Nervous Records

Planet Mu

CHROMA

Vision Recordings

Rinse

More Time Records

Fragrance Recordings

Hyperdub

On the heels of their massively well-received collaboration with 'Gruz', two projects right at the heart of YUKU put their heads together again to deliver a full, powerful release of four utter belters. Music that means business.

DJ Godfather maintains his roll of releases into 2026 as he follows up the electro stylings of Sporadic with a new EP of straight up footwork, club-focussed frenzy. This time he teams up with Detroit based music collective Dastardly Kids who bring fun back to the dancefloor! Stay Outside gets its jit on the floor, just in time for Detroits Movement festival. Dastardly Kids formed from humble beginnings in Ypsilanti, MI. Fellow high school misfits Sonny & Pat each found fellowship in the off-kilter stylings of acts like MF DOOM, Wu-Tang Clan, and Parliament. In later years they would expand their ranks to include vocalist Champagne Santana. The addition pushed DK's sound to a whole new scope, each member bringing their own flavour and energy. These days Dastardly Kids are capturing the Ghetto Tech sounds of their youth and amplifying it to help lead the new wave of modern dance music. Now, alongside DJ Godfather the three cuts of 'Big Booty Gurls', 'Heart Attack' and 'Stay Outside' are here to put feet on the dancefloor and butts in motion, one sex-fuelled anthem at a time!

Rhythm Section International

Nous'klaer Audio

The fifth release on Objekts Kapsela imprint is (re)weave, an EP of crystalline club tracks from Detroit-born, London-based producer Tristan Arp. (re)weave was written during a prolonged period of flux for the artist. When I started making this record, my life and the world felt like a maze, he recounts. As he routed and re-routed through past and future homes Mexico to New York to Detroit to Mexico and finally to London his output bore the marks of this repeated uprooting. I was thinking about making music that reflected these twists and turns, and the knotty pathways through them. I was also re-reading Borges around this time, which must have influenced my interest in labyrinths. Accordingly, the EP is a mycelial puzzle, a tangle of spidery, undulating ostinatos and earthy percussion, stitched through with syncopated kicks. Employing the sounds of multitudinous critters and kin whales, insects, thunder, water, forests the arrangements sum to a sentient mesh of organic matter, the compositions living and breathing like earthly beings. Kaleidoscopic tendrils explore in every direction but are always underpinned by a driving, percussive backbone. Its not easily classifiable: its bass-driven, but to simply call it bass music would sell it short. In keeping with the winding geographical paths traced over the EPs creation, (re)weave saw Tristan Arp revisiting and reinterpreting unfinished sessions and incorporating them into newer ideas. Rhythms and sounds have been transplanted and self-recycled from previous projects and woven into the fabric of the record. In this way, (re)weave also describes a looping back over time, a recalibration of the self from past to present through interlocking rhythms, channeling and communing with versions of oneself from times gone by. The closing track, Wish Server, slows the EP to walking pace and hints at tentatively emerging from the deepest jungle into a delicate, innocent light. Tristan Arp imagines it as a dialog with a baby-self. Some of my earliest memories are of sitting at my mothers loom, he offers. The sequence of these tracks traces these feelings and follows the thread back to the primordial soup through mazes to a feeling of levitation.

"A teacher once told me: "Where your pen slips, where the lines run over the edges — that's where your soul starts painting. If you truly want to make art from the depths of who you are, you can't be rubbing things out." I realized he wasn't just talking about the pen or the art itself; instead, he meant the blockages society creates in our minds. Mobilya expresses exactly that for me. Why see sounds only from one angle, or tweak them to fit expectations and lose the fun of playing around like a child acting freely, without expectations or guidelines? Or why paint only from one side, or just work with paper, pen, or colours? Creating's a nonstop learning process and every slip just gets us closer to who we are. For me, that's the point when I start to feel free, lighter and more honest. The work comes more from within and is not focused on the output. During the process, I started collecting objects, recorded them, and built something out of the individual pieces for the artwork. What came out was a huge, free-hanging mobile which I had to balance out. For the tracks, I focused on materials like glass, metal, wood and so on, but interpreted them in my own way. With Mobilya, I stepped into a different world which is even more about exploration that can be experienced from all sides and all angles, and art that doesn't only have to be abstract but can be everything. Originally, I had planned to create something entirely different, but tunes can't be controlled, so I let them be and didn't rub parts of them out. What's important to me personally: I've grown with this project and it has changed my perspective on the symbiosis of art and sound, something I'll explore even more in my upcoming projects. Love, A."

Twenty Twenty London Recordings

Twenty Twenty London Recordings

K7 Records

Twenty Twenty London Recordings

Dub-Stuy Records

Tempa