I hope your process is becoming lighter. this is beautiful, thank you for sharing ❤️

Baltimore-born, Brooklyn-based, BIG J herself -- JIALING (@pbnstrawberryjam) joins forces with Sorry Records for a floorshaking 4-track exploration of everything from big room latin hard house to queer vocal slammers, and plenty of breaks and bass in between.

I met Jialing on New Years Eve Eve 2021 at Bossa here in Brooklyn. It was like 2am on a Thursday night, mid-way through "Breaks in America" - our first ever dedicated breaks night with our friend SWAP MEET! and Kindergarten Records/Sorry favorite Drummy b2b myself. I've got a distinct memory of Jialing introducing herself and saying "I came because you said breaks! I love breaks!" I remember being struck by her unpretentious enthusiasm (especially considering she was still based in Baltimore back then and was routinely making the trek to NYC for local club nights like ours).

Since that night, JIALING's been a wonderfully ever present figure on the NYC dancefloor and in our lives. Named one of “The Top 25 Producers Who Defined the Year 2024” by Mixmag, she's done incredible work via self-releases in addition to stellar recent releases on Local Action's Clasico Records (FREAKY HORNS, WHISTLE TIP with Farsight, and this WTCHCRFT + Sister Zo featuring remix record), Gallegos' Room Service imprint, and the new gen Baltimore club label WOE she runs alongside Kade Young. She’s remixed folks like Seimei (on Sorry!), Honey B, and nextdimensional — as well as played clubs like Nowadays, Marble Bar, Public Records, Good Room, Paragon, Dalston Superstore, Venue M.O.T., Mansions, and beyond.

J literally lives two blocks down the street from me and I'm so happy to finally do a proper Sorry Records release with her here. WUPS! is the sound of JIALING at her most immediate, playing with some major source material from the last forty odd years of dance music history; touching on sounds from the Paradise Garage to the Loft (“Don’t Go Lose It Baby”) Frankie Knuckles at The Warehouse (“Let No Man Put Asunder”), and Junior Vasquez’s Arena at the Palladium (“Cunty”).

Another certified Sorry Records Big Room Trojan Horse release, WUPS! finds JIALING at the height of her power and has already been tearing up dancefloors like The Carry Nation & WRECKED’s massive Get Wrecked & Carry Pride party this June.

WUPS! also features original artwork by our friend SWAP MEET! and masters by Danny Goliger (3024, Magic City, Scuffed Recordings). 

WUPS! by JIALING (@pbnstrawberryjam)
Mastered by Danny Goliger (@dannygoliger)
Artwork by SWAP MEET! (@swapmeetdj)
Sorry Records 2025 - SR63

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JIALING - ME THINKS

Jason Code’s Nervous Growl wasn’t born in a club. It started on a cold, rainy day in Seattle, when he pulled out some hardware to shake off a creative rut.  

Let’s backtrack. Jason first learned to produce at 16 after falling for the bass and energy of early dubstep, fascinated by its overlap with hip-hop. After years of honing his sound – including releases on Scuffed Recordings, Ommaya Records and Future Everything, plus his self-released 2022 EP JC01 – he moved back to Seattle and began working as a lighting tech for after-hours parties like Research, High+Tight, and Second Nature. Those nights, with their long-form, hypnotic grooves, would have a huge impact on the production of Nervous Growl. Around the same time, he started throwing his own parties, investing in a soundsystem with friends, and creating a DIY space to help bolster the local scene and strengthen the city’s underground dance community.

It’s that same spirit – inclusive, DIY, and fiercely proud of its scene – that fuels Nervous Growl: as he puts it, “a rising tide lifts all ships.” Bringing together that formative love of proggy house and techno with the deep womps, think breaks, tripped-out vocal chops and breathy ASMR moments that have become his signature (put it this way: he’s not beating the ADHD allegations any time soon), Nervous Growl feels like the record that brings together all aspects of Jason’s musical make-up into a disharmonious whole.

This EP also features his best mixing work yet – tight, bass-forward club tracks that balance silliness, darkness, and sultry energy. The low end is king here – especially the chest-rumbling “growl” at the core of the title track – but there’s a wry humour running throughout the EP with details that reveal themselves on repeat listens. Nervous Growl is a record built for big systems and packed dancefloors, with Jason’s personality stamped all over it.

Jason Code – Glitching in the Wraith

@steeltraxx

A new addition to the NHS roster, Steel Traxx joins at the 34 mark with three surging, buzzy club offerings applicable across a span of factors; energy, pace, duration of evening, yet Cohesive in their strident hypnotism. The Manchester-based producer carries a short, yet pronounced legacy of productions, having honed a definable approach to the brand of wonky, eclectic club music. Initial outings via a debut EP on London’s Erbium Records and single-track features on Manchester’s own Rubber Works demonstrate a clear vision and intention of sound, furthered only by the entrance into NHS territory.

A delicate balance of synthetics drenched in unnatural delays, crunchy, earthy percussion sampling and haunting melodies make for a package of intensely club-ready USB additions tailored effectively to a range of atmospheres. Holistic employment of rolling, building energy features across the selection; a masterful, refined second EP from one of the scene’s freshest newcomers.
credits


Artwork by Jiah Wells
Mastered by Fausto Mercier

Buy NHS034

Steel Traxx - Pistol Slug [NHS034]

Pre-order: https://raiders.bandcamp.com/album/continental-drift

@raiders_records present a collection of tracks from across the 160 spectrum, specially curated by @cococobra, connecting the dots between ghettotech, footwork, Jersey club, jungle, and more.

The instruction was simple: Bring the heat, whatever way you see fit. New York-by-LA's @annamorgan_dj delivers to the brief, supplying quickfire club energy on 'Entrem 160'.

More exclusive music

Premiere: Anna Morgan 'Entrem 160'

This month @piratecura is elated to bring on a special guest for a full takeover. Spinning frequencies from the land of the rising sun, @yakuoyakushimaru shares a special mix containing nothing but high quality selects, originals from @emoticons_0w0_, and unreleased bits from himself. Stay locked and follow @piratecura for a follow-up interview to learn more about Yakuo.

PIRATECURA - 18/09/25 - [Voices Radio]

XTC KILLA

Pre-order TD10

Mortals

For my dad. 

There is often a procession going on in my head. These are the songs I heard when it took place this time.  

Djivan Gasparyan - Eshkhemet (From Your Love)
Gevorg Dabagian - Ashkhares Mi Panjara Ye
Ernst Reijseger - A Una Rosa
Basiani Ensemble - Shen Khar Venakhi, Kakhétie
Sigur Rós - Untitled #9 - Smáskifa 1
Oliver Coates - Peace
Morton Feldman - Rothko Chapel 5
Andrey Dergachev - Exilium 
Jocelyn Pook - Requiem Aeternam
Okna Tsahan Zam - Khomei 
Hermann Contractus - Salve Regina
Ernst Reijseger - Deep Cave
Bulgarian Voices Angelite - Midnight Tale
A Winged Victory For The Sullen - Requiem For The Static King Part One
Kjartan Sveinsson - Teil III
Victor Somma - Minimal Dreams Nᵒ 3


The Third Year

Free download of the instrumental for our forthcoming single dropping October 22nd.

FREE DOWNLOAD

Nicer (Instrumental) [FREE DOWNLOAD]

robots and vox

Bassweight Nostalgia Vol. 3 continues Debba’s self-released series exploring the emotional weight of UK club music. Following the stripped, heavy focus of Volume 2, this instalment contrasts light and dark — two sides of the same late-night moment. The EP balances radiant melody and pressure-heavy low-end, tracing Debba’s evolving sound palette through chrome synths, vocal flickers and dense percussion.

Tracklist:

1. Debba ‘Flirting’

An upbeat, euphoric stepper built on shimmering pads and tightly wound drums. Flirting channels the warm rush of early-morning dancefloors — bright, playful and weighty in equal measure.

2. Debba ‘Blush’

A darker counterpoint to its A-side: Blush leans into moody bass pressure and processed male vocals, unfolding in smoky, half-lit tension. Heavy, minimal and hypnotic, it’s Debba at his most introspective and club-driven.

The Third Year

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