Actress’ tenth studio album, the celestial and expansive Statik, is released June 7th via Smalltown Supersound.

The collaboration between Darren Cunningham and the esteemed Oslo-based purveyors of elevated sonics evolved organically following Actress’ remix of a Carmen Villain cut for the 12” of her Only Love From Now On LP.

In this vein, the entire Statik project, from conception through creation and release, has been blessed with an almost unnatural ease. For Actress, who wrote the majority of his subtly majestic new record in an extensive flow state, the project serves as a cohesive testament to artistic liberation.

Resultantly, Cunningham’s new album is imbued with a sense of freedom. And of stillness. The kind of stillness within artistic motion that arises via the deepest states of flow. Once ‘inside’ the Statik experience, listeners may well find themselves newly calm and meditative.

Of course, those well-versed in Actress’s works are well-travelled when it comes to fantastical flights of the mind. Transportive sonics that spark inner-voyages – whether through nocturnal cityscapes, or far above and beyond, through Saturn’s rings and past Pluto’s moons – are prime Cunningham terrain. Yet while Statik is unmistakably an Actress LP, it’s also distinctly aquatic and subtly primordial, and so offers his audience novel elemental atmospheres to flow through. Listening closely, influential visions of aqueous realms, such as the mythic Atlantis, and evocations of ancient ceremonies as well as flying birds (and, perhaps, humans) may reveal themselves.

No matter if Statik inspires you to soar above or below the horizon, Actress and Smalltown Supersound promise you a safe and transcendent journey.

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TRACKLISTING 2LP:

Side A
A1. Push Power ( a 1 )
A2. Hit That Spdiff ( b 8 )
A3. Azd Rain ( g 1 )

Side B
B1. Memory Haze ( c 1 )
B2. Game Over ( e 1 )
B3. Typewriter World ( c 8 )

Side C
C1. Its me ( g 8 )
C2. Chill ( h 2 )
C3. Green Blue Amnesia Magic Haze ( d 7 )

Side D
D1. Oway ( f 7 )
D2. M2 ( f 8 )
D3. Azifiziks ( d 8 )
D4. Pluto ( a 2 )

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Vinyl only, 'black label' release in the run up to forthcoming album Ghettoville

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Following his critically acclaimed "R.I.P." album on Honest Jons, Actress returns with 3 new tracks on his own Werkdiscs imprint!

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Between sleep and the void lies the electronic interzone of Actress. Following the noted 2010 album Splazsh (voted number one in The Wire magazine’s Top 50 Releases Of The Year) South London producer Darren Cunningham returns with a suite of electronic laments, tone structures and dreamtime rhythms which all carry his unmistakable fingerprint. R.I.P. comprises fifteen tracks painstakingly crafted by Cunningham in his London studio over recent years, with a conceptual arc taking in death, life, sleep and religion. “I'm just an instrument,” Cunningham avers. “I'm completely dead when I write.”
Right from the debut album Hazyville (Werk Discs), Actress’s music has carried deep tinges and pock marks of London's rave music heritage. But after the angular dynamics of Splazsh (Honest Jon’s), R.I.P. heads out into deep space. The rhythms and pulses are smudged or blurred, or are hinted at by their absence. 2-step garage is collided into gamelan, and freeform interludes explore microtonal spaces and imagined string instruments. The fifteen chapters of R.I.P. begin with Ascension and the Book of Genesis and play out through gardens, serpents and mythological caves. “When I feel I'm coming towards the end of the process I'll buy some books related to the theme. So I started Milton’s Paradise Lost, started to re-read Jamie James’s The Music Of The Spheres. I wanted the movements to make sense scene-wise and chronologically."“In places the album is meant to drift,” notes Cunningham. R.I.P. moves back and forth between space and rhythm, probing the “boundaries in and of rest and peace.” Appropriately for exploring the myths of Creation, the sounds Actress creates are completely sui generis. There are no soft synths or plug-ins, and instead he uses meticulous manual sound tinkering to create tones, tunings and textures. “It's like painting with button and sliders,” he describes. “Melting and dripping, seeping yourself liquid into the machinery.” The ghosted rhythms and free tunings of these tracks live in a parallel universe to the conventional rigours of the dancefloor. Unlike the sterile sound spaces rendered in so much laptop sound-product, these tracks carry traces of the endless mouse strokes that made them. You feel the sweat and sinew of handmade construction. “I can't explain how I made those tracks, it's just impossible,” he says. “I have a hard time comprehending it myself sometimes.” The album begins with the title track, a short tonal requiem for the dead, before drifting into another beatless meditation, the rippling minimalist structure of Ascending. Holy Water and Marble Plexus introduce rhythm, although these percussive tics could be equally sourced from sub-bass speaker stacks or marbles rolling around a bowl. Jardin and Serpent are origami-like constructions which orbit around what could be pizzicato strings or harps. Last-but-one is IWAAD, whose pulsing 4/4 rhythms and warm hits of low-end vibration hint at a return to the real. R.I.P. underlines Actress’s reputation as one of the most eloquent voices to emerge from the sub-bass nexus of London dance music. His intuitive and original grasp of beats, textures and rhythm puts him on a parallel path to dance music innovators such as Drexciya, T++, Aphex Twin, Burial and Basic Channel. But the way he engages with electronic sound from first principles, realising his own self-contained sonic worlds, hints at less obvious kinships outside the dance music fraternity, with pioneers of homebrewed sound experiments such as Cabaret Voltaire, Pan Sonic and Oval. It moves the body but the sounds also tap into to something more intangible inside you; you dance, but also “slip/drift into another realm, probably without even realising.”



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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
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Germany
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Between sleep and the void lies the electronic interzone of Actress. Following the noted 2010 album Splazsh (voted number one in The Wire magazine’s Top 50 Releases Of The Year) South London producer Darren Cunningham returns with a suite of electronic laments, tone structures and dreamtime rhythms which all carry his unmistakable fingerprint. R.I.P. comprises fifteen tracks painstakingly crafted by Cunningham in his London studio over recent years, with a conceptual arc taking in death, life, sleep and religion. “I'm just an instrument,” Cunningham avers. “I'm completely dead when I write.”
Right from the debut album Hazyville (Werk Discs), Actress’s music has carried deep tinges and pock marks of London's rave music heritage. But after the angular dynamics of Splazsh (Honest Jon’s), R.I.P. heads out into deep space. The rhythms and pulses are smudged or blurred, or are hinted at by their absence. 2-step garage is collided into gamelan, and freeform interludes explore microtonal spaces and imagined string instruments. The fifteen chapters of R.I.P. begin with Ascension and the Book of Genesis and play out through gardens, serpents and mythological caves. “When I feel I'm coming towards the end of the process I'll buy some books related to the theme. So I started Milton’s Paradise Lost, started to re-read Jamie James’s The Music Of The Spheres. I wanted the movements to make sense scene-wise and chronologically."“In places the album is meant to drift,” notes Cunningham. R.I.P. moves back and forth between space and rhythm, probing the “boundaries in and of rest and peace.” Appropriately for exploring the myths of Creation, the sounds Actress creates are completely sui generis. There are no soft synths or plug-ins, and instead he uses meticulous manual sound tinkering to create tones, tunings and textures. “It's like painting with button and sliders,” he describes. “Melting and dripping, seeping yourself liquid into the machinery.” The ghosted rhythms and free tunings of these tracks live in a parallel universe to the conventional rigours of the dancefloor. Unlike the sterile sound spaces rendered in so much laptop sound-product, these tracks carry traces of the endless mouse strokes that made them. You feel the sweat and sinew of handmade construction. “I can't explain how I made those tracks, it's just impossible,” he says. “I have a hard time comprehending it myself sometimes.” The album begins with the title track, a short tonal requiem for the dead, before drifting into another beatless meditation, the rippling minimalist structure of Ascending. Holy Water and Marble Plexus introduce rhythm, although these percussive tics could be equally sourced from sub-bass speaker stacks or marbles rolling around a bowl. Jardin and Serpent are origami-like constructions which orbit around what could be pizzicato strings or harps. Last-but-one is IWAAD, whose pulsing 4/4 rhythms and warm hits of low-end vibration hint at a return to the real. R.I.P. underlines Actress’s reputation as one of the most eloquent voices to emerge from the sub-bass nexus of London dance music. His intuitive and original grasp of beats, textures and rhythm puts him on a parallel path to dance music innovators such as Drexciya, T++, Aphex Twin, Burial and Basic Channel. But the way he engages with electronic sound from first principles, realising his own self-contained sonic worlds, hints at less obvious kinships outside the dance music fraternity, with pioneers of homebrewed sound experiments such as Cabaret Voltaire, Pan Sonic and Oval. It moves the body but the sounds also tap into to something more intangible inside you; you dance, but also “slip/drift into another realm, probably without even realising.”



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Two dazzling, out-there contributions from the inimitable Actress: an immersive, slashing thumper, ecstatic and convulsive, multi-layered and head-nodding, just about getting Mars on the radio; and a kind of unhinged marimba and thumb-piano variation, grubbing around manically in half-memories of African polyrhythm.



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With a sound that no one can quite touch, nor classify, it comes as little surprise that an outside-the-box artist like Actress would come into the path of Autonomic. The mastermind behind the cult-worshipped Werk Discs (whose roster includes enigmatic producers Lone, Lukid and Zomby), Actress took the electronic spectrum into another direction entirely last year with ‘Splazsh.’ Released on Damon Albarn’s imprint Honest Jons, ‘Splazsh’ brought dynamic Hypercolour to the insular greyness that his ‘Hazyville’ album captured so well. After his acclaimed debut on Nonplus+ in 2010 – the astral ‘Machine And Voice’ EP, the intriguing artist returns to the label with ‘Gershwin / HarrierA bonafide classic to sit in the ranks alongside Cybotron, in comes a typically allencompassing, textured four-on-the-floor stomper from Actress.


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The anonymous techno producer returns to Actress' label in June with a three-track 12". Moiré first surfaced on Darren Cunningham's Werkdiscs label in February last year with the Never Sleep EP, brandishing a muggy techno sound that had much in common with the output of the label's owner. Supposedly "the result of a lack of sleep" and "the obsessive expressions of a mind inspired by the city and the scene that has surrounded him for a long time", the EP was followed up by a further 12? on Rush Hour which was similarly inspired by subterranean London. FACT now report that the producer has been tapped up for another release by Werkdiscs, the three-track BBOY 202 release, which sees the producer "revisiting and reworking familiar sounds in a way to create something raw, immersive and driving". The 12" features two further tracks, "False", which draws "on the sampling aesthetic of hip-hop", supposedly driven "by the need to feel something faster", and "Window", reportedly a track which came from some late night experimentation with a Jupiter 8 synthesiser in a Hamburg synth studio. Those wishing to preview the 12? can watch the monochromatic Disguise-created video for the title track below.

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Vinyl only, 'black label' release in the run up to forthcoming album Ghettoville

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Moiré is the latest signing on Acrtress' Werkdiscs label. "Never Sleep" is the debut single and features singer Heidi Vogel who is known from her work with Tosca. Actress remix on flipside!

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Following his critically acclaimed "R.I.P." album on Honest Jons, Actress returns with 3 new tracks on his own Werkdiscs imprint!

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Black Vinyl LP (Record Store Day Exclusive)
Dear Children of Our Children, I Knew is a new EP recorded by Alabaster DePlume in the middle of his March 2025 US tour and in a sense serves as an epilogue to A Blade, which makes it all the more appropriate that the B side of its RSD-exclusive vinyl release contains the three song EP Cremisan: Prologue to A Blade, which was released (digital only) in fall 2024.
Listen: https://listen.k7.com/de8e6469-ea94-4fde-b576-435b650eabee


Side A - Dear Children of Our Children, I Knew
1) Bringing Up The Nakba
2) I Play A Role In It And I Know
3) It's Only Now Once (Elbit Systems Windowpane)
4) Glass
Side B - Cremisan
5) Honeycomb
6) Cremisan
7) Gifts of Olive
8) What Did The Child Say / Facing Reality

Info text
Dear Children of Our Children, I Knew is a new EP recorded by Alabaster DePlume in the middle of his March 2025 US tour. DePlume had been playing shows with bassist Shahzad Ishmaeli and drummer Tcheser Holmes, performing music of his critically-acclaimed album A Blade Because A Blade Is Whole (released March 2025). The trio's rapport was so strong that DePlume chose to use an off day in Brooklyn to record this collection of instrumentals, which were inspired by experiences he had sharing, performing and improvising off the music of A Blade for audiences across the US. Dear Children in a sense serves as an epilogue to A Blade, which makes it all the more appropriate that the B side of its RSD-exclusive vinyl release contains the three song EP Cremisan: Prologue to A Blade, which was released (digital only) in fall 2024. As with almost everything that DePlume has put forth in recent years, the connection of this work to Palestine is deep: the Cremisan EP itself was recorded in Palestine; Dear Children includes samples of children recorded in Bethlehem; and the album's cover art depicts wheatpaste posters of a drawing made by a 13 year old boy from Gaza (used with permission).

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Dust makes his return with four dance floor ready cuts. listen and enjoy!

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Repress!

This is a beautiful record that is more than deserving of a reissue. A collaboration between Ukrainian singer Yana Pavlova and Berlin-based artist Pavel Milyakov that blends minimal guitar loops, dubby bass, and saxophone from Alex Zhang Hungtai. The sounds are brought to intimate life by raw imperfections like mic noises, clicks and spontaneous textures while the music is shaped by unpredictable algorithms and pure improvisation. The result is an atmospheric, shadowy soundscape that works as well on troubled summer days as it does in the quiet of the night.

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Australia's Dancing in Space crew have thus far kept their vinyl releases to a minimum, reappearing every so often with a fresh batch of their own excellent disco edits. Here they try something different, delivering a typically assured two tracker from one of the most talented and productive scalpel fiends in the business, Chicago scene stalwart Rahaan. A-side 'Allright' is a typical Rahaan rub, with the talented re-editor skilfully rearranging and lightly dubbing out what sounds like a turn-of-the-80s fusion of classic disco, synth-splattered boogie and soaring jazz-funk. On 'My Strategy', he successfully breathes new life into an old Philadelphia International favourite, opting for a largely instrumental extension that subtly pitches the track up, tempo wise, for greater dancefloor pleasure.

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Over a decade has passed since this 12" was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke [POLE] @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters while focusing on enriching every finite detail. While listening to these remasters you can feel the analog warmth of the original tape recordings, with a low end rumble in a way only POLE could pull off! On the A side we have cv313's classic "Lost Sequence" culled from the celebrated Japan exclusive "live" double CD album released back in 2009. On the B side there's a rare live version performed by intrusion at a loft event put on by the good folks over @ Little White Earbuds. This rare recording was reduced and stripped down, core traces of the original swim inside oceanic bass and modulated high end frequencies creating an atmosphere all of its own. This is one for the heads and a true lesson in space and bass!

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Our very first release was a beautiful gem from Red Astaire titled 'Follow Me' - a track that defined GAMM's identity and helped pave the way for everything we've achieved since.
Now, 24 years later, GAMM has reached its landmark 200th release.

To celebrate this anniversary and honoor our dear friend Fredrik Lager (aka Red Astaire), who sadly and unexpectedly passed away three years ago, we are re-releasing 'Follow Me' alongside remixes from some of our favourite producers.

The third and final edition in the 'Follow Me' series comes from Brooklyn's finest, DJ Spinna.
With his trademark hip hop-soul sound, Spinna transforms this classic into a bumpy, park jam tune. Very NY, very uplifting...very much a spring tune. Oh btw, check that classic EWF sample ;)

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Repress coming end of April.

Super Rhythm Trax are proud to present this reissue of one of the most loved, most underground and most sought after Breakbeat Hardcore records from 1991. Raw rugged and authentic, no silly chipmunk vocals or twee piano here, oh no!

Carefully remastered from the original dat tapes, both original versions of Underkut “Both Ends” are now available at a reasonable price after 35 years!!

Since its original release in 1991 it quickly gathered legendary status with it’s super slamming breaks and ‘that’ huge Bassline, it doesn’t get any better than this.

On the DAT tape, we also chanced upon an unreleased, unheard version, and We include this unheard vocal mix as an ‘of it’s time’ artefact for the collectors, as it really accentuates the record’s obvious HipHop leanings and there are parallels to be drawn with the whole Britcore movement of the time, where crews like Hijack, Gunshot, Cash Crew, Demon Boyz and London Posse were flourishing.

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