SKREAM - AFTERS

Can't Escape into Space

Can't Escape into Space (Honey Dijon's Euphoria Mix)

Space Ghetto

RH004: DART - Dawn EP
Remmah, 17 September 2021
https://fanlink.to/RH004DARTEP

A recent addition to the wave of electronic music talent emerging from Ireland, Jordan Rafferty aka DART debuts on Hammer's digital imprint Remmah. Comprised of club-ready tracks cloaked in lighter melodic tones and textures, the Dawn EP was conceived as a complete body of work that marks a statement release from the Dublin producer.  

The EP kicks off with a title track that saw Rafferty trying something different from his usual style: "'Dawn' is one of my favourite tracks I've ever produced. Throughout my life I've always been a big fan of old school trance/prog, and I took some inspiration from that when writing the track. I wanted this track to be different. It was almost a breath of fresh air writing something short, sweet and enchanted."

From there the EP focuses on more dancefloor-focused material, yet always keeps trance and prog elements close by, from the rolling bass line of 'New Age Jewel' to the subtle frog sample on 'Tree Frog'. Altogether it makes for a compelling 33-minutes of music that fits beautifully alongside the label's past releases while standing on its own as a singular work from one of Ireland's most exciting up & comers.

Tracklist:
01. Dawn
02. Lethal Dose
03. New Age Jewel
04. Tree Frog
05. Manifesto
06. No More Jam

Dawn EP

DART - Dawn

Join the dots then dash it all to hell. Dynamic duo Shadow Child and Mark Archer link up once again for another rave romp 'Morse Code' and no amount of emergency messages are going to save our souls!

An absolutely awesome collaboration, the force between Shadow Child and Altern-8 don and all-round rave pioneer Mark Archer has been strong for some time now. First appearing on Super Rhythm Trax together under their MASC guise in 2018 with almighty techno headbutt 'Non Stop', they returned two years later in early 2020 with equally fired-up 'Return Of The MASC' EP. Both EPs were celebrated and savoured at the levels you'd expect.

Two years later and the pair return to our speakers this time on Catz 'n Dogz Pets imprint and they're armed with two more unruly late night tear-ups. 'Morse Code' hits with that classic detuned synth sound that smacks of a million Fantazias and is driven by a quirky, memorable spoken word sample. 'Toto' plays the consummate foil with a ridiculously bulbous and addictive bass riff that shines and slaps with the sound and energy of both artists.

Collabs of this weight and span are often misguided and don't quite hit the spot. But Mark Archer and Shadow Child have the perfect fusion that celebrates the last 30+ years of this culture and have enough diesel in the tank for the next 30, too. Time to crack some codes!
credits

Morse Code EP

TOTO

A1. Slam - Intensities (In-Ten-Cities) [Deep Space Liftoff Mix]
A2. Laurent Garnier - Au Clair De Ta Lune (Deep Space Liftoff Mix)
B1. Romanthony - The Wanderer (Journey Man Thump) [Deep Space Liftoff Mix]
B2. The Eternals - Walk For Me (Deep Space Liftoff Mix)

A side is for Techno, B side is for House.

Slam - Intensities (In-Ten-Cities) [Deep Space Liftoff Mix]

"Vada" features a captivating collaboration with the iconic Princess Julia, a luminary of London's fashion scene and revered Blitz kid. Their first encounter at the iconic Ghetto nightclub, when Joshua was 19, sparked an infinately creative synergy that has already, together with Clayton Wright, forged the incredible False Idols opening ceremony (check their socials), and now culminates in this remarkable track. With Julia's vocals delivered in Polari, a clandestine Queer language used for covert communication, "Vada" invites listeners to "To Look" through a prism of musical innovation and cultural homage.

Vada EP

Vada (feat. Princess Julia)

Out now: https://orcd.co/rspx70

Brunson’s ‘Intimacy Between Friends’ EP on Rekids Special Projects kicks off with 'Aminal'. Originally discovered via a 2017 BBC Radio 1 interview between Benji B and Underground Resistance co-founder Mike Banks, ‘Aminal’ was played on the show and subsequently sought out by Matt Edwards for release on RSPX in 2024 as part of the ‘Intimacy Between Friends’ EP.

‘Aminal’ by Brunson is a ten-minute odyssey into atmospheric deep techno. Wiggling acidic synth motifs and warm, radiant pads bring the soul to a tight groove, constantly evolving and allowing you to sink ever deeper into majestic chords which wash over you like rays of sunlight. Brunson’s 'My Friend Ryan' is another classic Detroit sound with machine warmth and energetic drum programming, which all work together to make you move your body while your heart is enriched by its vibrant soundscape. The wonderful 'Surf Break' is up last, built on a slick electro rhythm with booming kicks and more standout chords across the backdrop to bring a grand sense of scale and meaning to the groove.

Brunson released his first EP in 2023 via Berlin’s Tresor Recordings but has been active for a number of years before this as a Midwest American and Motor City producer while being the VJ behind Juan Atkins’ Model 500 shows. He now releases the ‘Intimacy Between Friends’ on Radio Slave’s Rekids Special Projects, already supported by artists such as Luke Slater, Laurent Garnier, and Jerome Sydenham.

Buy/Stream

Brunson - Aminal

🛒 Buy: 
https://microtronakadjnoche.bandcamp.com/album/roc-sudor-y-sufrimiento
https://runasdistribution.com/products/hum001-dj-noche-roc-sudor-sufrimiento
https://www.deejay.de/Dj_Noche_Roc_Sudor_%26_Sufrimiento_HUM001_Vinyl__1150267

▷ Play on YouTube:
https://youtu.be/a-UaU5iTQlA

🎧 Artist:
✦ DJ Noche
https://soundcloud.com/microtronakadjnoche
https://www.instagram.com/micro.tron_dj.noche
https://microtronakadjnoche.bandcamp.com

💿 Label:
✦ Hum Club Records
https://www.instagram.com/humclubrecords
https://humclubrecords.bandcamp.com

_______________________________________

✉ soundBots - Contact & Submissions:
      themselects@gmail.com
_______________________________________


ⓘ 𝖨𝖭𝖥𝖮:

• DJ Noche ─ Roc, Sudor y Sufrimiento︱Hum Club Records •

𝗛𝘂𝗺 𝗖𝗹𝘂𝗯 𝗥𝗲𝗰𝗼𝗿𝗱𝘀 launches its first release with 𝘙𝘰𝘤, 𝘚𝘶𝘥𝘰𝘳 𝘺 𝘚𝘶𝘧𝘳𝘪𝘮𝘪𝘦𝘯𝘵𝘰, a bold and varied debut by 𝗗𝗝 𝗡𝗼𝗰𝗵𝗲. The EP twists through acid, electro, EBM, and techno influences, filtered through a raw, emotional lens that reflects the DIY intensity of Argentina’s underground.

Our premiere 𝘝𝘶𝘦𝘭𝘷𝘰 𝘥𝘦 𝘋𝘪𝘢 features vocals and visual input from El AriGato, combining steady machine-funk with a cinematic, almost surreal atmosphere. The groove is muscular but hypnotic with textures that pulse and unravel slowly, balancing the dancefloor's energy with a touch of introspection.

Head to our YouTube/SoundCloud to catch the premiere and pre-order the 12” via DJ Noche’s Bandcamp.


EP Title: 𝘙𝘰𝘤, 𝘚𝘶𝘥𝘰𝘳 𝘺 𝘚𝘶𝘧𝘳𝘪𝘮𝘪𝘦𝘯𝘵𝘰
Artist: 𝗗𝗝 𝗡𝗼𝗰𝗵𝗲 
Label: 𝗛𝘂𝗺 𝗖𝗹𝘂𝗯 𝗥𝗲𝗰𝗼𝗿𝗱𝘀 
Catno: HUM001
Format: Vinyl, 12"
Master: Trigun Audio 
Distribution: RUNAS Distribution 
Release Date: 2025. Argentina

Get your 💿

DJ Noche (Ft. El AriGato) ─ Vuelvo de Día [HUM001]

I Look To You

Million Dollar Bill

Get Lucky

Get Lucky (Radio Edit - feat. Pharrell Williams and Nile Rodgers)

Brassica returns with a brand new 12” single for Civil Music that includes new track "Get Down" and a remix of "Tears I Can Afford" from Belfast duo Bicep. 
‘"Get Down" arrives simultaneously with ‘Nature Isn’t Mute’; a deluxe extended edition of "Man Is Deaf", the producers debut album praised by Dazed & Confused and De:Bug and nominated for Album of the Year at the DJ Mag awards. "Nature Isn’t Mute" completes the Terence McKenna quote the album was named after and contains seven additional tracks.
On "Get Down" Michael Wright shows he hasn’t lost any of that Brassica magic with a heady 6 minute workout. As the track sprawls and unfurls, various elements come in and out of play, hinting at the foundations of the Brassica sound, with Wright guiding the listener along for a joyous ride. The single is backed by a remix of album track "Tears I Can Afford" courtesy of Belfast duo Bicep who embrace the occasion fully by extending the original to 8 minutes and playing with its acid elements in fine fashion.
Happier in the shadows than under the glare of projectors, Brassica continues to refine a unique sound and approach that has made him a favorite of your favorites. Already OUT, don't sleep

PREMIERE : Brassica - Get Down

available now: https://KompaktRecords.lnk.to/Speicher100SD

Succeeding a recent run of much-acclaimed outings by stand-out artists such as Laurent Garnier (KOM EX 95), Kölsch (KOM EX 97 & 93) or Patrice Bäumel & Danny Daze (KOM EX 98), our SPEICHER series hits the magical number 100 with its latest instalment, an action-packed double 12” pack that includes brand new belters by Kompakt trailblazers MICHAEL MAYER, JÖRG BURGER, JÜRGEN PAAPE and VOIGT & VOIGT.

Michael Mayer - Lout

On our sixth release we are thrilled to add a new name to our roster. Cameo Blush is the project of John Dunk from London. Some might already know him as a member of Ross From Friends live.

Listening to The „Murky Waters“ EP, it is hard to believe this actually is Cameo Blush's debut release. Every track is oozing  with emotional depth, invention and a purposeful confidence. 

„Murky Waters“, all glistening arpeggios and seductive alien vocals, sounds like a hyperkinetic dollie shot through a Manga style metropolis. „Hypervisibility“  then is taking clues from masters of abstract Electronica like Isolée, Lusine and Boards Of Canada, creating an audible allegory of longing  and sensuality.  „Prophet Paradise“ on the b-side soundtracks the holodeck projection of a dayglow beach under a neon sun. And finally, „Year 2000 Problem“ resumes the futuristic Manga theme evoking images of bots passing the Turing test, overflowing with joy and falling desperately in love .

Cameo Blush is currently working on a live set which he will premiere during the Touch From A Distance takeover at this years' Field Maneuvers festival . Keep your eyes and ears peeled and remember where you heard it first!

Murky Waters EP

Murky Waters

BANDCAMP

A1. Cameo Blush - Murky Waters

min2MAX

Baby Kate

Nothing Much

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Mathew Jonson really is one of a kind.  
 
He's developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. 
 
His music offers a rare fusion of populist intensities and nuanced musicality. With a keen understanding for the needs of the dancefloor and the universal laws of house and techno, he's thrown out the rule book time and time again, sneaking tricks learned from electro and even drum'n'bass into minimal clubs, and loading up his B-sides with tracks that do what they damned well please. (No kick drum? No problem.)
 
His standards for sound and presentation are exacting. Both on stage and in the studio, Jonson's fealty to analog equipment and real-time play—as opposed to mere playback—serves as a standardbearer for a kind of electronic music that goes way beyond the drag 'n' drop world of digital composition. Jonson has always been eager to get his hands dirty, and the music reflects that in gnarled bass sequences and long, intuitive lines. His sounds have serious teeth.
 
And despite his quick ascent through the ranks of the techno elite, Jonson hasn't just stayed personally grounded. He's devoted much of his energy to supporting his own close musical family, both in the groups Cobblestone Jazz and the Modern Deep Left Quartet, and with his Wagon Repair label, which he cofounded with Jesse Fisk, Graham and Adam Boothby, Frank Meyerhofer and Konrad Black.
 
He studied classical piano as a kid, plus jazz drumming, and played drums in a marching band —thus laying both the melodic and the rhythmic cornerstones of his music today. (Plenty of musicians claim to be "classically trained," of course, rendering the phrase all but meaningless. But here's something you might not have known about Mathew: he's actually begun studying piano again, which suggests a musical seriousness that's rare in the world of auto-didact button-pushers.
 
Thanks to his father's work with sound technology, he also got his hands on synthesizers at the age of 9. By the time he discovered hip-hop as a young teen, he was recreating its electro-based beats on his own rudimentary setup at home.
 
It was in Victoria, when he was 19, that Jonson met up with the crew that would help guide his musical trajectory: Tyger Dhula, Danuel Tate and Colin de la Plante, who were playing and DJing parties around the area. The four started playing in clubs together, an early version of the group that exists today as Cobblestone Jazz and the Modern Deep Left Quartet. (The Modern Deep Left Quartet was the original name for the foursome; after de la Plante moved to Montreal, the remaining trio carried on as Cobblestone Jazz.)
 
"It was all improvised," says Jonson of the group's early days. "We never really worked in the studio, we would just meet at the nightclub and jam. That's how it started. We did that for quite a while, and then it morphed into a residency at a club, once every two weeks." To keep it interesting, they would invite other musicians—on trumpet, violin, bass, sax, and rhythm sections—to join them.
 
After de la Plante left town, Cobblestone Jazz began focusing its efforts more squarely on the dancefloor, moving away from purely improvised sets to include composed and rehearsed passages. And Jonson gradually began honing in on his own sound, both in his productions and his DJ sets, inspired by a deeper, weirder sound that had begun filtering into the city's techno parties.
 
His first record, in 2001, was the first release on the B.C. label Itiswhatitis, appropritately titled "New Identity." Another followed in 2002, and in 2003. That year, he also made his first appearance on Perlon, "Alpine Rocket"—a track he recorded alongside Luciano during his first trip to Europe. And then, suddenly, Jonson was everywhere: Itiswhatitis, Sub Static, Arbutus, Kompakt, M_nus—and every track an anthem.
 
"I had all that music kind of saved up," says Jonson, "and then, just by chance, released it all at the same time. People criticized me for it, said that it wasn't a good idea. But it worked out for me. All the tracks did well. I wasn't saturating the market with bad music." He's right there.
 
In 2005, Jonson co-founded Wagon Repair, and it's been a blur since, a nonstop series of tours and recordings, solo and with his bandmates. Crucially, he moved to Berlin. Here, he and de la Plante—who moved over at the same time—have set up Cobblestone Jazz' European headquarters, providing not only the launch pad for European tours but, more importantly, the control center for the group's recorded activities. The studio is jawdropping, frankly: a semi-circle full of gear, from old workhorses like the 808 and 909 and SH-101 to unique beasts like their Cwejman and Roland System 100m modular system. Tate's Rhodes piano anchors one corner of the horseshoe, and everything feeds into a massive desk where tracks are mixed and recorded in real-time. Jonson makes his own music essentially the same way—only with two hands instead of eight.
 
Those two hands have come up with some remarkable material. Having perfected his brand of earthshaking epic with tracks like "Marionette," "Return of the Zombie Bikers" and "Symphony for the Apocalypse," Jonson has increasingly turned his efforts towards more personal, introspective music. He hasn't left the clubs behind—his new album, Agents of Time, features a number of tracks that are as hip-windingy wily as anything he's produced yet, full-on tracks like "Girls Got Rhythm" and "Thieves in Digital Land." But he's also taken advantage of the longplayer format to stretch out and indulge darker moods and slower tempos.
 
"I like to have phrases that sound like they're major, but then they go minor when they turn around," explains Jonson. "You think that you're in a happy place, but suddenly you're not. I like playing with that tension. When I look at the music I've made, the best music is always music that can stimulate any kind of emotion. It's more like a key, towards opening up whatever is inside of you -a gateway"
 
You can expect him to be unlocking even more emotions soon—ones you may not have even known you had—when he ramps up with Midnight Operator, a collaboration with his brother Nathan Jonson, aka Hrdvsion. With Nathan also based in Berlin, the two are finding common musical ground, expanding upon the platform they established with their lone, 2007 EP for Wagon Repair as they begin work on an album.
 
"Obviously, you can look at what I do with my label and the bands I have, to see what's important to me," says Jonson of keeping it in the family, so to speak. "I'm lucky because I have so many friends who are strong musicians. We can all feed off of each other.  You know, when you're doing music, it's such a personal thing. To have an outlet with the labels to be able to release our music, and be able to all stay together, I think there's a lot of strength in that. Everybody is stronger as a group." – Philip Sherburne


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Mathew Jonson

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