Taken from Nahash (@nahashisalive) new EP Tides, out February 22, 2022, via POLAAR (@polaarsounds)

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Pre-order: https://bit.ly/3GP95nA

After releasing the very tense and politically charged Flowers Of The Revolution album on SVBKVLT, Nahash returns home to France for an EP on POLAAR.

Tides talk about ebb and flow. It is also a symbol for what is taken. When the tide is high on the shore of Western Europe it is low in Haiti. When nations are impoverished in western Africa, wealth is created on the east coast of the USA. Tides continues with Nahash's brand of anti-imperialist electronic destruction, taking tempos faster as we come closer to extinction-level events.

The sounds of this EP works in contrast between heavy drum sound and airy pads and synths sounds mashing together into a sort of mutant Jungle music built from recycled drum loops and 2nd hand Trance CD samplers.

Nahash is joined on two tracks by a prominent French player of the 160-game, SNKLS (@snakeleserpent), who blends his supple modular textures and abstract vision into the nostalgic rave atmosphere of the EP.

Artwork by Zeynep Aǧcabay & Luke Griffiths

Mastering Cedric Ifa

Released by POLAAR

Premiere: Nahash & SNKLS - Tides [POLAAR]

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The rising Nantes-based producer and DJ Dites Safran gives another glimpse of his talent with a cybernetic riddim blending dancehall, polyrhythmic techno, and dubstep for the ever more adventurous Toulouse bass music label.

Read more on CxC couvrexchefs.com/en/dites-safran-egregore-risky-business

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With recent appearances on labels such as TraTraTrax and HYPERSONICS, PVSSY became a name we couldn't get around and someone who has been on a steady rise. This week's mix for the Rhythmic Culture podcast won't leave you cold, as the artist hailing from Guayaquil, Ecuador pulled down a sweat-drenched selection for us – it's a freaky and wild workout from start to finish.

@pv666y

RC:107 PVSSY

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@renslink - !85 EP
Label: Infinite Machine
CAT#: IM103
Format: Digital
Release: May 26th, 2023
Mastered by Fausto Mercier
Artwork by Luis Tomita

UK producer Renslink calls IM103 his first effort focused on the dancefloor, but it belies a lifetime steeped in it. This is prime material for the most advanced of DJs.

The first cut, Static, blends heavy, droning atmospheric sound design with the half-time template of dubstep, complete with jungle vocals. Before reaching the first half, however, it goes into a healthy techno gallop, making the track a perfect set opener if drama is your thing.

From that we go into the three-on-two mindbend of In My Mind, full of beautiful rhythmic trickery and rave culture nods in the sampled female vocals.

Cenotaph feels like a Pinch & Mumdance dub that they kept for themselves around the Control/Strobelight era, all rolling, persistent kick, dubbed-out dready vocals and dystopian hoover.

In Touching The Void we find a moment of drama and relative tenderness, as cinematic strings and choir soar over a busy rolling breakbeat. Occasionally, the proceedings are punctuated by a reese bass and bleeps fill that keep it fresh (an you on your toes).

Closer Silence is a mutant dembow wobbler with alien vocals by Nivalis, like dancehall for after the nuclear apocalypse, when we’ll have all the extra limbs we’ll need to dance to music like this.

Renslink - Touching The Void

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