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Artist links: https://soundcloud.com/ac1dvicious303 / https://www.instagram.com/ac1dvicious303
Label Links: https://soundcloud.com/tripalium-corp / https://www.instagram.com/tripaliumcorp/


ac1d vicious is a London-based producer known for engineering acid and jungle inspired by the UK rave scene. His new EP "Chaos Vibration", incl. collabs with Josie Bee and 4Deity, is mixing twisted vocals with huge hoovers, sliced breaks, dubby basses, chirpy acid lines, retro hardcore kickdrums, Tings Tings and rockabilly samples, and a touch of hip hop. You said "chaos", right ?

3XCLUSIV3: ac1d vicious & Josie Bee - Distant, Forgotten [Tripalium Records]

Willix & hiræth - Terror in Resonance

"Soltame" es un track emo, porque no toda la música latinoamericana es feliz o pachangosa. Es un homenaje folclórico a la tristeza, que toma prestado Where Is My Mind de Pixies sobre una base de house-guaracha-avantpop, con vocales de 2AT.

"Soltame" is an emo track, because not all Latin American music is happy or pachangosa. It’s a folkloric tribute to sadness, borrowing Where Is My Mind by the Pixies over a house-guaracha-avant-pop base, featuring vocals by 2AT.

NUEVO ALBUM KARTUCHO por 2AT disponible el 25 Jul en todas las plataformas! 

soltame surge es un sencillo 
como puedo sentir 
solo quiero salir 
no hay luz no hay paz siempre igual todo lo veo gris 
como ser feliz 
si esto no tiene fin 
despertame cuando se pare de sufrir 
como ser feliz
si esto no tiene fin 
despertame cuando vuelvas a sonreir

vocals: 2AT 
mix/master: 2AT

FOTO: Julian Franco https://www.instagram.com/julianrfranco/
FOTO ASISTENCIA:  https://www.instagram.com/delirio.furioso/
VIDEO : Tilo Gómez https://www.instagram.com/tilo_tranquilo/
DISEÑO: 2AT 
MUAKK 2025

Soltame [ surge ] ::: 2AT exclusive

PREMIERE //>>> Jotadelli - Afueguillo

Track: Afueguillo
Artist: Jotadelli  (@jotadelli)
Album: Global Club 033 
Label: Algo Bien Recs  (@algobien00)
Album Release Date: 16/05/25
Artwork Artist: Uru  Instagram : uru.boy_
Credits (Mix, Master): Umvral

Jotadelli - Afueguillo

Scuba b2b George Fitzgerald - 10 May 2025

࿐✧ @morphamusic *ೃ✵

Brace yourself for a 73 minute mind-melting journey of high intensityyy psytribe, psytek, acceleratedd trippy techno, face slapping freakiness and an incredibly enthralling energy!!!!!

CRUDE MIX 247 - Morpha

Reasons To Dance returns with its second SUNROOM compilation album. This 8-tracker spans the mutated dance music world, all tied together with glistening flair. We also traverse the globe with music from Australia to the UK and of course Ireland.

Kicking us off we have Mossambi with Capsule Wardrobe, an irresistible, slippery dance floor cut. Earworm textures and bright synths weave around broken drums with hypnotizing effect. VVS1 picks up the pace with Ooze. Channelling Katy B circa 2011, the gliding bassline drives forward with mischievous intent. A sleek roller, it matches razor sharp sound design and instinctive groove. Lúnasa follows up with Reggaeton Dream, an ethereal and upbeat dembow interpretation. Airy, vocoded echoes and a plucky bassline match with a reggaeton groove to induce a state of celestial flow. Next up is the Label co-founder Fionn with Solstice Fields. Adapting the infamous vocals, Fionn’s 'Renegade Mix’ twists and pulls a well-known classic. Piercing synths and vocal chops define his unique take on this iconic track. Moving forward, Osc comes in fast with Ey Now. A 155 bpm banger, Ey Now charges head-first with a flurry of percussion, stabs and bassline womp. Brawni follows with Plonk. Melodic percussion scatters and dissipates with crafted unpredictability through a halftime rhythm - underpinned by a rumbling low-end, as playful as it is sharp. Hailing from Australia we have Strict Face with In Rings. A pensive, thudding, stepper- filled with cavernous mallets and otherworldly, granular texture. This is one for those hazy dancefloor moments. 

https://reasonstodancelabel.bandcamp.com/album/sunroom002

https://soundcloud.com/reasons-to-dance
https://soundcloud.com/mossambi

PREMIERE: Mossambi - Capsule Wardrobe [Reasons To Dance]

On June 27, 2025, a long-dormant signal reactivates from Hamburg's hidden places: Helena Hauff and F#X return as Black Sites with R4 on Tresor Records—their first full-length album and the first release under the moniker since 2014. Like a hieroglyphic recently discovered and translated, R4 feels more like a long-awaited resumption than a comeback.

Recorded to tape with minimal editing or post-production the record is a classic example of the symbiotic relationship that can come from the interaction of human and machine. This punk ethos isn't invoked through distortion alone, but through method; in the album's breaking from the received wisdom of hardness tethered to speed as most of the tougher pieces are lower BPM and vice versa (with one notable exception in the mind-melting stomp of BLOKK).

Across ten tracks, Black Sites traverse a landscape where genre dissolves into intention. It migrates through electro's danceability, acid house's corrosion, and into the liminal realm of machine funk—a genre coined by Andrew Weatherall, which sounds like the results of technology dreaming of soul where the emphasis is on live execution, on immediacy over perfection—a sound forged in the act of creating, not polishing.

In a 2013 interview, around the time of the first Black Sites EP, Hauff was quoted as saying that she wants "things to fit together properly, but on another level, I really want them to make sense together." That principle animates R4: The album's form reveals itself in time, with each movement echoing and amplifying the others to create a synergistic whole.

From the opening crawl of C4 (a name that like the music foreshadows the explosions to come) to the end-of-the-night bliss of MOTHERJAM via the intense peaks of BLOKK, 707, and classic acid track 3D it's clear that R4 is a work made with serious intent; a refutation of a world where streaming has made the two-minute single the dominant musical form again. R4 demands immersion, not just attention. It is not a collection of tracks, but a singular, recursive experience: a mirror in which sound and listener repeatedly rediscover one another.

BANDCAMP

Black Sites - FLIKK

Listening to Bios Contrast–aka Nilotpal Das’--SSAC42 for the first time might be likened to the experience of watching sunlight shimmering on the surface of a body of water. There is an effortless spontaneity, a mesmerizing ebb and flow. There is a movement which continually reminds us of itself. We are drawn in without needing to understand why. Curiosity takes hold—not a ‘question-driven’ curiosity–but a quiet immersion in the unfolding moment. It feels familiar, but distant; intimate, yet undeniably alien–the more we surrender to it, the more it transforms. We do not give our attention so much as we permit ourselves to drift along. With each passing moment, we are captivated anew, drawn into the throes of unexpected emotion.


The sonic world of SSAC42 seems to pull influence from various forms of electronic music on the fringes. We hear rapid, intricate drum patterns. We feel the warmth of synth textures, the soft glow of ambient pads collapsing gracefully into themselves. The airy vocals of K_anti play a significant role–gliding in over arrangements at unforeseen moments, bringing us closer to something vast and luminous. We never quite arrive, but feel as though we’re always approaching. The tracks are melodic without being grounded in melody. They coalesce, fracture, and reform. A pattern begins, and vanishes, swiftly replaced by something else entirely. Time loses shape; moments of breathtaking stillness recline over fierce drum sequences.

This warping of time is notable in the first track “everyth1ng 1n l1fe”, where soft atmospheric elements churn slowly above chaotic jittering drums. The juxtaposition stirs, generating an ongoing tension that is never resolved. Ethereal, washed out vocals pull us further into weightless expanse. Lush moments build up and transfigure, revealing new forms with each phrase. The second track “EXT10” takes us further into moments of unanticipated wonder. Through the turbulence, shifting elements are not mourned as they pass, but welcomed; we do not question their departure—we move forward with them.

The third composition, “dysph0r1a” opens with a clear vocal presence.  K_anti’s tender delivery occasionally rises above the evolving terrain of synths—fleeting, decipherable, then submerged once again. Later on, the sixth track “ap0calypse 42” carries us through a striking arc: from softness to percussive fury, and back into calm. The transformation is tumultuous, but also cyclical—destructive and restorative in turn.

The shapeshifting quality of the album can feel disorienting. Just as we find comfort and predictability, it dissolves. Familiarity is teased, and withdrawn. Perhaps it is in this instability that the core of SSAC42’s potential lies. As the unending search for meaning in our human lives is consistently upended and reimagined, SSAC42 seems to quietly posit that moments of solace will reveal themselves amid the chaos; wonder and enchantment persist if we are willing to stay open.



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Ivan DCruz

Pro.tone

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