘T.W.O.C’; into his signature haze, finding a squashed undercurrent of blunted techno to carry great clouds of solemn pads. Andy Martin locks into a downcast, crooked house shuffle as he twists They Only Come Out At Night out for the twilight hour.
On the B side, Demdike Stare conjure raw pressure and deadly negative space around their jagged reappraisal of ‘Hope III’, before the Activist himself plates ‘Just A Number’ with a different coat of avant-grime armour. Shelley Parker delivers a madcap finisher with her take on ‘T.W.O.C’, channelling the rapid-fire complexity of singeli into acutely angled, hard-looped sampling that rides roughshod over rhythmic stability. It’s a bold collection from some of the most serious operators in the game, all thriving on the density of the Activist’s initial ideas to deliver daring abstraction and club-ready thrills beyond the expectations of the conventional dance.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Beyond the immediate soundsystem styles that inform the Activist’s sound, the scope for experimental sound design and charged, pensive atmospherics leaves a lot of space for reinterpretation. From a distinct but compatible angle, Actress naturally nudges the contours of ‘T.W.O.C’; into his signature haze, finding a squashed undercurrent of blunted techno to carry great clouds of solemn pads. Andy Martin locks into a downcast, crooked house shuffle as he twists They Only Come Out At Night out for the twilight hour.
On the B side, Demdike Stare conjure raw pressure and deadly negative space around their jagged reappraisal of ‘Hope III’, before the Activist himself plates ‘Just A Number’ with a different coat of avant-grime armour. Shelley Parker delivers a madcap finisher with her take on ‘T.W.O.C’, channelling the rapid-fire complexity of singeli into acutely angled, hard-looped sampling that rides roughshod over rhythmic stability. It’s a bold collection from some of the most serious operators in the game, all thriving on the density of the Activist’s initial ideas to deliver daring abstraction and club-ready thrills beyond the expectations of the conventional dance.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Jon E Cash - Hoods Up
2
Jon E Cash - Battle
3
Jon E Cash - All About Da Sex Ft. 2 Real
4
Jon E Cash - Kamikaze
5
Jon E Cash - Cash Combo
6
Jon E Cash - Drop Top Bimmer Kid Ft. 2 Real
7
Jon E Cash - Spanish Fly (VIP)
8
Jon E Cash - Do It
9
Jon E Cash - Merc Rhythm
10
Jon E Cash - War
11
Jon E Cash - Kettle
12
Jon E Cash - Haywire Ft. 2 Real
2x12" LP Vinyl w/ Gatefold Sleeve + Photo Book Zine
Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.
Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."
Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.
25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.
Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."
Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.
25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Dadan Karambolo - Convenient Root
2
Dadan Karambolo - Huskarl
3
Dadan Karambolo - Light Switch
4
Dadan Karambolo - Awkward Expression Of Love
5
Dadan Karambolo - Done For
6
Dadan Karambolo - Burbot
The latest wayward soundsystem sonics on the Social come from Wroclaw in Poland courtesy of dadan karambolo. As part of the strictly legit SPLOT crew karambolo is spearheading a vibrant community of bassweight freaks digesting all the best misfit club music from the cracks between — a hint of dubstep, a twist of techno and plenty of advanced sound design, all poured into a thoroughly modern, richly realised brew.
Having previously snuck tunes out on SPLOT’s in-house label and the respected Awkwardly Social crew out of Berlin, karambolo delivers an extended statement with his Sneaker Special Club debut. Subtle pressure is the order of the day as he zeroes in on evocative soundscaping and a subdued mood, all while piling on ample low end intensity and edging some sharp angles out of the meditative roll. Even when minuscule slithers of amen breaks sneak into ‘Awkward Expression’, the ambience remains somewhere between dream and dread while ‘Huskarl’ scatters industrial jackhammers across a vast tundra of drone.
‘Done For’ steps forward a touch more forthright with its grime-coded bass spasms, deploying the kind of bludgeoning physicality and ruthless reduction you might associate with fellow Sneaker alumni, Mars89. ‘Burbot’ also switches the script for a cheeky B3 that toys with 80s electro chopped into a snappy breakbeat and underpinned with a sticky synth line. Sidestepping direct dancefloor routes in search of different ways to achieve movement in the club, karambolo has more than matched the over-arching Sneaker ideal with an assured, original transmission from the outer limits of the soundsystem.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Having previously snuck tunes out on SPLOT’s in-house label and the respected Awkwardly Social crew out of Berlin, karambolo delivers an extended statement with his Sneaker Special Club debut. Subtle pressure is the order of the day as he zeroes in on evocative soundscaping and a subdued mood, all while piling on ample low end intensity and edging some sharp angles out of the meditative roll. Even when minuscule slithers of amen breaks sneak into ‘Awkward Expression’, the ambience remains somewhere between dream and dread while ‘Huskarl’ scatters industrial jackhammers across a vast tundra of drone.
‘Done For’ steps forward a touch more forthright with its grime-coded bass spasms, deploying the kind of bludgeoning physicality and ruthless reduction you might associate with fellow Sneaker alumni, Mars89. ‘Burbot’ also switches the script for a cheeky B3 that toys with 80s electro chopped into a snappy breakbeat and underpinned with a sticky synth line. Sidestepping direct dancefloor routes in search of different ways to achieve movement in the club, karambolo has more than matched the over-arching Sneaker ideal with an assured, original transmission from the outer limits of the soundsystem.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Basic Unit - Intro
2
Basic Unit - Receive
3
Basic Unit - Downtime
4
Basic Unit - Coded
5
Basic Unit - Resolution
6
Basic Unit - Index
7
Basic Unit - Precursor
8
Basic Unit - Closure
9
Basic Unit - Hyphen
10
Basic Unit - Comcent
11
Basic Unit - Grids
12
Basic Unit - Diffuse
Just when you thought every holy grail must have been unearthed by now, here come Basic Unit with their deep cover late 90s masterpiece Timeline, the dankest darkcore-electronica-tech step album you've likely never heard.
Ben England and Rick Dallaway formed Basic Unit and debuted on Moving Shadow in 1997. They also moved on Nocturnal, a cult label that reached beyond D&B to platform some more experimental sounds. It was a short-lived label with some ominous footnotes — 'Several people involved with Nocturnal have vanished or are dead' reads the label's Discogs description. But in 1998 Nocturnal put out Timeline, a CD-only album from Basic Unit that cut a sharp, scathing figure against most D&B of the era. England and Dallaway embraced the album format as a chance to go deep, inhaling their inspiration from early days Autechre as much as Source Direct and boiling down the results to a steely, minimalist framework.
The likes of 'Resolution' are desolate, stark workouts that feel fractured and raw enough to align with early grime, complete with the strings, but the rhythms move in mysterious formations designed to confound like the most bloody minded electronica artists of the late 90s. Blown out bass and scattered flurries of machine gun breaks, squashed tundra drones that sound like they were pulled from 10th generation VHS b-movies and bit-crushed animal grunts fit for a Mega Drive beat 'em up. The sonics are redolent of the times, but Basic Unit chisel them mercilessly into their spartan vision, deploying brain-frying beat science with a stern restraint.
It's the kind of record that gives so much while holding so much back — a deadly tease that has flown under the radar for too long. This is the sort of shock reissue material that gets us gassed at Sneaker, and we're proud to be giving it a re-boost and a first ever outing on wax, all the better to shock you out.
"Unlistenable...Might Make Sense In 50 Years Time"
Mixmag - 1998
"I find Timeline...utterly riveting, like being beamed to a parallel universe where everything is just a little bit different and you can’t work out why."
Ben Cardew - Line Noise - 2025
"one of my favorite late 90s drum & bass albums"
"I would sell my first born for a vinyl release of this"
"How the hell did this release fly under the radar?"
Selected Comments From the Discogs Listing - 2021- 2025
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Ben England and Rick Dallaway formed Basic Unit and debuted on Moving Shadow in 1997. They also moved on Nocturnal, a cult label that reached beyond D&B to platform some more experimental sounds. It was a short-lived label with some ominous footnotes — 'Several people involved with Nocturnal have vanished or are dead' reads the label's Discogs description. But in 1998 Nocturnal put out Timeline, a CD-only album from Basic Unit that cut a sharp, scathing figure against most D&B of the era. England and Dallaway embraced the album format as a chance to go deep, inhaling their inspiration from early days Autechre as much as Source Direct and boiling down the results to a steely, minimalist framework.
The likes of 'Resolution' are desolate, stark workouts that feel fractured and raw enough to align with early grime, complete with the strings, but the rhythms move in mysterious formations designed to confound like the most bloody minded electronica artists of the late 90s. Blown out bass and scattered flurries of machine gun breaks, squashed tundra drones that sound like they were pulled from 10th generation VHS b-movies and bit-crushed animal grunts fit for a Mega Drive beat 'em up. The sonics are redolent of the times, but Basic Unit chisel them mercilessly into their spartan vision, deploying brain-frying beat science with a stern restraint.
It's the kind of record that gives so much while holding so much back — a deadly tease that has flown under the radar for too long. This is the sort of shock reissue material that gets us gassed at Sneaker, and we're proud to be giving it a re-boost and a first ever outing on wax, all the better to shock you out.
"Unlistenable...Might Make Sense In 50 Years Time"
Mixmag - 1998
"I find Timeline...utterly riveting, like being beamed to a parallel universe where everything is just a little bit different and you can’t work out why."
Ben Cardew - Line Noise - 2025
"one of my favorite late 90s drum & bass albums"
"I would sell my first born for a vinyl release of this"
"How the hell did this release fly under the radar?"
Selected Comments From the Discogs Listing - 2021- 2025
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Beton Brut - 4x4
2
Beton Brut - Tobacco Earthworm
3
Beton Brut - ESTLDN
4
Beton Brut - Booters
Sneaker Social Club is pleased to direct your attention to this sparse and weighty club gear incoming from a sizeable new talent on the scene, Beton Brut.
Following on from his previous drops on Plasma Sources and Coyote Records, Beton Brut steps onto this latest platter with a surefooted sound. It’s informed by weightless grime, minimal techno and brittle electro, but he carves his own incisive path towards the hoods-up-heads-down Dancefloor.
This is stark, moody gear to get lost in — the dexterous sound design slipping around the rhythm core of ‘Tobacco Earthworm’; gleams in high-definition, but never at the expense of the eerily stripped-back atmosphere. ‘Booters’ snips up a clutch of clippings from grime and scatters them across the timeline in a scrapbook style, making a deadly, dislocated love letter to the sound in the process. Approaching mutant, hybrid club music with a considered poise, this is exactly the kind of forward-thinking bassweight gear that Sneaker thrives on.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Following on from his previous drops on Plasma Sources and Coyote Records, Beton Brut steps onto this latest platter with a surefooted sound. It’s informed by weightless grime, minimal techno and brittle electro, but he carves his own incisive path towards the hoods-up-heads-down Dancefloor.
This is stark, moody gear to get lost in — the dexterous sound design slipping around the rhythm core of ‘Tobacco Earthworm’; gleams in high-definition, but never at the expense of the eerily stripped-back atmosphere. ‘Booters’ snips up a clutch of clippings from grime and scatters them across the timeline in a scrapbook style, making a deadly, dislocated love letter to the sound in the process. Approaching mutant, hybrid club music with a considered poise, this is exactly the kind of forward-thinking bassweight gear that Sneaker thrives on.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Legion - Rastaman
2
Legion - Souls
3
Legion - Sister Abigail
4
Legion - Play That Vibe
Sneaker Social Club welcome a veritable supergroup of bass heavyweights in the form of Legion. Made up of Trends, Boylan, P Jam and D.O.K., this four strong collective first came to light with the We Are Many 12" on Artikal Music in 2021, and now they regroup for another four-strong payload of soundsystem pressure that embraces the darkness in devastating fashion.
The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.
Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The Sister Abigail EP leads with 'Rastaman', an ice-cold half-step drop that summons the spirit of early dubstep in its raw minimalism, eerie atmospherics and snarling low-end wobble. Without an ounce of fat, it's a lean workout of drums and bass that finds catharsis in simplicity without compromising on high definition detail. 'Souls' locks into a jerky groove to set the dance off at acute angles, nudging the textures up a notch without disturbing the spartan mood of the release. 'Sister Abigail' pushes the underlying malevolence of the Legion sound to the forefront with dissonant sheet-metal tones while packing the rhythm section into a tight, vicious formation of gnashing, chrome-plated teeth. 'Play That Vibe' seals the deal on the EP with a hard-thumping, propulsive groove that calls to mind the techy development of dubstep in the 2010s — a taut, tracky throwdown to keep the intensity on a rolling boil.
Drawing on the grounding principles of OG dubstep with a sharp line in crisp, modernist production and a ruthless economy of arrangement on display, Legion prove many cooks can still result in a potent, brutally focused broth.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Dogpatrol - 1200kcal
2
Dogpatrol - Baby Flame
3
Dogpatrol - Ya Playin Yaself
4
Dogpatrol - Offenbach HBF Riddim
Still sniffing out the gnarliest bassweight swerves on his rounds in the underground, Dogpatrol makes his way back to Sneaker Social Club for another four cuts of irreverent, misfit rave damage.
Hailing from Offenbach (DE) but with a sound more indebted to UK styles like breakbeat hardcore, dubstep and garage, DogPatrol has been a natural fit on Sneaker. The slanted approach he takes to his influences results in a mutant style that shuffles and slams in all the right places without sounding like anything else out there.
‘1200kcal’ rides jagged, dusty drums that come on like drunken UKG, offset by rubbery bass arps that add a cosmic lick to proceedings. ‘Baby Flame’ has a nastier outlook hinging on a bludgeoning synth splat that calls back to the Control Tower brand of warehouse electro from the early 00s. Making sure no-one is second guessing the scent Dogpatrol is tracking, ‘Ya Playin Yaself’ dips into a dubstep-minded half-step roller with naive keys run through a giddy signal chain. ‘Offgenbach HBF Riddim’ completes the set with a breakbeat cut n’ paste job which tracks back to the source with strong echoes of The Blapps Posse’s raw and funky approach.
The reference points are just slight hints of familiarity, but Dogpatrol comes across as inspired as ever digging up the bones of cult rave signifiers and chewing them into his own unique shapes.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Hailing from Offenbach (DE) but with a sound more indebted to UK styles like breakbeat hardcore, dubstep and garage, DogPatrol has been a natural fit on Sneaker. The slanted approach he takes to his influences results in a mutant style that shuffles and slams in all the right places without sounding like anything else out there.
‘1200kcal’ rides jagged, dusty drums that come on like drunken UKG, offset by rubbery bass arps that add a cosmic lick to proceedings. ‘Baby Flame’ has a nastier outlook hinging on a bludgeoning synth splat that calls back to the Control Tower brand of warehouse electro from the early 00s. Making sure no-one is second guessing the scent Dogpatrol is tracking, ‘Ya Playin Yaself’ dips into a dubstep-minded half-step roller with naive keys run through a giddy signal chain. ‘Offgenbach HBF Riddim’ completes the set with a breakbeat cut n’ paste job which tracks back to the source with strong echoes of The Blapps Posse’s raw and funky approach.
The reference points are just slight hints of familiarity, but Dogpatrol comes across as inspired as ever digging up the bones of cult rave signifiers and chewing them into his own unique shapes.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Kaval - Pistolaser
2
Kaval - Combo II
3
Kaval - Kingda Ka
4
Kaval - Enchanter
Is anyone in France keyed into the sound of UK funky as sharply as Kaval? Sneaker sets out a strong case with this four-tracker of cool and deadly shufflers which take that insistent groove and give it a different lick.
Kaval has got plenty going on in Toulouse, where he’s riding the online airwaves with the Egregore Collective and got his name all over the Riddim Supplies series 12”s. Those with their sticky fingers on all the best bits of wax the past few years might have stumbled across those records in the racks. Elsewhere, he’s also locked in with the Ruff Club crew who are bringing the DIY free party vibe to Toulouse under railway lines, in abandoned buildings and anywhere they can sneak a genny, a system, some lights and a vibe. All this is to say Kaval is the real deal, doing things the proper way, and it shows in his tunes.
The cuts on this record are absolutely built for the dance, functional like a DJ record should be but not at the expense of the flair. ‘Combo II’ has fun slipping snatches of MCs around utopian synth licks, while ‘Pistolaser’ is spilling over with crafty micro edits and snappy samples that bring the limber groove to life. The crooked beat and rounded square wave bass is a given, and Kaval wields the rhythm section with poise, but it’s the playful energy he brings to the top end which really lifts his gear. It’s no wonder his tracks have been bumped by the likes of Nick Léon, perfectly bridging the gap from funky into the deft Latin-tinged zones explored by the Miami heavyweight.
It’s records like this that prove exploration of UK funky, like so many club genres, has so much more to give to the dance.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Kaval has got plenty going on in Toulouse, where he’s riding the online airwaves with the Egregore Collective and got his name all over the Riddim Supplies series 12”s. Those with their sticky fingers on all the best bits of wax the past few years might have stumbled across those records in the racks. Elsewhere, he’s also locked in with the Ruff Club crew who are bringing the DIY free party vibe to Toulouse under railway lines, in abandoned buildings and anywhere they can sneak a genny, a system, some lights and a vibe. All this is to say Kaval is the real deal, doing things the proper way, and it shows in his tunes.
The cuts on this record are absolutely built for the dance, functional like a DJ record should be but not at the expense of the flair. ‘Combo II’ has fun slipping snatches of MCs around utopian synth licks, while ‘Pistolaser’ is spilling over with crafty micro edits and snappy samples that bring the limber groove to life. The crooked beat and rounded square wave bass is a given, and Kaval wields the rhythm section with poise, but it’s the playful energy he brings to the top end which really lifts his gear. It’s no wonder his tracks have been bumped by the likes of Nick Léon, perfectly bridging the gap from funky into the deft Latin-tinged zones explored by the Miami heavyweight.
It’s records like this that prove exploration of UK funky, like so many club genres, has so much more to give to the dance.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Etch - Paternal Curse
2
Etch - Star Fallen Feat. J-Shadow
3
Etch - Three Of Me, One Of You
4
Etch - No Fuckry
5
Etch - Hadanar Melody
6
Etch - Not Suprised Feat. Lee Scott
7
Etch - Stepford Lives Feat. E.M.M.A
8
Etch - Blue Note
9
Etch - Halloween Blue
10
Etch - Crusht Wings
11
Etch - Prayer Wheel (Left You Fi Dead) Feat. Killa P
12
Etch - Heatmap Feat. Emz
13
Etch - Inside The Box
14
Etch - Amnixiel
True Sneaker Social die-hard Etch returns with a monumental new album. Scream of the Butterfly shows the depth and breadth of one of the illest producers operating across the many spheres of club music with a distinct “you ‘kay?” slant.
From the moment the low-end pressure and loaded samples rear their heads on the opening track, Zak Brashill demonstrates his intent to sculpt Scream Of The Butterfly as a proper album — an end-to-end listening experience full of peaks and troughs which focus on sonic storytelling much more than club functionality. Throughout his imperious output to date, the man like Etch has displayed an affinity for sound design to match his instinct for what bangs on the spectrum of dubstep, garage, jungle and hip-hop, but now he’s gone postal on soundworld-building, with a grip of heavyweights drafted in to help set the scene.
Fellow Sneaker alumnus J-Shadow lends his maverick footwork science to ‘Star Fallen’, while UK rap anti-royalty Lee Scott brings his unmistakable Runcorn drawl to dusky head-nodder ‘Not Surprised’. UK bass-synth-ambient enigma E.M.M.A drops in for the moody, meandering midpoint ‘Stepford Lives’, and Killa P and Emz deliver blazing bars to the double dose of ‘Prayer Wheel (Left You Fi Dead)’ and ‘Heat Map’ respectively.
Elsewhere Brashill follows his own razor-sharp instincts into warping stop-start drum science, widescreen downtempo with teeth, seasick synth studies, moody-but-cosy 140 and lots more besides. Nothing comes as standard, but Scream of the Butterfly is ruff when it wants to be, subtle and spacious if the vibe demands it, and consistently packed full of the detail and intrigue that we’ve come to expect from one of the most inventive and reliably sick producers in the contemporary bassweight firmament.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
From the moment the low-end pressure and loaded samples rear their heads on the opening track, Zak Brashill demonstrates his intent to sculpt Scream Of The Butterfly as a proper album — an end-to-end listening experience full of peaks and troughs which focus on sonic storytelling much more than club functionality. Throughout his imperious output to date, the man like Etch has displayed an affinity for sound design to match his instinct for what bangs on the spectrum of dubstep, garage, jungle and hip-hop, but now he’s gone postal on soundworld-building, with a grip of heavyweights drafted in to help set the scene.
Fellow Sneaker alumnus J-Shadow lends his maverick footwork science to ‘Star Fallen’, while UK rap anti-royalty Lee Scott brings his unmistakable Runcorn drawl to dusky head-nodder ‘Not Surprised’. UK bass-synth-ambient enigma E.M.M.A drops in for the moody, meandering midpoint ‘Stepford Lives’, and Killa P and Emz deliver blazing bars to the double dose of ‘Prayer Wheel (Left You Fi Dead)’ and ‘Heat Map’ respectively.
Elsewhere Brashill follows his own razor-sharp instincts into warping stop-start drum science, widescreen downtempo with teeth, seasick synth studies, moody-but-cosy 140 and lots more besides. Nothing comes as standard, but Scream of the Butterfly is ruff when it wants to be, subtle and spacious if the vibe demands it, and consistently packed full of the detail and intrigue that we’ve come to expect from one of the most inventive and reliably sick producers in the contemporary bassweight firmament.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Christoph De Babalon - For Nothing
2
Christoph De Babalon - Total Deceit
3
Christoph De Babalon - Jaded Memory
4
Christoph De Babalon - Dearth Mill
The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.
We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.
As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.
'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.
You didn't expect something straight-forward, did you?
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.
As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.
'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.
You didn't expect something straight-forward, did you?
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Marcel Deptford - Rock The Boat
2
Marcel Deptford - Make It Hot
Bassline veteran and all-round soundsystem sorcerer Marcel Deptford lands on Sneaker Social Club with two ruff-n'-tuff rave-n'-b re-flips that run as a prelude to big things to come.
This is the first time you will have heard a record under the name Marcel Deptford, but he's got serious skin in the game with an imposing history in the legendary bassline scene from the late-00s. His records as DS1 are the stuff of legend for anyone keyed into the Niche-centric sound, but more recently he's put out some serious heat as Haider running his own Breaker Breaker label and popping up on Aus and the like.
If you're a fan of millennial RnB there's every chance you'll recognise the vocals that breathe life into Deptford's two tracks for this Sneaker release. Moving beyond simple edit territory, the voices are bedded deep down into gritty rave productions that boast the kind of dirt bag sonics that call straight back to the OG days of breakbeat hardcore. 'Rock The Boat' has bloated bass pushing into the red, clattering breaks chopped up with a rugged swagger and a dreamy, haunted dose of dub poured all over the vocals.
'Make It Hot' has a lighter, swung feel which nods to garage, but there's still plenty of weight on the low end. Once the lead vocal sample steps back to open up the space, Deptford's knack for strong melodic hooks comes through in a blown out arp line which the bassline dutifully follows.
Hitting every sweet spot from the low-down dirty rave receptors via moody head-nodding restraint on to iconic vocals, Marcel Deptford shows exactly what he's capable on this release ahead of a more extensive dive into his legacy, due further down the line.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
This is the first time you will have heard a record under the name Marcel Deptford, but he's got serious skin in the game with an imposing history in the legendary bassline scene from the late-00s. His records as DS1 are the stuff of legend for anyone keyed into the Niche-centric sound, but more recently he's put out some serious heat as Haider running his own Breaker Breaker label and popping up on Aus and the like.
If you're a fan of millennial RnB there's every chance you'll recognise the vocals that breathe life into Deptford's two tracks for this Sneaker release. Moving beyond simple edit territory, the voices are bedded deep down into gritty rave productions that boast the kind of dirt bag sonics that call straight back to the OG days of breakbeat hardcore. 'Rock The Boat' has bloated bass pushing into the red, clattering breaks chopped up with a rugged swagger and a dreamy, haunted dose of dub poured all over the vocals.
'Make It Hot' has a lighter, swung feel which nods to garage, but there's still plenty of weight on the low end. Once the lead vocal sample steps back to open up the space, Deptford's knack for strong melodic hooks comes through in a blown out arp line which the bassline dutifully follows.
Hitting every sweet spot from the low-down dirty rave receptors via moody head-nodding restraint on to iconic vocals, Marcel Deptford shows exactly what he's capable on this release ahead of a more extensive dive into his legacy, due further down the line.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Low End Activist - Lies & Deceit
2
Low End Activist - Climbing The Walls
3
Low End Activist - Self Destruction
4
Low End Activist - Hope I (Interlude)
5
Low End Activist - Wrong Turn, Dead End
6
Low End Activist - They Only Come Out At Night
7
Low End Activist - Hope III (Interlude)
8
Low End Activist - Rush
9
Low End Activist - Violence
10
Low End Activist - Broke
11
Low End Activist - TWOC
12
Low End Activist - Just A Number (Institutionalised)
13
Low End Activist - Innocence
14
Low End Activist - Hope II
Vinyl in Screenprinted PVC Sleeve inc. Photo Book.
On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality.
Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story.
In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration.
In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.
‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models.
Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk.
But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world.
Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
On his latest full-length, Low End Activist swerves towards weightless grime and suspended hardcore miniatures to tell a very personal story. The UK-rooted producer continues his habit of zeroing in on a distinct approach for each release, leaving a logical breadcrumb trail of soundsystem science in his wake as he channels decades of bass absorption into 14 atmospheric cuts that prize patience and precision over obvious club functionality.
Municipal Dreams plays out as a semi-autobiographical tour through the Blackbird Leys estate that the Activist grew up on. It’s a lived reflection on inequality and the ripple effect it has in working class communities, using the sonic palette to set the mood and scattering pointed samples throughout to spell out the story.
In sampling the exhaust of a stolen Subaru Impreza, ‘TWOC’ looks back to the recreational car theft which was standard entertainment for the kids in his community. There’s an underlying idea that this ‘council estate sport’ wouldn’t have been so prevalent if there were public services and opportunities presented to the scores of disaffected youth looking for somewhere to direct their energy and frustration.
In ‘Just A Number (Institutionalised)’ LEA alludes to the shattered juvenile detention system, growing up seeing friends and family members locked up at ease with little to no support on being released back into society, just meant that the same cycles of behaviour would play out over and over.
‘Violence’ samples from a short film shot by the drama division of the Blackbird Leys Youth Club to evoke the physical threat which formed a background hum to life on the estate. The industrial mechanics of the local car factory, which served an integral role as a workplace for many in the community, gets sampled in ‘They Only Come Out At Night’ while the ‘Everyone I look up to are either junkies or criminals’ sample in ‘Broke’ looks to a lack of positive role models.
Municipal Dreams isn’t a one-note indictment of life on the estate, ‘Innocence’ captures the simplicity of a child at birth before their environment has time to shape them. The Hope interludes cut through the grim honesty of the longer tracks while a subtle thread of wry humour finds its way into some of the talking heads cutting through the signature LEA murk.
But honesty is the operative word here, and the message feels all the more meaningful at a time when the UK’s social divisions are laid bare in the wake of a devastating stretch of austerity. Returning to Blackbird Leys to shoot images for the photo-zine and album cover, the Activist found the local community centre being demolished. The local pub stands derelict, its faded Welcome sign a grimly ironic portent of the options facing children of the estate in the wider world.
Funnelling his memories, hopes and fears into a singular twist on the bass weight tradition, LEA captures evocative scenes that land somewhere between kitchen sink realism and rave futurism.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Mars89 - No Control
2
Mars89 - Sonar Breaks
3
Mars89 - Hydra
4
Mars89 - Still Dreaming
Bringing stark dread bass vibes like no one before or since, Mars89 makes a welcome return to Sneaker Social Club with another four-track script flipper.
Since he first surged onto the radar with some incisive moves on Bokeh Versions back in 2017, Masayoshi Anotani has deployed a raw, non-conformist kind of bass music that's minimal in spirit but packing incredible weight where it counts. It draws parallels with weightless grime, but swap the woozy square wave synths out for fierce industrial textures and dystopian bleeps, and maybe you're halfway there.
Following on from 2022's Night Call and a collab LP with Seekersinternational on his own Nocturnal Technology, Mars89 is back with an EP which takes on new sonic dimensions without losing the persistent moodiness that makes his shadowy sonics so compelling.
'No Control' feels the most in line with the earlier Mars89 work, creating a back and forth between an upfront grime-y synth lick and blown out bass notes. The space around the notes is as vital as everything being played, creating a tension that doesn't let up no matter how much the brittle percussion rattles.
'Sonar Breaks' feels distinct as it drags a sticky drum loop through the dirt until it comes out positively caked. That leaves plenty of room for the bleeps up top to cut through the mix with devastating clarity, and Mars89 needs nothing else to make a taut piece of soundsystem Semtex.
'Hydra' continues to draw influence from jungle while taking a sideways approach to breakbeat edits, finding a curious groove in angular drum science before a stark arpeggio locks the track down. It's another hint at the different tools being reached for on this EP, brought into the Mars89 methodology and bent to his particular will.
'Still Dreaming' closes the EP out with an evocative sample from a sci-fi blockbuster and a spiralling sound bed of synth lines and break shards. While the track lands softer than its predecessors, the dense mix whips up a claustrophobic allure comfortably aligned with the overall intensity of the record — an intensity which is wholly unique to Mars89 and his maverick manoeuvres in the field of contemporary bass music.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Since he first surged onto the radar with some incisive moves on Bokeh Versions back in 2017, Masayoshi Anotani has deployed a raw, non-conformist kind of bass music that's minimal in spirit but packing incredible weight where it counts. It draws parallels with weightless grime, but swap the woozy square wave synths out for fierce industrial textures and dystopian bleeps, and maybe you're halfway there.
Following on from 2022's Night Call and a collab LP with Seekersinternational on his own Nocturnal Technology, Mars89 is back with an EP which takes on new sonic dimensions without losing the persistent moodiness that makes his shadowy sonics so compelling.
'No Control' feels the most in line with the earlier Mars89 work, creating a back and forth between an upfront grime-y synth lick and blown out bass notes. The space around the notes is as vital as everything being played, creating a tension that doesn't let up no matter how much the brittle percussion rattles.
'Sonar Breaks' feels distinct as it drags a sticky drum loop through the dirt until it comes out positively caked. That leaves plenty of room for the bleeps up top to cut through the mix with devastating clarity, and Mars89 needs nothing else to make a taut piece of soundsystem Semtex.
'Hydra' continues to draw influence from jungle while taking a sideways approach to breakbeat edits, finding a curious groove in angular drum science before a stark arpeggio locks the track down. It's another hint at the different tools being reached for on this EP, brought into the Mars89 methodology and bent to his particular will.
'Still Dreaming' closes the EP out with an evocative sample from a sci-fi blockbuster and a spiralling sound bed of synth lines and break shards. While the track lands softer than its predecessors, the dense mix whips up a claustrophobic allure comfortably aligned with the overall intensity of the record — an intensity which is wholly unique to Mars89 and his maverick manoeuvres in the field of contemporary bass music.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Dream Cycle - Dream 93
2
Dream Cycle - Start While It's Hot
3
Dream Cycle - S.O.U.R
4
Dream Cycle - Paradise State
5
Dream Cycle - Absolutely (Them + Us Mix)
After 7 years and countless requests, Sneaker Social Club finally deliver a repress of Dream Cycle - Part One.
After a chance meeting at Gottwood in 2016 a bond was established between Dream Cycle (Robin Clarke) and label owner Jamie Russell over a shared love of 2 Bad Mice and Moving Shadow. It wasn't long before Clarke began channeling elements of that influence to produce his Dream Cycle Part.1 EP. Unfolding over 4 steppy tracks and an ambient closer, Clarke melds sharp snares, summery motifs, dense atmospheres and thick subs whilst keeping things suffused with a distinctly UK quality that marries his work perfectly with the Sneaker catalogue.
DJ Support: Ryan Elliott, DJ Die, The Blessed Madonna, Octo Octa, Bwana, Altered Natives, Noodles (Groove Chronicles), Liem (Lehult), Deejay Astral, LA4A, 2 Bad Mice, Fred P, Matt Karmil, Flori, Marco Zenker, J.Rocc (lol at comment!), Ajukaja, Gnork, William Djoko, Till Von Sein, Fold, ASOK, Gene Farris, DJ bwin, Seven Davis Jr, TRP, DJ Octopus, DJ Normal 4, Gerd, Dean Man s Chest, Poté, Doc Scott, Violet, James Welsh (Kamera), Konx-om-Pax, Etch, Raresh, Hrdvsion, Michael Serafini (Gramaphone), Frazer Ray, DJ Guy, Mak & Pasteman, Shenoda, Urulu, Mark Archer & James Zabiela, Zinc, Lehult, Jackie House, Mosca, Noodles (Groove Chronicles) & DJ Die.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
After a chance meeting at Gottwood in 2016 a bond was established between Dream Cycle (Robin Clarke) and label owner Jamie Russell over a shared love of 2 Bad Mice and Moving Shadow. It wasn't long before Clarke began channeling elements of that influence to produce his Dream Cycle Part.1 EP. Unfolding over 4 steppy tracks and an ambient closer, Clarke melds sharp snares, summery motifs, dense atmospheres and thick subs whilst keeping things suffused with a distinctly UK quality that marries his work perfectly with the Sneaker catalogue.
DJ Support: Ryan Elliott, DJ Die, The Blessed Madonna, Octo Octa, Bwana, Altered Natives, Noodles (Groove Chronicles), Liem (Lehult), Deejay Astral, LA4A, 2 Bad Mice, Fred P, Matt Karmil, Flori, Marco Zenker, J.Rocc (lol at comment!), Ajukaja, Gnork, William Djoko, Till Von Sein, Fold, ASOK, Gene Farris, DJ bwin, Seven Davis Jr, TRP, DJ Octopus, DJ Normal 4, Gerd, Dean Man s Chest, Poté, Doc Scott, Violet, James Welsh (Kamera), Konx-om-Pax, Etch, Raresh, Hrdvsion, Michael Serafini (Gramaphone), Frazer Ray, DJ Guy, Mak & Pasteman, Shenoda, Urulu, Mark Archer & James Zabiela, Zinc, Lehult, Jackie House, Mosca, Noodles (Groove Chronicles) & DJ Die.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Horsepower Productions - Tropic
2
Horsepower Productions - Computer Rock
3
Horsepower Productions - Kase Reprise
The legendary Horsepower Productions return to Sneaker for a thematically charged trip into future zones, driven by dexterous breakbeat science and ruffneck soundboy wisdom.
The UK dubplate heavyweights are no stranger to a loaded sample, and they’ve got a message to impart on this double-edged record. They kick off with a rumination on the planet’s fragile ecosystem on ‘Tropic’, which looks to a possible future with an ominous fate for the foliage we hold dear. Production-wise, Horsepower set electric drum loops off against lurid daubs of synth without derailing the motion, but a huge amount of the track’s impact arrives in the sampling from a cult classic slice of sci-fi. The premise is that the last remaining trees and plants from earth are adrift in space in a bio-dome, and have been condemned for demolition - a depressingly feasible scenario with an aggravated soundtrack to boot.
On the flip, ‘Computer Rock’ rides a tough break slow and hard and injects dystopian electro synth licks into the mix for a darkside roller that celebrates the visionary talent of Jeff Brown, aka Kase 2. Brown pioneered graffiti in the 70s with futuristic styles that still hold sway today, leaning into his own sci-fi imaginings about computer worlds inhabited by extra-terrestrial beings, Brown passed away in 2011, and this track and the attendant B2 cut ‘Kase - Reprise’ pay tribute to a forefather of hip-hop culture by channeling the future shock styles of Bambaataa et al without ever sounding throwback.
The concept on this record gets taken out further with the additional digi-only tracks, which take in the low-slung, skunked up funk of ‘Blaque Gras’ and the amped up rave damage of ‘Kase 2-Part 2’. Throughout, on-point samples and a clear-eyed focus bring out the best in the Horsepower approach, offering up next level dance wreckers with something to say.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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The UK dubplate heavyweights are no stranger to a loaded sample, and they’ve got a message to impart on this double-edged record. They kick off with a rumination on the planet’s fragile ecosystem on ‘Tropic’, which looks to a possible future with an ominous fate for the foliage we hold dear. Production-wise, Horsepower set electric drum loops off against lurid daubs of synth without derailing the motion, but a huge amount of the track’s impact arrives in the sampling from a cult classic slice of sci-fi. The premise is that the last remaining trees and plants from earth are adrift in space in a bio-dome, and have been condemned for demolition - a depressingly feasible scenario with an aggravated soundtrack to boot.
On the flip, ‘Computer Rock’ rides a tough break slow and hard and injects dystopian electro synth licks into the mix for a darkside roller that celebrates the visionary talent of Jeff Brown, aka Kase 2. Brown pioneered graffiti in the 70s with futuristic styles that still hold sway today, leaning into his own sci-fi imaginings about computer worlds inhabited by extra-terrestrial beings, Brown passed away in 2011, and this track and the attendant B2 cut ‘Kase - Reprise’ pay tribute to a forefather of hip-hop culture by channeling the future shock styles of Bambaataa et al without ever sounding throwback.
The concept on this record gets taken out further with the additional digi-only tracks, which take in the low-slung, skunked up funk of ‘Blaque Gras’ and the amped up rave damage of ‘Kase 2-Part 2’. Throughout, on-point samples and a clear-eyed focus bring out the best in the Horsepower approach, offering up next level dance wreckers with something to say.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
appleblim - Life In A Laser
2
appleblim - Ignite
3
appleblim - I Think We'll Let The Gas S
4
appleblim - Manta Key
5
appleblim - Flows From Within
6
appleblim - Chrome Mist
7
appleblim - Astral Light
8
appleblim - Pyramirror
Repress!
More than ten years since he first emerged on Skull Disco, Appleblim presents his debut album. The label he co-founded with Shackleton was the first the world heard of his productions, but Laurie Osborne’s innate relationship with electronic music culture reaches back much further than those groundbreaking early days of dubstep. Early days spent soaking up hardcore, jungle, techno and plenty more besides were fundamental foundations from which to spring into the then-unknown realms of sub-low half-step club music. At that time FWD>> and DMZ were the church for this ritualistic sound, and Appleblim was a regular fixture at both.
As dubstep matured, magnified, mutated and meandered, so Appleblim moved beyond Skull Disco to explore different avenues of expression in the new many- layered club music landscape. His own Apple Pips imprint was a natural vessel on which to explore the emergent fusions of hardcore-derived sounds and the US-born house, techno and electro, while labels such as Aus Music equally provided a home for his work (often alongside Komonazmuk). Meanwhile long-standing collaborations with Alec Storey (Al Tourettes / Second Storey) finally manifested in the hyper-modern mind-twist of ALSO, captured as an album on legendary rave label R&S.
More recently it’s been possible to hear Appleblim delve into electro-acoustic and ambient production alongside bassweight sounds on Tempa, one of the original bastions of dubstep culture. As the existing boundaries between genres, cultures, eras and scenes continue to dissolve, on his debut album Appleblim offers up a fresh approach that brings some of the foundational sound ethics of rave culture into a modern framework.
Hardcore breaks are still a regular sound source in contemporary club tracks, but on Life In A Laser it’s instantly apparent that Appleblim has moved beyond choosing popular drum samples to truly tap into the elusive feeling engendered by the music of the era. It’s a tricky feat to manage, but in the pie-eyed chords of “Ignite”, the subby 808 tom basslines on “NCI” or the Mr. Fingers synth flex on “Manta Key” the sonic finish sports the same understated grit and grime that made those early records so timeless. There’s still space for modernism, not least on snaking 2-step killer “I Think We'll Let The Gas Sort This One Out”, but it’s offset by a layer of dust, not to mention an inherent moodiness that can’t be faked.
This fine balance of rave romanticism and future-minded approaches binds together in a cohesive conceptual statement. First and foremost it’s Appleblim’s personal reflection on the music that has moved him on countless dancefloors since his first flirtations with soundsystem culture. At the same time the canny influx of modern ideas into the soundworld of the 90s genuinely results in a new proposition, making for a perfect fit on the modern-day ‘ardcore fetishists label of choice, Sneaker Social Club. Many may claim to draw on old-skool influences in their modern trax, but take one listen to “Flows From Within” and you’ll feel the same time-slipping surge of future-shock as the ravers at Lost, Dreamscape, The Dungeons, Clink Street, Blue Note and all those other iconic spots.
Newton aka Nick Newton aka Nick Rhythm Section. You know this EP is going to hit the spot when you have one of the original members of the first rave super group on production!
Originally released on Rhythm Section Recordings in 1992, this EP will be well known to many who use to got to the big raves of the early 90’s. Every track captures that moment of history, erupting into peak time rave anthems with hooks and riff that imprint into your brain!
The tracks go from the darker side of the scene into full on rave anthems for the hands in the air crew. You know if it came out on RSR back in the day that it will tick every box and more.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More than ten years since he first emerged on Skull Disco, Appleblim presents his debut album. The label he co-founded with Shackleton was the first the world heard of his productions, but Laurie Osborne’s innate relationship with electronic music culture reaches back much further than those groundbreaking early days of dubstep. Early days spent soaking up hardcore, jungle, techno and plenty more besides were fundamental foundations from which to spring into the then-unknown realms of sub-low half-step club music. At that time FWD>> and DMZ were the church for this ritualistic sound, and Appleblim was a regular fixture at both.
As dubstep matured, magnified, mutated and meandered, so Appleblim moved beyond Skull Disco to explore different avenues of expression in the new many- layered club music landscape. His own Apple Pips imprint was a natural vessel on which to explore the emergent fusions of hardcore-derived sounds and the US-born house, techno and electro, while labels such as Aus Music equally provided a home for his work (often alongside Komonazmuk). Meanwhile long-standing collaborations with Alec Storey (Al Tourettes / Second Storey) finally manifested in the hyper-modern mind-twist of ALSO, captured as an album on legendary rave label R&S.
More recently it’s been possible to hear Appleblim delve into electro-acoustic and ambient production alongside bassweight sounds on Tempa, one of the original bastions of dubstep culture. As the existing boundaries between genres, cultures, eras and scenes continue to dissolve, on his debut album Appleblim offers up a fresh approach that brings some of the foundational sound ethics of rave culture into a modern framework.
Hardcore breaks are still a regular sound source in contemporary club tracks, but on Life In A Laser it’s instantly apparent that Appleblim has moved beyond choosing popular drum samples to truly tap into the elusive feeling engendered by the music of the era. It’s a tricky feat to manage, but in the pie-eyed chords of “Ignite”, the subby 808 tom basslines on “NCI” or the Mr. Fingers synth flex on “Manta Key” the sonic finish sports the same understated grit and grime that made those early records so timeless. There’s still space for modernism, not least on snaking 2-step killer “I Think We'll Let The Gas Sort This One Out”, but it’s offset by a layer of dust, not to mention an inherent moodiness that can’t be faked.
This fine balance of rave romanticism and future-minded approaches binds together in a cohesive conceptual statement. First and foremost it’s Appleblim’s personal reflection on the music that has moved him on countless dancefloors since his first flirtations with soundsystem culture. At the same time the canny influx of modern ideas into the soundworld of the 90s genuinely results in a new proposition, making for a perfect fit on the modern-day ‘ardcore fetishists label of choice, Sneaker Social Club. Many may claim to draw on old-skool influences in their modern trax, but take one listen to “Flows From Within” and you’ll feel the same time-slipping surge of future-shock as the ravers at Lost, Dreamscape, The Dungeons, Clink Street, Blue Note and all those other iconic spots.
Newton aka Nick Newton aka Nick Rhythm Section. You know this EP is going to hit the spot when you have one of the original members of the first rave super group on production!
Originally released on Rhythm Section Recordings in 1992, this EP will be well known to many who use to got to the big raves of the early 90’s. Every track captures that moment of history, erupting into peak time rave anthems with hooks and riff that imprint into your brain!
The tracks go from the darker side of the scene into full on rave anthems for the hands in the air crew. You know if it came out on RSR back in the day that it will tick every box and more.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Chavinski - I'll Keep Her Safe Boy"
2
Chavinski - Find Myself
3
Chavinski - "Higher Than Me"
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Dylan Beale - Title
2
Dylan Beale - Cinema 1
3
Dylan Beale - Cinema 2
4
Dylan Beale - Weapon X Lab
5
Dylan Beale - Destroyer Program
6
Dylan Beale - Japan
7
Dylan Beale - Tri Fusion
8
Dylan Beale - Lady Deathstrike
9
Dylan Beale - Tokyo
10
Dylan Beale - Geist
11
Dylan Beale - Nightmare World
12
Dylan Beale - Cyber
13
Dylan Beale - Shinobi Shaw's Mansion
14
Dylan Beale - Dark Queen
15
Dylan Beale - Fugue
16
Dylan Beale - Under The Hellfire Club
17
Dylan Beale - Great Beast
18
Dylan Beale - Game Over
19
Dylan Beale - Unused 1
20
Dylan Beale - Unused 2
21
Dylan Beale - Alarm
Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.
When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.
While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.
Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.
“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.
While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.
Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.
“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Customers who bought this also bought this
The name dreamcastmoe is somewhat synonymous with the Peckham based ‘Rhythm Section INTL’ Label. With a sound equally indebted to hip hop, house, hazy electronics and DC’s very own ‘go-go’ sound - dreamcastmoe, born Davon Bryant-James burst onto the scene with a refreshing mix of styles matched with an irresistible personality.
A1 LEMONPEPPASTEPPA
A2 EXPECTATIONS
A3 IM GOING VEGAN FEAT. AUTO LOLA
A4 THAT DRESS (INTERLUDE)
A5 FLOWERS FEAT. NAPPY NAPA
A6 ONLY REASON IM NOT IN TROUBLE (INTERLUDE)
A7 INOMI FEAT. ANIA HOO
A8 DON'T PLAY (INTERLUDE)
A9 MOLLY'S REQUEST
A10 SAME FERN FEAT. JELANI KWESI
B1 HOW MANY (INTERLUDE)
B2 JJK FEAT. RUQQIYAH
B3 HEYY HEYY FEAT. NAPPYNAPPA
B4 SHIETT (SKIT)
B5 SHATTA FEAT. NAPPYNAPPA
B6 GOOD PROBLEM TO HAVE
B7 COUPLE PLAYS
B8 GETTIN RICH (INTERLUDE)
B9 THANK YA FEAT. RUQQIYAH
B10 3 PLACES IN THIS WORLD (INTERLUDE)
Listen: https://listen.k7.com/9b9029d1-76ac-49b6-9736-15246bda954d
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A1 LEMONPEPPASTEPPA
A2 EXPECTATIONS
A3 IM GOING VEGAN FEAT. AUTO LOLA
A4 THAT DRESS (INTERLUDE)
A5 FLOWERS FEAT. NAPPY NAPA
A6 ONLY REASON IM NOT IN TROUBLE (INTERLUDE)
A7 INOMI FEAT. ANIA HOO
A8 DON'T PLAY (INTERLUDE)
A9 MOLLY'S REQUEST
A10 SAME FERN FEAT. JELANI KWESI
B1 HOW MANY (INTERLUDE)
B2 JJK FEAT. RUQQIYAH
B3 HEYY HEYY FEAT. NAPPYNAPPA
B4 SHIETT (SKIT)
B5 SHATTA FEAT. NAPPYNAPPA
B6 GOOD PROBLEM TO HAVE
B7 COUPLE PLAYS
B8 GETTIN RICH (INTERLUDE)
B9 THANK YA FEAT. RUQQIYAH
B10 3 PLACES IN THIS WORLD (INTERLUDE)
Listen: https://listen.k7.com/9b9029d1-76ac-49b6-9736-15246bda954d
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Peverelist, - Roll With The Punches
2
Peverelist, - Die Brucke
REPRESS
Perpetually in demand bonafide Dubstep classic and Bristol anthem repressed. Essential addition to anyones collection
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Perpetually in demand bonafide Dubstep classic and Bristol anthem repressed. Essential addition to anyones collection
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
SOPHIE - BIPP
2
SOPHIE - ELLE
3
SOPHIE - LEMONADE
4
SOPHIE - HARD
5
SOPHIE - MSMSMSM
6
SOPHIE - VYZEE
7
SOPHIE - L.O.V.E.
8
SOPHIE - UNISIL
9
SOPHIE - GET HIGHER
10
SOPHIE - OOH
11
SOPHIE - JUST LIKE WE NEVER SAID GOODBYE
Black Vinyl!
To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.
This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.
SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.
‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.
SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.
The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.
‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.
A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.
This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.
SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.
‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.
SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.
The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.
‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.
A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Paris’ Latency presents ‘Estradas’, an electrifying dance music album by multi-instrumentalist Valentina Magaletti and Afro-Portuguese beat-maker Nídia.
Listen: https://nidiavalentina.bandcamp.com/album/estradas
Tracklisting:
1. Andiamo
2. Rapido
3. Sicilia
4. Mata
5. Nasty
6. Estradas
7. No Promises
8. Ta A Bater Ya
9. Tutta la notte
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Listen: https://nidiavalentina.bandcamp.com/album/estradas
Tracklisting:
1. Andiamo
2. Rapido
3. Sicilia
4. Mata
5. Nasty
6. Estradas
7. No Promises
8. Ta A Bater Ya
9. Tutta la notte
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:Tresor Records
Cat-No:TRESOR375
Release-Date:06.06.2025
Genre:House / Techno
Configuration:12" Excl
Label:Tresor Records
Cat-No:TRESOR375
Release-Date:06.06.2025
Genre:House / Techno
Configuration:12" Excl
1
LNS & DJ Sotofett - ClickClickClick 05:34
2
LNS & DJ Sotofett - Gearbox 05:45
3
LNS & DJ Sotofett - Destination 909 05:59
4
LNS & DJ Sotofett - Reach Out 06:03
Territories: WORLD EXCLUDING UK
TRACKLIST
1. / A1 ClickClickClick 05:34
2. / A2 Gearbox 05:45
3. / B1 Destination 909 05:59
4. / B2 Reach Out 06:03
Tresor resident DJs LNS and DJ Sotofett have for some years been developing a style at the club‘s Globus floor, and their new EP is a die cut of exactly the classic techno, electro, and house music they play.
Here are no productions drenched in reverb, no hi-fi obsessions or generic algorithmic patterns – this is Globus Trax, the duo's third release on Tresor Records, four tracks consisting of real TR-909 workouts, rude and driving basslines, live runs through the mixing desk, and a Blake Baxter cover version with LNS on vocals.
LNS & DJ Sotofett programmed an EP to perfectly fit their warehouse style of DJing, bringing out colour and variation in a spectrum more similar to a club compilation than a dogmatically reduced concept. With a single repeated vocal sample, Globus Trax opens bombastically with ClickClickClick, a dub -infused UK garage house track anyone in the world can easily describe in the course of a second.
Following this comes Gearbox which is a hefty slab of big room electro featuring a centerpiece arpeggio and the warmest harmonic pads on the EP's four tracks, which not-so-subtly makes reference to the pioneering band that shares a name with Globus and Tresor's home, the Kraftwerk.
The house vibe returns on Destination 909, which is nothing but a manifesto for the TR-909, where the beloved drum machine's jacking beats meet galactic strings and synthetic bass, only to be ripped apart in a slamming break that sees the machine take centre stage as it cuts in-and-out of the mix, again a clear nod to the duo’s sets in the club.
LNS steps up on vocal duties and DJ Sotofett keeps the 909 running for their final cut, taking a deeper dive into the realms of classic techno and paying tribute to “The Prince of Techno” Blake Baxter by covering his Reach Out originally released on Tresor Records in 1995.
The 12” was cut by DJ Sotofett himself at Manmade Mastering, where he resurrects the lost art of late-90s loud cuts with sonic presence and punch, optimal for the club-focused 12” format, and is the first to come in the new Tresor Sleeve, boasting an embossed logo on either side.
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DE - 22113 Hamburg
Germany
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TRACKLIST
1. / A1 ClickClickClick 05:34
2. / A2 Gearbox 05:45
3. / B1 Destination 909 05:59
4. / B2 Reach Out 06:03
Tresor resident DJs LNS and DJ Sotofett have for some years been developing a style at the club‘s Globus floor, and their new EP is a die cut of exactly the classic techno, electro, and house music they play.
Here are no productions drenched in reverb, no hi-fi obsessions or generic algorithmic patterns – this is Globus Trax, the duo's third release on Tresor Records, four tracks consisting of real TR-909 workouts, rude and driving basslines, live runs through the mixing desk, and a Blake Baxter cover version with LNS on vocals.
LNS & DJ Sotofett programmed an EP to perfectly fit their warehouse style of DJing, bringing out colour and variation in a spectrum more similar to a club compilation than a dogmatically reduced concept. With a single repeated vocal sample, Globus Trax opens bombastically with ClickClickClick, a dub -infused UK garage house track anyone in the world can easily describe in the course of a second.
Following this comes Gearbox which is a hefty slab of big room electro featuring a centerpiece arpeggio and the warmest harmonic pads on the EP's four tracks, which not-so-subtly makes reference to the pioneering band that shares a name with Globus and Tresor's home, the Kraftwerk.
The house vibe returns on Destination 909, which is nothing but a manifesto for the TR-909, where the beloved drum machine's jacking beats meet galactic strings and synthetic bass, only to be ripped apart in a slamming break that sees the machine take centre stage as it cuts in-and-out of the mix, again a clear nod to the duo’s sets in the club.
LNS steps up on vocal duties and DJ Sotofett keeps the 909 running for their final cut, taking a deeper dive into the realms of classic techno and paying tribute to “The Prince of Techno” Blake Baxter by covering his Reach Out originally released on Tresor Records in 1995.
The 12” was cut by DJ Sotofett himself at Manmade Mastering, where he resurrects the lost art of late-90s loud cuts with sonic presence and punch, optimal for the club-focused 12” format, and is the first to come in the new Tresor Sleeve, boasting an embossed logo on either side.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Germany/Switzerland Only!
‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.
“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”
Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.
“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.
Tracklist
CD1:
1: 73 MK8 Revisited
2: Metropolis Revisited
3: Music In My Mind Revisited
4: Jaxx Revisited
5: The Tree Knows Everything Revisited (featuring Kirsty Hawkshaw)
6: Circles Revisited (Extended)
7: Mother Earth Revisited
8: Dirty Harry Revisited
9: F-Jam Revisited (featuring MC Conrad)
10: Aromatherapy Revisited
CD2: Colours live
1: Colours intro live
2: 73 live
3. Metropolis live
4: Music In My Mind live
5: Jaxx live
6: Brand New Funk live (featuring DJ Destruction)
7: I Want You live
8: Aromatherapy Revisited live [Remix]
9: Circles Revisited live
10: Dirty Harry live
Key Selling points:
* Winner of the MOBO Award for “Best Album Of The Year”
* First vinyl release of ‘The Trees Know Everything”
* Full UK club, radio and PR campaign around release
Socials:
Adam F: FB: 81k+ / Spotify 141k listeners 32k followers / IG 22.8k+ Followers | YT: 3k / Twitter 300+ | TikTok: 1.2k
* Press / Promotion:
Promotion from 181 Recordings and Adam F via DJ + producer communities, label mailing
list, patrons and online social pages. Meta business manager ads promoting streaming and indie-record shop vinyl links.
PR partner Listen Up mail-outs, seeking reviews, specialising in electronic press.
Confirmed coverage:
DJ Mag ‘Making of’, DJ Mag ‘Game Changers feature’, Reddit AMA, DJ Mag Italia interview, DMY interview, UKF interview, BBC Sports interview, Liverpool FC Guest Column, Scuba ‘Not a Diving Podcast’ podcast guest, Juno Daily, Forbes Spain
Bleep mix and interview:
https://bleep.com/bleep-mix-289-adam-f
* Radio / Internet
Radio and club promo UK via Listen Up. Club and electronic shows targeted. Short-form videos featuring the tracks and
vinyl will be posted by Adam F. Adam is
Radio plays for the project:
BBC Radio 6, BBC Radio 1Xtra, KEXP; Future Radio, Kool FM. Kiss FM, Funky Essex, WDRT, Phatsoundz, Point Blank FM, ZM, UK Bass Radio, Kursh FM, Flex FM and more
Download card Tracklist:
Brand New Funk Revisited (Adam F Reboot)
Brand New Funk Revisited (Bladerunner Reboot)
Music in My Mind Revisited (DJ Marky & Makoto Reboot)
Music in My Mind Revisited (Nookie Reboot)
Colours Revisited digital album
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.
“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”
Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.
“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.
Tracklist
CD1:
1: 73 MK8 Revisited
2: Metropolis Revisited
3: Music In My Mind Revisited
4: Jaxx Revisited
5: The Tree Knows Everything Revisited (featuring Kirsty Hawkshaw)
6: Circles Revisited (Extended)
7: Mother Earth Revisited
8: Dirty Harry Revisited
9: F-Jam Revisited (featuring MC Conrad)
10: Aromatherapy Revisited
CD2: Colours live
1: Colours intro live
2: 73 live
3. Metropolis live
4: Music In My Mind live
5: Jaxx live
6: Brand New Funk live (featuring DJ Destruction)
7: I Want You live
8: Aromatherapy Revisited live [Remix]
9: Circles Revisited live
10: Dirty Harry live
Key Selling points:
* Winner of the MOBO Award for “Best Album Of The Year”
* First vinyl release of ‘The Trees Know Everything”
* Full UK club, radio and PR campaign around release
Socials:
Adam F: FB: 81k+ / Spotify 141k listeners 32k followers / IG 22.8k+ Followers | YT: 3k / Twitter 300+ | TikTok: 1.2k
* Press / Promotion:
Promotion from 181 Recordings and Adam F via DJ + producer communities, label mailing
list, patrons and online social pages. Meta business manager ads promoting streaming and indie-record shop vinyl links.
PR partner Listen Up mail-outs, seeking reviews, specialising in electronic press.
Confirmed coverage:
DJ Mag ‘Making of’, DJ Mag ‘Game Changers feature’, Reddit AMA, DJ Mag Italia interview, DMY interview, UKF interview, BBC Sports interview, Liverpool FC Guest Column, Scuba ‘Not a Diving Podcast’ podcast guest, Juno Daily, Forbes Spain
Bleep mix and interview:
https://bleep.com/bleep-mix-289-adam-f
* Radio / Internet
Radio and club promo UK via Listen Up. Club and electronic shows targeted. Short-form videos featuring the tracks and
vinyl will be posted by Adam F. Adam is
Radio plays for the project:
BBC Radio 6, BBC Radio 1Xtra, KEXP; Future Radio, Kool FM. Kiss FM, Funky Essex, WDRT, Phatsoundz, Point Blank FM, ZM, UK Bass Radio, Kursh FM, Flex FM and more
Download card Tracklist:
Brand New Funk Revisited (Adam F Reboot)
Brand New Funk Revisited (Bladerunner Reboot)
Music in My Mind Revisited (DJ Marky & Makoto Reboot)
Music in My Mind Revisited (Nookie Reboot)
Colours Revisited digital album
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Hame - Tears
2
Hame - Unexpected Night
3
Hame - Unity
4
Hame - Sand
5
Hame - Wind
6
Hame - Little Lonely Moment
7
Hame - Tell Me Where
Tracklist
Side A
A.1 Tears
A2. Unexpected Night
A3. Unity
A4. Sand
Side B
B.1 Wind
B2. Little Lonely Moment
B3. Tell Me Where
Blurb:
Hame presents ‘Almost Home’. Deeply inspired by his life story. Shortly after Hame left his mother's house in 2008, significant changes unfolded. This marked the end of a connection to a physical space when returning home. Fast forward to 2024, and a myriad of experiences have shaped his journey. Often feeling lost in the pursuit of life's purpose, Hame navigated a bumpy road that led him to places where he didn't always feel at ease.
Throughout this tumultuous journey, one constant brought solace to Hame: making music. Whether playing the guitar with friends, practicing the piano as a child, or spending nights mastering Ableton during college, the act of filling the room with heartfelt sounds became synonymous with a sense of home.
With his first release on Small Steps in October 2022 and enchanting performances at festivals like Doel, Hame observed that his music had a similar effect on others, offering a sense of understanding. The prospect of dedicating more time to music and sharing it with a wider audience rekindled a familiar feeling that had been absent for a long time – reminiscent of the comforting sense of direction he experienced as a child.
This EP, crafted by Hame, encapsulates a myriad of emotions he encountered along the way. Notably, in the track "Tears," he employed the sound of actual sobbing to create rhythmic elements, adding an emotional touch to the composition. Through these musical expressions, Hame invites listeners to connect with his journey, offering a shared experience that resonates on a personal level.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Side A
A.1 Tears
A2. Unexpected Night
A3. Unity
A4. Sand
Side B
B.1 Wind
B2. Little Lonely Moment
B3. Tell Me Where
Blurb:
Hame presents ‘Almost Home’. Deeply inspired by his life story. Shortly after Hame left his mother's house in 2008, significant changes unfolded. This marked the end of a connection to a physical space when returning home. Fast forward to 2024, and a myriad of experiences have shaped his journey. Often feeling lost in the pursuit of life's purpose, Hame navigated a bumpy road that led him to places where he didn't always feel at ease.
Throughout this tumultuous journey, one constant brought solace to Hame: making music. Whether playing the guitar with friends, practicing the piano as a child, or spending nights mastering Ableton during college, the act of filling the room with heartfelt sounds became synonymous with a sense of home.
With his first release on Small Steps in October 2022 and enchanting performances at festivals like Doel, Hame observed that his music had a similar effect on others, offering a sense of understanding. The prospect of dedicating more time to music and sharing it with a wider audience rekindled a familiar feeling that had been absent for a long time – reminiscent of the comforting sense of direction he experienced as a child.
This EP, crafted by Hame, encapsulates a myriad of emotions he encountered along the way. Notably, in the track "Tears," he employed the sound of actual sobbing to create rhythmic elements, adding an emotional touch to the composition. Through these musical expressions, Hame invites listeners to connect with his journey, offering a shared experience that resonates on a personal level.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
V.A. - Playground - Rainy Day Woman
2
V.A. - Spinnaker - The Spirit of America
3
V.A. - Natalie Ann - You've Got To Feel
4
V.A. - Shamor - Close To You (Bwela Pafupi)
5
V.A. - Cherry Laine - Land of No Return
6
V.A. - Sharon & Tracy - The Sheik
7
V.A. - Methods of Dance - Aggravation (Instrumental)
8
V.A. - Claudio D'Ignoti - Anche Per Noi
9
V.A. - Jennifer - Come Into My Life
10
V.A. - Lena - Embrasse-Moi (Strumentale)
11
V.A. - Fabrithia - I Want You (Strumentale)
12
V.A. - Jimmy D. - Rescue Me (Imagination) (Dub Version)
13
V.A. - Alison Sheryll - You're Not Alone.
14
V.A. - Precious Child - Come Alone
Much has changed for Ilan Pdahtzur since the release of his Night City Life compilation six years ago. Back then, he was a little-known record collector who shared obscure, synth-heavy music that “captured the night-time glow” of the city he calls home, London, via a dedicated Instagram page. Fast forward to 2025 and Ilan is now a respected member of the international digger-selector community, having delivered must-check mixes for the likes of Bordello A Parigi, Bayete, Hunee’s Lifetones and Sound Metaphors.
It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.
In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.
Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
It seems a fitting time, then, for Spacetalk to unleash Night City Life II, a second deep dive into Ilan’s distinctive, neon-lit sound world – a place where European synth-pop rarities, Italo-dance treats, dancefloor-focused post-boogie instrumentals soundtrack strolls around shuttered skyscrapers, dockside housing estates and wharf-side warehouse conversions.
In the six years that have passed since the release of Night City Life, Ilan has uncovered many more rarities, private-press gems and slept-on treats, with 14 of these featuring on the dusty-fingered crate-digger’s sublime sequel. As with its predecessor, much effort has been made to track down the artists behind the synth-heavy songs on show, with the vinyl edition featuring extended liner notes where some tell the story of their track in detail. Musically, there’s much to set the pulse racing within Ilan’s superb selections, from the slow-motion shuffle of Playground’s self-released 1984 B-side ‘Rainy Day Woman’ and the brilliance of Shamor’s 1985 South African synth-pop special ‘Close To You (Bwela Pafupi)’, to Sharon & Tracy’s ‘The Sheik’ – a belly-dancing inspired slab of TB-303 bass-driven house – and the kaleidoscopic, piano-rich 1992 Euro-house brilliance of ‘Come Into My Life’ by Jennifer.
Dive deeper into the collection and more under-appreciated musical masterpieces make their presence felt. There’s Sicilian musician Claudio D’Ignoti’s lesser-known boogie-era single ‘Anche Per Noi’, where rubbery bass guitar, Nile Rodgers style disco guitar licks and spacey synths dominate the sound space, Lena’s fashion circuit-inspired, early Pet Shop Boys-esque ‘Embrasse-Moi (Strumentale)’ – one that members of Milan’s Paninaro movement would surely have enjoyed – and a sublime, spaced-out and effects laden dancefloor dub of ‘Rescue Me (Imagination)’ by Jimmy D, a genuinely sought-after jam originally released on a now impossible-to-find seven-inch single. Offering another genuinely distinctive, carefully curated collection of lesser-known musical treats, Night City Life II is another essential, immersive and synthesizer-powered journey through Ilan’s unique sonic world.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Fazer - Foam (05:44 min)
2
Fazer - Apex (05:30 min)
3
Fazer - Honda (03:34 min)
4
Fazer - Rectifie (04:59 min)
5
Fazer - Spirit Runs (03:27 min)
6
Fazer - 1999 (04:43 min)
7
Fazer - Chrome (04:06 min)
8
Fazer - 22bhp down (04:47 min)
LP
Special remarks: 180g
Tracklist:
A1) Foam 05:44 min
A2) Apex 05:30 min
A3) Honda 03:34 min
A4) Rectifier 04:59 min
B1) Spirit Runs 03:27 min
B2) 1999 04:43 min
B3) Chrome 04:06 min
B4) 22bhp down 04:47 min
Info:
Munich-based quintet Fazer return to Squama with their fourth studio album, ‘Yamaha’, a record that melds indie jazz and psychedelic rock with humour and depth.
The band recorded the album in their own studio for the first time, taking time time to experiment with sound and overdubs, while retaining the vigour of a live performance.
Suspenseful two-voiced themes and tickling solo interplay by Matthias Lindermayr on trumpet and Paul Brändle on guitar is still at the core of Fazer’s music, as well as the meticulous work of their two drummers Simon Popp and Sebastian Wolfgruber, whose grooves are more rooted in the rock vernacular compared to previous records. The restrained playing of bassist and producer Martin Brugger remains a grounding force that rounds out the sound of the group.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Special remarks: 180g
Tracklist:
A1) Foam 05:44 min
A2) Apex 05:30 min
A3) Honda 03:34 min
A4) Rectifier 04:59 min
B1) Spirit Runs 03:27 min
B2) 1999 04:43 min
B3) Chrome 04:06 min
B4) 22bhp down 04:47 min
Info:
Munich-based quintet Fazer return to Squama with their fourth studio album, ‘Yamaha’, a record that melds indie jazz and psychedelic rock with humour and depth.
The band recorded the album in their own studio for the first time, taking time time to experiment with sound and overdubs, while retaining the vigour of a live performance.
Suspenseful two-voiced themes and tickling solo interplay by Matthias Lindermayr on trumpet and Paul Brändle on guitar is still at the core of Fazer’s music, as well as the meticulous work of their two drummers Simon Popp and Sebastian Wolfgruber, whose grooves are more rooted in the rock vernacular compared to previous records. The restrained playing of bassist and producer Martin Brugger remains a grounding force that rounds out the sound of the group.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ostinato - Antiaircraft *Damp Silence After Summer Rain RMX by baze.djunkiii & DJ Da Cut
2
DJ Da Cut - Fake Democracy * Rattlesnake MX
Format: 12“, black vinyl.
Tracklist
A1: Ostinato – Antiaircraft *Damp Silence After Summer Rain RMX by baze.djunkiii & DJ Da Cut
B1: DJ Da Cut – Fake Democracy * Rattlesnake MX
Berlin basement find! Limited quantities only. No returns, no consignment.
Stop. Rewind. To Hamburg, Germany in the mid-00s. Originally launched by Donna Maya, now head of Sound Sister Records and then operating under the now defunct guise DJ Da Cut and later run by her alongside baze.djunkiii of Intrauterin Recordings the Rudel Records label was an, albeit relatively short-lived, fully independent creative label operation based on a long lasting friendship and a shared love for all things Bass Music, Drum'n'Bass and a bit of HipHop. Self-distributed via their own website only, at gigs and a few local record shops the label ceased operations after a while, with its leading duo following different musical paths and projects over the course of the next 17 years to come - without ever losing touch or their initial connection.
Fast forward to now. 2025. With both protagonists still in the game and a few boxes of the labels second release, an experimental Drum'n'Bass / DarkJungle leaning split 12“ remix single, found x rediscovered in a dormant Berlin basement under circumstances, we're happy to make this lost record available on the circuit again for a new generation of DJs and music lovers – internationally and for the first time ever officially distributed since it was released back in January 2008.
Original Releae info:
Ostinato – Antiaircraft *Damp Silence After Summer Rain RMX by baze.djunkiii & DJ Da Cut
One for the advanced Drum’n’Bass-jocks and lovers of leftfield sounds is this remix for the American PostRock-band outfit OSTINATO provided by the labels head honchos
baze.djunkiii & DJ Da Cut, which perfectly transfers the hypnotic approach of the original tune released in 2006 on their album „Chasing The Form“ into a dancefloor fitting shape. Starting out with a halftime drum loop provided by the bands drummer Matthew Clark accompanied by dreamy, soundscape’esque chords the tune soon drops into stepping, clearlyJungle-influenced beats of the classic kind. All hands are way up when the main part unfolds a deep psychedelic, hypnotic guitar workout on top of filtered sounds that seems to run for ages until things get a bit techy. A big surprise waits in the end, which is not to be revealed here yet.
DJ Da Cut – Fake Democracy * Rattlesnake MX
DJ Da Cuts’ solo tune „Fake Democracy *Rattlesnake MX“ starts out with shuffled halftime beats plus a seductive offbeat-line until gnarling basslines and a massive amount of layered ultra-percussive elements and filtered sounds release the storm on the floor, suddenly interrupted by a short breakdown that introduces the sweet skilled melody of live bass player Kazoo to the audience right before things get even darker and the final brock-out begins.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist
A1: Ostinato – Antiaircraft *Damp Silence After Summer Rain RMX by baze.djunkiii & DJ Da Cut
B1: DJ Da Cut – Fake Democracy * Rattlesnake MX
Berlin basement find! Limited quantities only. No returns, no consignment.
Stop. Rewind. To Hamburg, Germany in the mid-00s. Originally launched by Donna Maya, now head of Sound Sister Records and then operating under the now defunct guise DJ Da Cut and later run by her alongside baze.djunkiii of Intrauterin Recordings the Rudel Records label was an, albeit relatively short-lived, fully independent creative label operation based on a long lasting friendship and a shared love for all things Bass Music, Drum'n'Bass and a bit of HipHop. Self-distributed via their own website only, at gigs and a few local record shops the label ceased operations after a while, with its leading duo following different musical paths and projects over the course of the next 17 years to come - without ever losing touch or their initial connection.
Fast forward to now. 2025. With both protagonists still in the game and a few boxes of the labels second release, an experimental Drum'n'Bass / DarkJungle leaning split 12“ remix single, found x rediscovered in a dormant Berlin basement under circumstances, we're happy to make this lost record available on the circuit again for a new generation of DJs and music lovers – internationally and for the first time ever officially distributed since it was released back in January 2008.
Original Releae info:
Ostinato – Antiaircraft *Damp Silence After Summer Rain RMX by baze.djunkiii & DJ Da Cut
One for the advanced Drum’n’Bass-jocks and lovers of leftfield sounds is this remix for the American PostRock-band outfit OSTINATO provided by the labels head honchos
baze.djunkiii & DJ Da Cut, which perfectly transfers the hypnotic approach of the original tune released in 2006 on their album „Chasing The Form“ into a dancefloor fitting shape. Starting out with a halftime drum loop provided by the bands drummer Matthew Clark accompanied by dreamy, soundscape’esque chords the tune soon drops into stepping, clearlyJungle-influenced beats of the classic kind. All hands are way up when the main part unfolds a deep psychedelic, hypnotic guitar workout on top of filtered sounds that seems to run for ages until things get a bit techy. A big surprise waits in the end, which is not to be revealed here yet.
DJ Da Cut – Fake Democracy * Rattlesnake MX
DJ Da Cuts’ solo tune „Fake Democracy *Rattlesnake MX“ starts out with shuffled halftime beats plus a seductive offbeat-line until gnarling basslines and a massive amount of layered ultra-percussive elements and filtered sounds release the storm on the floor, suddenly interrupted by a short breakdown that introduces the sweet skilled melody of live bass player Kazoo to the audience right before things get even darker and the final brock-out begins.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Liaisons Dangereuses - Mystère Dans Le Brouillard
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Liaisons Dangereuses - Los Niños Del Parque
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Liaisons Dangereuses - Etre Assis Ou Danser
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Liaisons Dangereuses - Aperitif De La Mort
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Liaisons Dangereuses - Kess Kill Fé Show
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Liaisons Dangereuses - Peut Être ... Pas
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Liaisons Dangereuses - Avant-Après Mars
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Liaisons Dangereuses - El Macho Y La Nena
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Liaisons Dangereuses - Dupont
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Liaisons Dangereuses - Liaisons Dangereuses
A milestone in electronic music, is finally receiving its well-deserved re-release: Liaisons Dangereuses’ legendary self-titled debut album still fascinates today, through its innovative sound and the mystery encompassing it. Since its release in 1981, it has become a classic in electronic music. The 10 electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) – reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics – created a unique style. The album – anything other than a Berlin or Düsseldorf ‘thing’ – was propelled to an international favourite. Songs such as “Peut Être... Pas” and “Los Niños Del Parque” played a decisive role in the development of Detroit and Chicago’s house sound, as well as various forms of European techno.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Lu Colombo - Er Mar (Submarine Mix)
2
Lu Colombo - FeelFly – Onda Erotica Remix
A Side: Er Mar (Submarine Mix)
"Maracaibo, dance to the barracuda, yes but dance naked, zà zà! "
So sang Maria Luisa Colombo, known to all of us as Lu Colombo. It was 1982, the meteoric song became and still is today a worldwide Hit that everyone has sung at least once in their life and almost never sober.
Let's make a leap in time, we are in 1993 the track is taken up and remixed in several versions between Latin and Euro House, we have taken up the track Er Mar (Submarine Mix), dreamy, lustful, psychedelic, evocative, Summer in its purest form.
To dance on the beach, preferably in company of Miguel and naked
B Side: FeelFly – Onda Erotica Remix
A Cosmic sabba in the forest.
You’ll get lost with this hypnotic sound and a minute later you’re ready for a proper trip into your hidden Erotic Dreams.
With this almost ten minutes long and original version, Feel Fly delivers to all of us a signature track of the highest order.
Feel Fly is an Italian electronic musician and DJ. Defined by Gerd Janson as a linchpin of the underground scene, he recently released some Balearic trance tracks on International Feel and Internasjonal by Prins Thomas, as well as transversal EPs on New Interplanetary Melodies and Hell Yeah.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
"Maracaibo, dance to the barracuda, yes but dance naked, zà zà! "
So sang Maria Luisa Colombo, known to all of us as Lu Colombo. It was 1982, the meteoric song became and still is today a worldwide Hit that everyone has sung at least once in their life and almost never sober.
Let's make a leap in time, we are in 1993 the track is taken up and remixed in several versions between Latin and Euro House, we have taken up the track Er Mar (Submarine Mix), dreamy, lustful, psychedelic, evocative, Summer in its purest form.
To dance on the beach, preferably in company of Miguel and naked
B Side: FeelFly – Onda Erotica Remix
A Cosmic sabba in the forest.
You’ll get lost with this hypnotic sound and a minute later you’re ready for a proper trip into your hidden Erotic Dreams.
With this almost ten minutes long and original version, Feel Fly delivers to all of us a signature track of the highest order.
Feel Fly is an Italian electronic musician and DJ. Defined by Gerd Janson as a linchpin of the underground scene, he recently released some Balearic trance tracks on International Feel and Internasjonal by Prins Thomas, as well as transversal EPs on New Interplanetary Melodies and Hell Yeah.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More