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J.Robinson meet Murray Man & Bopper Ranking for this fantastic piece of heavyweight dub mastery mixed down by Dougie Concious for extra pressure!

@jrobinsonwhodemsound @murray_the_man @rankingbopper

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J.Robinson meet Murray Man & Bopper Ranking for this fantastic piece of heavyweight dub mastery mixed down by Dougie Concious for extra pressure!

@jrobinsonwhodemsound @murray_the_man @rankingbopper

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Novocastrian Industrial LP from the Newcastle hellscape from Collector (Jason Campbell) released as a split between Natural Sciences + C.H.A.O.S.

This one isn’t for the faint of heart, proper tough bit of kit. Head splitting drums and sonic walls of sound!

Out Friday!

@naturalsciencesrecs

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Novocastrian Industrial LP from the Newcastle hellscape from Collector (Jason Campbell) released as a split between Natural Sciences + C.H.A.O.S.

This one isn’t for the faint of heart, proper tough bit of kit. Head splitting drums and sonic walls of sound!

Out Friday!

@naturalsciencesrecs

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What’s new this week.

LoSE1LP: @susumuyokotaofficial ‘Skintone Edition Vol.1’

SNKR067: @buckley_uk ‘Carls Floorboard’

OBFREC1230: @obfsoundsystem , @pupajim.shp , @mightycricketrootsdub ‘Politricks/Dubquake 2006’

OBFREC1231: @obfsoundsystem ‘Resilience/Dubquake 2026’

CHAOS06: Collector ‘Knowing Only Defeat’

VFS001: Mad Dog ‘Mad Dog’

@sneaker_social_club @lorecordings @obfsoundsystem @vinylfanatiks

——————————————————————————————

What’s new this week.

LoSE1LP: @susumuyokotaofficial ‘Skintone Edition Vol.1’

SNKR067: @buckley_uk ‘Carls Floorboard’

OBFREC1230: @obfsoundsystem , @pupajim.shp , @mightycricketrootsdub ‘Politricks/Dubquake 2006’

OBFREC1231: @obfsoundsystem ‘Resilience/Dubquake 2026’

CHAOS06: Collector ‘Knowing Only Defeat’

VFS001: Mad Dog ‘Mad Dog’

@sneaker_social_club @lorecordings @obfsoundsystem @vinylfanatiks

——————————————————————————————

What’s new this week.

LoSE1LP: @susumuyokotaofficial ‘Skintone Edition Vol.1’

SNKR067: @buckley_uk ‘Carls Floorboard’

OBFREC1230: @obfsoundsystem , @pupajim.shp , @mightycricketrootsdub ‘Politricks/Dubquake 2006’

OBFREC1231: @obfsoundsystem ‘Resilience/Dubquake 2026’

CHAOS06: Collector ‘Knowing Only Defeat’

VFS001: Mad Dog ‘Mad Dog’

@sneaker_social_club @lorecordings @obfsoundsystem @vinylfanatiks

——————————————————————————————

What’s new this week.

LoSE1LP: @susumuyokotaofficial ‘Skintone Edition Vol.1’

SNKR067: @buckley_uk ‘Carls Floorboard’

OBFREC1230: @obfsoundsystem , @pupajim.shp , @mightycricketrootsdub ‘Politricks/Dubquake 2006’

OBFREC1231: @obfsoundsystem ‘Resilience/Dubquake 2026’

CHAOS06: Collector ‘Knowing Only Defeat’

VFS001: Mad Dog ‘Mad Dog’

@sneaker_social_club @lorecordings @obfsoundsystem @vinylfanatiks

——————————————————————————————

What’s new this week.

LoSE1LP: @susumuyokotaofficial ‘Skintone Edition Vol.1’

SNKR067: @buckley_uk ‘Carls Floorboard’

OBFREC1230: @obfsoundsystem , @pupajim.shp , @mightycricketrootsdub ‘Politricks/Dubquake 2006’

OBFREC1231: @obfsoundsystem ‘Resilience/Dubquake 2026’

CHAOS06: Collector ‘Knowing Only Defeat’

VFS001: Mad Dog ‘Mad Dog’

@sneaker_social_club @lorecordings @obfsoundsystem @vinylfanatiks

——————————————————————————————

What’s new this week.

LoSE1LP: @susumuyokotaofficial ‘Skintone Edition Vol.1’

SNKR067: @buckley_uk ‘Carls Floorboard’

OBFREC1230: @obfsoundsystem , @pupajim.shp , @mightycricketrootsdub ‘Politricks/Dubquake 2006’

OBFREC1231: @obfsoundsystem ‘Resilience/Dubquake 2026’

CHAOS06: Collector ‘Knowing Only Defeat’

VFS001: Mad Dog ‘Mad Dog’

@sneaker_social_club @lorecordings @obfsoundsystem @vinylfanatiks

——————————————————————————————

What’s new this week.

LoSE1LP: @susumuyokotaofficial ‘Skintone Edition Vol.1’

SNKR067: @buckley_uk ‘Carls Floorboard’

OBFREC1230: @obfsoundsystem , @pupajim.shp , @mightycricketrootsdub ‘Politricks/Dubquake 2006’

OBFREC1231: @obfsoundsystem ‘Resilience/Dubquake 2026’

CHAOS06: Collector ‘Knowing Only Defeat’

VFS001: Mad Dog ‘Mad Dog’

@sneaker_social_club @lorecordings @obfsoundsystem @vinylfanatiks

——————————————————————————————

Natsumi Hirota’s debut EP, Timelogue, is an elegy to upbringing and adolescence in Tokyo, and to the long nights spent working in jazz bars across the city.

Built upon rhythms found within spoken language and developed through improvisation, the artist interpolates moments of verbal synchronicity into musical passages, expounding on synchronous moments where speech slips into rhythm and vocal cadence becomes motif.

These long-form passages enter into a dialogue with recordings of biographical spoken word, vividly coloured found sound and traditional folk song. Family conversations during the artist’s visit home, and even the mechanical sounds of a city garbage truck in motion, all become parts of Hirota’s aural archaeology of lived experience.

Through chronicling both the direct and incidental aspects of communication, Natsumi creates a tribute to the situational spontaneity of shared presence, shaped by the unconscious patterns that underlie human interaction.

@natsumi_hirota_ @secondborn___

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Natsumi Hirota’s debut EP, Timelogue, is an elegy to upbringing and adolescence in Tokyo, and to the long nights spent working in jazz bars across the city.

Built upon rhythms found within spoken language and developed through improvisation, the artist interpolates moments of verbal synchronicity into musical passages, expounding on synchronous moments where speech slips into rhythm and vocal cadence becomes motif.

These long-form passages enter into a dialogue with recordings of biographical spoken word, vividly coloured found sound and traditional folk song. Family conversations during the artist’s visit home, and even the mechanical sounds of a city garbage truck in motion, all become parts of Hirota’s aural archaeology of lived experience.

Through chronicling both the direct and incidental aspects of communication, Natsumi creates a tribute to the situational spontaneity of shared presence, shaped by the unconscious patterns that underlie human interaction.

@natsumi_hirota_ @secondborn___

——————————————————————————

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. The record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single “Heavy Sound.” The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of “next,” driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, “off-the-grid” tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

@martyn3024 @_3024_music_

————————————

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. The record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single “Heavy Sound.” The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of “next,” driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, “off-the-grid” tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

@martyn3024 @_3024_music_

————————————

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. The record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single “Heavy Sound.” The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of “next,” driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, “off-the-grid” tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

@martyn3024 @_3024_music_

————————————

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. The record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single “Heavy Sound.” The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of “next,” driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, “off-the-grid” tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

@martyn3024 @_3024_music_

————————————

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. The record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single “Heavy Sound.” The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of “next,” driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, “off-the-grid” tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

@martyn3024 @_3024_music_

————————————

Seven years after the haunting resonance of Voids, electronic pioneer Martyn returns to the album format with Music For Existing. The record is more than a collection of tracks; it is a profound exploration of what it means to remain devoted to a craft in an era of relentless noise.

The album’s announcement is heralded by the lead single “Heavy Sound.” The track serves as the perfect bridge between Martyn’s past and present - a masterclass in tension and release that previews the album’s dialogue between the producer, the musicians, and the audience. We live inside a culture that has prioritised and monetised restlessness. The modern apparatus runs on the continuous production of “next,” driven by algorithms that value novelty over depth.

Music For Existing serves as a love letter to the communal act of making music - something that is both healing and inherently defiant. For Martyn, a musician often finds solace in musical conversation with others; in the moment we press record, we simply exist together. This record is an invitation to build human infrastructure around what we love, leaning into the fluid nature of community and seeing exactly where the music takes us when we choose to listen.

The album is a sprawling, “off-the-grid” tapestry that echoes Martyn’s profound appreciation for jazz - free, instinctive, and bursting in every sonic direction. This collection features an expansive cast of collaborators, including Duval Timothy, Dan Only, Lucinda Chua, and Mark Cisneros. The record is further elevated by the contributions of jazz talents Mischa Porte and Cees Bruinsma, alongside the evocative words of writer and poet Musa Okwonga.

While the acoustic textures and improvisational spirit of this record may feel like a departure, they represent a homecoming. Jazz has always been ingrained in Martyn’s work; even in his most stripped-back club tracks, the DNA of swing, syncopation, and free-form structure was always present, if not always visible.

Music For Existing marks the beginning of an exciting journey that will continue from the studio to the stage, celebrating the radical act of existing in the moment.

@martyn3024 @_3024_music_

————————————

UK bass music mainstay and SK1 Records co-founder, Synkro, links up with composer and sound design specialist, Tom Jarmey, for their debut combined effort on Of Paradise, minting their new musical alliance with North Star, an emotionally charged and lushly melodic collection of detail-driven club cuts.

Deftly joining the dots between drum ‘n’ bass, jungle, and trip hop, the duo serves up three original numbers, backed by two exquisite remixes from none other than Pugilist and label co-founder Silent Era, who meticulously distil the source material to produce a mixture of swirling breaks, dub techno, and atmospheric ambient stylings.

Available as a limited edition 12” and digital EP, North Star sees Synkro and Tom Jarmey combine to lethal effect, pooling their diverse influences together to fashion a trio of wide-eyed, hypnotic, and high-grade gems that give a nod to the most potent of ‘90s gear whilst being 100% future proofed.

@synkromusik @tomjarmey @pugilistmusic @thisissilentera @ofparadiserecords

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UK bass music mainstay and SK1 Records co-founder, Synkro, links up with composer and sound design specialist, Tom Jarmey, for their debut combined effort on Of Paradise, minting their new musical alliance with North Star, an emotionally charged and lushly melodic collection of detail-driven club cuts.

Deftly joining the dots between drum ‘n’ bass, jungle, and trip hop, the duo serves up three original numbers, backed by two exquisite remixes from none other than Pugilist and label co-founder Silent Era, who meticulously distil the source material to produce a mixture of swirling breaks, dub techno, and atmospheric ambient stylings.

Available as a limited edition 12” and digital EP, North Star sees Synkro and Tom Jarmey combine to lethal effect, pooling their diverse influences together to fashion a trio of wide-eyed, hypnotic, and high-grade gems that give a nod to the most potent of ‘90s gear whilst being 100% future proofed.

@synkromusik @tomjarmey @pugilistmusic @thisissilentera @ofparadiserecords

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Anunaku ‘Stargate’ (Repress)

Italian-born London resident Anunaku (aka TSVI) continues his quest for international drum domination with “Stargate”: Three percussive workouts that are both contemporary and body moving, exploring different parts of the drum spectrum.TIP!

@gu_tsvi @_3024_music_

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Anunaku ‘Stargate’ (Repress)

Italian-born London resident Anunaku (aka TSVI) continues his quest for international drum domination with “Stargate”: Three percussive workouts that are both contemporary and body moving, exploring different parts of the drum spectrum.TIP!

@gu_tsvi @_3024_music_

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Porter Brook’s experimentation with Live Coding considers the reality of dance music culture in the 2020’s to be inseparably mediated through algorithms and digital space. The attention economy and the corporate co-optation of the underground has dissolved a large part of dance music culture in an acrid solvent of content creation.

Prefrontal Asymmetry liberates itself within the overstimulation which this generational change demands of us. By seldomly evoking traditional motifs and clichés of the dance-floor amongst fierce algorithmic noise and repurposed snippets of short-form digital media, Prefrontal Asymmetry provides an alternative and optimistic thesis on the perceived annihilatory Zeitgeist of Gen-Z Clubland:

“Nothing can be more freeing than resigning oneself to onslaught of stimulus, and rejecting the sincerity of such content in favour of heartfelt experimentation, cherished relationships and the joy of experience.”

This modus operandi is bolstered by collaborative work with Lagos Born, Manchester Based vocalist LINTD, who provides technologically mutated ruminations on self esteem, value, and fear within our contemporary landscape. A remix from K41 resident GAEL on the B side further contextualises and physicalises the message.

TL;DR - This record is sort of TikTok Techno.

@porter_brook__ @sickoflintd @gael_shemovesshe@secondborn___
—————————————————————————————

Porter Brook’s experimentation with Live Coding considers the reality of dance music culture in the 2020’s to be inseparably mediated through algorithms and digital space. The attention economy and the corporate co-optation of the underground has dissolved a large part of dance music culture in an acrid solvent of content creation.

Prefrontal Asymmetry liberates itself within the overstimulation which this generational change demands of us. By seldomly evoking traditional motifs and clichés of the dance-floor amongst fierce algorithmic noise and repurposed snippets of short-form digital media, Prefrontal Asymmetry provides an alternative and optimistic thesis on the perceived annihilatory Zeitgeist of Gen-Z Clubland:

“Nothing can be more freeing than resigning oneself to onslaught of stimulus, and rejecting the sincerity of such content in favour of heartfelt experimentation, cherished relationships and the joy of experience.”

This modus operandi is bolstered by collaborative work with Lagos Born, Manchester Based vocalist LINTD, who provides technologically mutated ruminations on self esteem, value, and fear within our contemporary landscape. A remix from K41 resident GAEL on the B side further contextualises and physicalises the message.

TL;DR - This record is sort of TikTok Techno.

@porter_brook__ @sickoflintd @gael_shemovesshe@secondborn___
—————————————————————————————

What’s new this week.

OP036: @synkromusik & @tomjarmey ‘North Star’

SB001: @porter_brook__ ‘Prefrontal Asymmetry’

3034-MAR2LP: @martyn3024 ‘Music For Existing’

NSRTAPE016: @errorsmith_ ‘Le Trilliardaire [Oct 2005]’

3024-ANU1: @gu_tsvi (Anunaku) ‘Stargate’

@ofparadiserecords @secondborn___ @_3024_music_ @neversleeplife

———————————————————————

What’s new this week.

OP036: @synkromusik & @tomjarmey ‘North Star’

SB001: @porter_brook__ ‘Prefrontal Asymmetry’

3034-MAR2LP: @martyn3024 ‘Music For Existing’

NSRTAPE016: @errorsmith_ ‘Le Trilliardaire [Oct 2005]’

3024-ANU1: @gu_tsvi (Anunaku) ‘Stargate’

@ofparadiserecords @secondborn___ @_3024_music_ @neversleeplife

———————————————————————

What’s new this week.

OP036: @synkromusik & @tomjarmey ‘North Star’

SB001: @porter_brook__ ‘Prefrontal Asymmetry’

3034-MAR2LP: @martyn3024 ‘Music For Existing’

NSRTAPE016: @errorsmith_ ‘Le Trilliardaire [Oct 2005]’

3024-ANU1: @gu_tsvi (Anunaku) ‘Stargate’

@ofparadiserecords @secondborn___ @_3024_music_ @neversleeplife

———————————————————————

What’s new this week.

OP036: @synkromusik & @tomjarmey ‘North Star’

SB001: @porter_brook__ ‘Prefrontal Asymmetry’

3034-MAR2LP: @martyn3024 ‘Music For Existing’

NSRTAPE016: @errorsmith_ ‘Le Trilliardaire [Oct 2005]’

3024-ANU1: @gu_tsvi (Anunaku) ‘Stargate’

@ofparadiserecords @secondborn___ @_3024_music_ @neversleeplife

———————————————————————

What’s new this week.

OP036: @synkromusik & @tomjarmey ‘North Star’

SB001: @porter_brook__ ‘Prefrontal Asymmetry’

3034-MAR2LP: @martyn3024 ‘Music For Existing’

NSRTAPE016: @errorsmith_ ‘Le Trilliardaire [Oct 2005]’

3024-ANU1: @gu_tsvi (Anunaku) ‘Stargate’

@ofparadiserecords @secondborn___ @_3024_music_ @neversleeplife

———————————————————————

Anunaku ‘Stargate’ (2020) Repress

After 6 years @_3024_music_ has decided to repress this legendary EP from TSVI under his Anunaku alias. A relentless set of rolling Techno full of middle eastern motifs and TSVI’s standout percussion work create an EP that feels timeless.

15.05.26

Minimal hardware rhythm experiments from Al Wootton’s new understated alias. Sitting in the realms of somewhere between his typical percussive sensibilities and early 2000’s micro house/Techno. Wooton strips back to the bare basics with these cuts!

@trulerecords

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Minimal hardware rhythm experiments from Al Wootton’s new understated alias. Sitting in the realms of somewhere between his typical percussive sensibilities and early 2000’s micro house/Techno. Wooton strips back to the bare basics with these cuts!

@trulerecords

——————————————————————————

Words Create Vibrations is a solo EP recorded between 2023 and 2025, where techno and dub foundations merge seamlessly with ambient textures and breaky-step rhythms. Across five tracks, the record unfolds as a deeply atmospheric journey — hypnotic, spacious, and rhythmically dynamic. Sub-heavy frequencies meet shifting percussive structures, while layers of delay and texture generate a sense of depth that feels both physical and introspective. Each composition evolves patiently, acting as a meditation on resonance, movement, and the unseen architecture of vibration.

The A-side presents Delikwe’s original works in their purest form: immersive, restrained, and subtly transformative. Rooted in sound system culture yet open in structure, the tracks balance meditative stillness with rhythmic propulsion.

On the B-side, Australian producer Pugilist delivers a powerful reinterpretation. Known for his refined low-end pressure and deeply immersive productions, he reshapes the source material into a weightier, system-focused experience. His remix amplifies the sub frequencies and spatial depth while preserving the meditative core of the originals, creating a compelling dialogue between exploratory dub atmospheres and grounded sonic precision.

Words Create Vibrations stands as a sonic exploration where rhythm, space, and texture converge into a fully immersive listening experience — crafted for powerful sound systems, late-night sessions, and attentive minds alike.

@delikwe @moleaudio @pugilistmusic

——————————————————————————

Words Create Vibrations is a solo EP recorded between 2023 and 2025, where techno and dub foundations merge seamlessly with ambient textures and breaky-step rhythms. Across five tracks, the record unfolds as a deeply atmospheric journey — hypnotic, spacious, and rhythmically dynamic. Sub-heavy frequencies meet shifting percussive structures, while layers of delay and texture generate a sense of depth that feels both physical and introspective. Each composition evolves patiently, acting as a meditation on resonance, movement, and the unseen architecture of vibration.

The A-side presents Delikwe’s original works in their purest form: immersive, restrained, and subtly transformative. Rooted in sound system culture yet open in structure, the tracks balance meditative stillness with rhythmic propulsion.

On the B-side, Australian producer Pugilist delivers a powerful reinterpretation. Known for his refined low-end pressure and deeply immersive productions, he reshapes the source material into a weightier, system-focused experience. His remix amplifies the sub frequencies and spatial depth while preserving the meditative core of the originals, creating a compelling dialogue between exploratory dub atmospheres and grounded sonic precision.

Words Create Vibrations stands as a sonic exploration where rhythm, space, and texture converge into a fully immersive listening experience — crafted for powerful sound systems, late-night sessions, and attentive minds alike.

@delikwe @moleaudio @pugilistmusic

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