Made by Stolen Velour + Klahrk
Mastered by Dominic Clare @ Declared Sound
Design by Ziyiz

Klahrk & Stolen Velour - Fight Me

@tu_music
@ancestralvision
@overmybodytw

Buy 🔗 overmybody.bandcamp.com/album/fiori-notturni

Capiuz returns on the label with a new club-ready album that slashes through a nocturnal forest landscape with fluorescents and violent bursts of color. Taking its name from a series of paintings called “Bande di Fiori Notturni” by Italian artist Alice Visentin, the project goes through a wide array of influences and bpms. Terra Nuda (naked earth) acts as an opener fusing a foggy drone with drum breaks and dance hall syncopations. Hectic follows up with a more bass oriented attitude incarnated in a heavy pounding kick pattern and driven by metallic drums with a restless spirit. The sounds and textures of Fiori Notturni are heavily inspired by the works of John Cage and his use of percussive instruments for both rhythmic and textural purposes. These influences become pretty clear in slower cuts like Black Needle and the title track, where jingles, rattles and other high-pitched instruments create a moving bed for the rhythmic section. Other works such as 0400 and the collaboration with label head B E N N, Lunar Eclipse, bring a faster pace to the project with a higher focus on rhythmic layering. Before giving its way to the Ancestral Vision remix, the “night” is closed off by Hallucinogen, a longer track driven by a steady kick that plays with different odd timed patterns to create an exciting and enveloping trip.

Capiuz is the experimental dance project of producer and performer Luca Favaro. Based in Italy, his genre-merging production focuses on exploring rhythm and sound design in a club context. Often leaning towards live performances, Capiuz’s music takes the form of a heavy hitting outburst filled with heavy bass, breakcore progressions and granular textures. He is currently the host of a show on Radio Raheem and has published with Unizone, Over My Body and Early Reflex. As a programmer he’s developing max for live devices with HIDE Productions, including granular audio effects and instruments and flexible percussive synths.

Jan Macháček aka Ancestral Vision is a Prague-based producer, sound artist, DJ and co-founder of Unizone label and radio show. His productions are full of experimental sound design that fills the gaps between earworm-ish melodies and contemporary club echoes. Compositions written by Ancestral Vision are often both epic and intimate, serving as a personal diary of his sound research practice and studio jams.

PREMIERE: Capiuz - 0400 (Ancestral Vision Remix) (OverMyBody)

We are very excited to welcome Klahrk to the fold on ACEN059. The London-based artist & founder of Ware Collective follows up releases with the likes of Activia Benz, Genot Centre and SFX. On the Z2 EP, he delivers four atmospheric slow-fast club cuts, exploring the lowest depths of the frequency spectrum.

Klahrk - Z2 [ACEN059]

Digital Hundebiss is back, even though it's not Bandcamp Friday—because not even Bandcamp wants us rich. To be completely fair, it's not even Friday. 

This month, we have a special delivery from our friend Assyouti. 

https://assyouti.bandcamp.com/album/tough-choices-mister-blister

"Tough Choices" is a 167 BPM drumfunk-influenced percussive exercise, layered with Assyouti's signature distorted vocal samples and a roaring bassline. This high-impact combination of texture and rhythm is sure to feed hungry sound systems. 

Meanwhile, "Mister Blister" rolls in at a brisk 100 BPM, delivering a double-time momentum that drives the track forward with relentless force, exuding a sense of urgency and energy.

Assyouti - Mister Blister (DH009)

✦ SWINE PREMIERE: @olivertorr and @tuf_i joined forces on "Tied with Wire" EP via @warecollective / listen to their first single now ✦

In 2022, Oliver Torr, a Europe-based multidisciplinary artist and composer known for his impulsive improvisation and technological experimentation, crossed paths with Tufi, an artist whose music thrives in the murky zones between genres and geographies. 

What began as a friendship quickly evolved into a creative partnership, culminating in their first collaborative EP. 

Blending Oliver's custom instruments and sonic extremities with Tufi's genre-defying soundscapes, the project showcases their shared passion for pushing boundaries and exploring new musical territories. Together, they crafted a sonic experience that blurs the lines between structure and chaos, sound and space.

[Swine Premiere] Tufi & Oliver Torr - tied -w- wire (WARE)

Precious Metals Vol.1 is the inaugural compilation from Precious Metals, a label, radio show, and club night.

Since its debut as a radio show on London’s NTS in 2012, Precious Metals has been committed to showcasing  the outer reaches of experimental club music, both locally and globally. Under the direction of DJ and producer Endgame—emerging from South London’s pioneering club collectives Bala Club and Endless. The platform has been focused on capturing the organic cross-pollination of sounds from the inner-city and the sublime chaos of the present moment.

In 2020, Precious Metals evolved into a full-fledged label, seeking to unearth artists that are visionaries on their own terms, eschewing conventional genre limitations. Representing an international roster of uncompromising, iconoclastic artists both established and emerging. Bringing an emotionally charged vulnerability to club culture.

The compilation encapsulates this ethos, and ambition, the culmination of the past 12 years of endeavour. Featuring some of the legends and emerging stars of electronic music.

United in compassion and solidarity for the Palestinian cause and its ongoing humanitarian crisis, all proceeds from the album will be donated to support efforts toward humanitarian aid in Gaza, and Palestinian emancipation.

International Fundraiser: 
The People Stand with Gaza
Donate here

Imaabs - MurMur Time

Youth Remixes

Promises (Sylvere Remix)

dru-1’s “preshuh” was composed in the artist’s home of Trinidad during Carnival of 2024. Reflecting on the experiences and influences that shaped the record, UK-based artist Drew Lovett recalls inviting friends to stay with their family during the festivities, experiencing overproof rum, pan bands, card games, and doubles. Community and a celebration of sociality seem to shimmer through the EP’s bass-ridden tracks, evident not-least in the prominent sound bites and vocals recorded on-site from those close to the artist during the Carnival.

The project unfolds across six tracks, each composition draped in FM synthesis and layered over gritty basslines. “preshuh” builds upon the
vision realized in the artist’s debut project, a 4-track EP released on Why Be’s Yegorka in 2024. This record punches with more technical precision, making a mature statement that feels cohesive and intentional, while retaining its playful essence. Lovett collaborates with Marta Rosa on percussion for the final three tracks—“maco queen,” “palance,” and “a4s.”

Despite its moody basslines and clear roots in the UK club scene and Hard Drum, Lovett’s EP is infused with a spirit of optimism and revelry. The EP opens with echoes of “toma!” and other indistinct cries, as timbale taps gradually build alongside jerky basslines in “diastema.” The subsequent track “corbeaux,” takes a more atmospheric approach, leaning further into lush melody progressions. Breath-like chirps fade in and out of the mix, allowing different melodic and percussive elements to shine at various moments. “Libido” calls the listeners to commune on the dancefloor, led by a steady four-on-the- floor rhythm. The hypnotic chant, “We come together,” repeats with quiet assurance, woven through a backdrop of filtered basslines and dissonance. Crunchy, sputtering synths wind in and out of the soundscape, teasing a sense of chaos and rapture, grounded by the steady rhythm beneath. In “maco queen,” the record seems to reach a point of climax; jittering bass sounds overtake the atmosphere immediately. “Hey!” and “Ha!” shout over the flurries, punctuating the frenzy, while intricate low-end patterns and hand drums introduce moments of organic warmth. Percussive taps and clinks imagine an impromptu gathering of people jamming together. Here, Lovett seems to call us to let loose, to shout, to dance, to revel in excitement. The fifth track, “palance” unfolds over a steady four-on-the-floor rhythm, with intertwining synth lines that emerge and recede unpredictably, engaging in a dynamic interplay akin to an animated conversation among close friends. The EP concludes with “a4s,” a vibrant, infused with Soca and Dembow breaks track that brings key elements from earlier songs—vocals, claps, and heavy basslines—crafting a dynamic yet cohesive finale.

Experienced in full, Lovett’s EP is a call to togetherness—a sonic invitation to gather, move, and celebrate without restraint. Infused with the frenetic energy of the carnival where it was conceived, the project unapologetically embraces the dancefloor, urging bodies into motion, and spirits into communion. Beneath its pulsating rhythms lies
a deeper longing—not just for revelry, but for connection. In a world still relearning the rhythms of closeness, it asks: How do we rebuild the spaces where joy and community once thrived? 

Artwork by Lucas Owen
Mastering by TB-Mastering
Words by Manolis Elijah Sueuga

dru-1 - corbeaux

Kannyboos blood bath

Butterfly

SMILE INSTR

Record Label based in Mexico City.
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dru-1 - corbeaux

Infinite Machine