IDENTITY SAMPLER II

Analyze, Reproduce

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

Youth Remixes

Promises (Sylvere Remix)

Taken from SBKT068: Swimful - Diecast
Release date: 26th March 2025

The long awaited follow-up to 2022’s ‘Rushlight’, ‘Diecast’ is a new 4 track club EP from Swimful, with remixes from Iceboy Violet, Grandmixxer and DJ Narciso.

Swimful - Xipei

dru-1 - preshuh
Label: Infinite Machine
CAT#: IM118
Format: Digital
Release Date: April 25th, 2025

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?

PREORDER

dru-1 - maco queen (IM118)

The Best Electronic Music on Bandcamp, April 2025
daily.bandcamp.com/best-electronic…camp-april-2025

1. Mythical Crow
2. Phantom
3. Nights
4. Oasis
5. Whispering Oaks
6. Twisted Thorns
7. Hollow
8.Bubble

8. T5UMUT5UMU - Bubble

Romper Stomper

Romper Stomper hits like a runaway train — big, hammering jungle breaks locked into a relentless bomp-bomp-bomp groove that drives straight through the system. No fluff, no gimmicks — just pure, pounding energy built for the floor.

Hard, slamming kicks and snares falling like steel girders.

Chopped breaks punching in tight formation, never losing that rolling stomp.

A mid-section where the pressure builds and builds… before the full weight of the drop comes roaring back in.

It’s industrial-strength jungle — tough, tight, and made to flatten dancefloors with sheer rhythmic force.

#Bungalist

Fudgie Bem - Romper Stomper 👣

My biggest inspiration for writing music are my own experiences. That is usually the catalyst that pushes me to start a new track. Countless late night chats at shows, silly moments in my daily life, or special moments that I wish I could frame and hang on my wall. When I open up Ableton, I pretend I’m writing the soundtrack for a specific slice of life.

My creative choices for this EP were guided by a few key things. I wanted to combine two worlds I thoroughly enjoy…bass music and hip hop. That’s always something that gets me hyped. Another guiding creative force, is this dragon I’ve been chasing since 2016 when I first heard Kursa’s track, Pick Em Up. This tune, with it’s pounding hip hop drums, invokes a darkness I seek in left field music and tried to tap into with this EP. This tune was a staple in my sets for years as it was both something that usually perked a dancer’s attention, while also doubling as a DJ tool to dip into bass music or footwork. With trends in dance music coming and going, I remain obsessed with this combination. Lastly, I tried to create m a s s I v e baselines that would make teenage me bass face while yelling “ooooh” and gripping onto the rail at the front of any rave. As this started to shape into a full project, I decided I was not gonna hold myself to rigid deadlines and take my time to craft this album out until I felt satisfied with the end result.

One time, Rau and I were at a music festival and I hung my shoes under one of the stages. They stayed there throughout the weekend, safe and undisturbed. The photo of my shoes hanging there makes us giggle and we turned it into a missing poster for this EP. Inspired by a story we made up of a raver that fell in love with footwork so passionately that they had to take their shoes off due to how hot their feet felt while dancing, never to be seen again (the shoes).


All tracks written, mixed, & Mastered by Rivs

www.instagram.com/rivsntings

Cover by Rau

www.instagram.com/world_of_rau  
credits
released September 5, 2025
license


Mr. Nomadic & Rivs - Used To Go Down (We Old Now)

HeRzBreCHerMuKKe925

Dark Energy

Guantanamo

Slang

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Guantanamo

Jlin

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