Plasma Sources is proud to present nosync’s Soundsystem Music, an EP which provides a fresh perspective on the high-fidelity and sci-fi influenced electronic music the imprint is known for.  

nosync’s (https://soundcloud.com/user-775234683) work sits in a truly unique space in the sound system/club music-o-sphere. This in large part is due to his heavy deployment of progressive metal instrumentation, from chugging walls of overdriven guitars to relentless double-time kick patterns. On paper, utilising this palette in a club-music context may seem like an impossible task. However, where others might see a chasm of disparity, nosync has deftly identified the bridge connecting these two genres, seeing in these two landscapes the same desired emotional state - despite the different methodologies used to achieve this.  

“This record attempts to make the case that the essence of what makes these sounds so obsessively loved are one and the same. Gripping dramatism and intensity are the overlapping themes that I have attempted to bring out here, through the record’s sound design and film-like structure.” 

Indeed Soundsystem Music as a whole feels wildly cinematic and is as much an exercise in atmosphere creation as music for sound systems, with nosync citing the video game Dead Space and its sequel as key influences for this body of work. From the claustrophobic, elasticated wind chamber of ‘Traced’ to the broken choir voices and FiS-esque ambient abyss of ‘Dead Land’, nosync has expertly matched the pace and atmosphere of these hugely iconic and utterly terrifying video games and channeled them into a purely sonic experience.  

The metal influences nosync brings to the table slice through the entire corpus of Soundsystem Music, although the linkage is perhaps at its most clear on ‘Airlock’, which features a full-on death-metal guitar chugging through the first half. In perhaps the most surprising switch-up of the entire EP, things suddenly twist into a guttural underwater club track a third of the way through.  

nosync’s love for the vast ecosystem of club/soundsystem music also comes through loud and clear on this release, from the grime-inflected leads and hyper-detailed polyrhythmic noise workouts of ‘Unregistered Hypercam’ to the reverberated metal clangs of ‘Kauket’s Arena’ which feels like witch-house on steroids - the soundtrack to some final boss battle with some type of nightmare-demon-entity.  

nosync has achieved something unique with Soundsystem Music. By drawing together a hugely disparate corpus of influences and pummelling them into a noise-fuelled apocalyptic aberration, he has created a sound which feels consistent, fully his own, and in many places, utterly dread-inducing. 
credits
releases February 13, 2024 

Written, Produced & Mixed by Nikolas Babić 
Mastered by Hypna 
Artwork by Joh000 // Jose Hernández 


© & ℗ 2023 Plasma Sources.

Soundsystem Music

unearth - Aberrations

⑇ CLUB LATE MUSIC x GLOBAL URL NATION ⑇ presents GUN UNITED 04 ➥ @griigg - "Scorrobee"

● "Imagine a collective laboratory playing with alien fiction, UFO culture, and their power to imagine vibrant ecosystems, intriguing creatures and new ways to be with the world. It combines otherworldly textures with abrasive vocals, corrosive percussions, and crawling synths, turning the club into a spaceship to the sublime Void." This was the idea behind the theme of the project. 

● "Headcrabs On My Face" by @griigg and @bademjan ➥ Embrace the intrusion of the parasite - feel its emotions through caustic synths, choked vocals, and biting scratches. A symbiotic love story, hand in claw toward a bright future.

╱ You can find more on ╱
@club-late-music
@globalurlnation
Artwork by: @myentericplexus

[Swine Premiere] Griigg & Bademjan - Headcrabs On My Face (CLM x GUN)

https://lilatirandoavioleta.bandcamp.com/album/accelarated   

"All Day I Hear The Noise of Waters" a signature high tempo hot-blooded, percussion-heavy but slick touch, switching between rhythms and upping the energy on each switch.

@verraco - @sinmaldita - @lilatirandoavioleta

Hyperdub Records 2024

ACCELARATED

All Day I Hear The Noise Of Waters - Lila & SIn Maldita (Verraco Remix)

Cairo-born, Berlin-based @assyouti conjures a furious storm of breaks, bass and high-speed hardcore heft for Turin’s @paynomindtous

More info: https://djmag.com/listen/premiere-assyouti-loose-cannon

Premiere: Assyouti ‘Loose Cannon’

After a quiet period, ZEAN returns with his fourth solo EP, "No Roots" on Gully Riddim. These tracks were produced during the pandemic and are distinctly different from his earlier work. He uses a sombre atmosphere and fragmented, unpredictable rhythms, combined with various distorted and overloaded sound samples of both humans and animals, attempting to diversify his sound and break free from his own stereotypical and fixed creative approach. This is also a form of self-criticism against this culturally barren land. The EP includes five of ZEAN's tracks, along with two remixes, one by Argentinian producer Jaiiu and another by South African producer Jumping Back Slash. Both remixes reduce the experimental sounds of the originals, simplifying the song's rhythm and structural changes, and making them more friendly for the dance floor.

ZEAN在一段时间的沉寂后，在Gully Riddim带来他的第四张个人EP ”No Roots“。这些制作于疫情期间的声音明显的不同于他早期的作品，他用暗沉的氛围感与破碎的不固定节拍，结合各种添加了失真和过载效果的人与动物的声音采样，试着使其更加多样化，以此打破自身刻板和固定的创作思路，也是向这片文化贫瘠的土地表达自我的批判。此EP包含5首ZEAN的个人曲目以及两首Remix，分别来自阿根廷制作人Jaiiu，南非的Jumping Back Slash。两首Remix都减少了原曲的实验性声音，简化了歌曲的律动和结构变动，使其更加适合舞池。

Artist: Zean @zeanmusic
Remixes: @jumpingbackslash @jaijiu
Title: No Roots
Label: GR Recordings
Cat No: GR012
Cover: StoRmAB
Mastering: Zean
Release Date: 28th, July 2024
Format: Digital

Released by:
GR Recordings

3. Unknown Outcome Is Always Better

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

@cortical_fm
@plasmasourcesmusic

Ever since our first release back in 2023, we’ve always tried to push out electronic music which does one simple thing - takes our love of sci-fi aesthetics and melts it into sonic form, irrespective of genre, sound, mood or anything else. Now with this aesthetic cemented in our first 5 releases, we feel it is time to drop our first compilation.

We’re proud to present Multi-Source, a 14-track assemblage covering the whole helix of experimental electronic music. The result is a very wild ride through an array of styles and BPMs, and it does exactly what we’ve always tried to do - put aside genre or mood, and focus on extreme, sound-design forward explorations of sci-fi aesthetics. It’s a celebration of the insanely broad range of music we’ve managed to fit into the Plasma Sources sound so far, and an observance of all the potential the imprint has to come.

There’s offerings from the full label family - we welcome back Cortical, Beton Brut, unearth, NIQH, J-Shadow and label boss HYPNA, who each present their signature laser-guided takes on club music. We also welcome a slew of some of our favourite artists right now - Ziyiz, Stolen Velour, Prior Self, Klahrk and Atrice highlighting the light, skittering side of our aesthetic, whilst Guide, Galtier, Bonebrokk and Reinartz illuminate the dark, deep and noise-tinged aspect of Plasma Sources.

As we look forward to the rest of 2025 and our future as a label, we offer up Multi-Source as a confirmation of our key aesthetics - juxtaposing dark and light, balancing experimentalism and dance floor sensibilities and interweaving sci-fi and biologically infused sound design. 

releases March 27, 2025

Mastering by HYPNA
Cover Design by Joh000 // Jose Hernández

premiere: Cortical - Hammer

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 - a4s

FOUND FOOTAGE - DOOMSDAY 2K14

Never too Late (Free)

Submerged Signal - Dubstep Instrumental DJ

Record Label based in Mexico City.
Founded in Montréal, Est. 2011 by @xwolfcultx.

for sync & licensing - gavin@syncsmith.com

Bookings: allen@awesome-agency.com
Temporary Contact: iinfinitemachinee@gmail.com

dru-1 - a4s

Infinite Machine