The electroclash genre sure has been having a bit of a renaissance moment. During its first coming an odd 25 years ago the French act Sweetlight was a favorite over here. Originally active between 2002 and 2010, they quickly positioned themselves within a refined strand of the global underground scene: inspired by 90s acid house club culture, they rose to prominence by releasing a sparse selection of original tracks and a multitude of remixes that were both dancefloor-effective and immediately recognizable. After the EPs stopped coming, the project seemed to have faded. But their tracks never left our bag: they combined minimalism with ambiguous elegance and retained a distinct, timeless quality, easily transcending the turn-of-the-century style they were most closely associated with. We are delighted, in what we consider nothing less than a full-circle moment, to release “Selected Recordings: 2004 – 2006” and shed light on an underrated yet, in our eyes, absolutely essential project.
ALT022 is an anthology release featuring four extensive, remastered cuts. Abusator, arguably the act’s hallmark track and a crossover hit, kicks off the EP. It is joined by Mécaniques Remontées, which opened the milestone Suck My Deck mix by @ivan_smggh_jmm , and Too Shy, both initially part of the same EP back in 2004. Noir Comme Le Beat, an unreleased curiosity from the same era, closes the record. You will find dark, endless, ever-modulating arpeggiator basses, Detroit-via-Paris chord progressions, and spartan drums. The work is, in the artists’ own words, low-profile, detail-oriented, and built for late hours. It’s an ideal compilation or - depending on the case - introduction, especially now that new work is rumored to be finally on its way.
Over the past three decades, Philipp Lauer has produced an extensive body of work, deploying a myriad of aliases, both as a solo artist and as a part of collaborative projects. From his hardware-steeped Frankfurt studio Pyramide 2, he’s built this catalogue through original material and remix commissions, taking on the full spectrum of electronic music while retaining an unmistakable signature. He combines a hands-on approach to rhythm and composition with a DIY MO and a love of big hooks. His level of expertise seems to facilitate a playfulness that subtly permeates all layers of his work. He’s a pop melody natural who just so happens to love fiddling with synthesizers, drum machines, and effects an equal amount.
All of these qualities are exemplified on “Embalmed In Martino”: Lauer’s four-track ode to the Belgian Martino sauce, a spicy tomato-based condiment, and arguably the essential ingredient to top off the namesake raw meat sandwich. On “Embalmed”, which makes use of instrumentation that would fit right in on an early eighties Manchester cut, and “Martino”, where a sturdy, electroclash flavored arp bass provides the stamina, a slew of big and small riffs easily work their way in, thirsting for our ears. On the other side, “Transactional” combines Miami basslines and similarly electro-fundamental twinkling synth work with a flanger-laced 4/4 beat, while “Don’t You Know” features soaring synthwave patterns and the only vocal samples on the EP. Both sport rich arrangements as well, right down to the cowbell overdubs.
Lauer’s often lauded for his “summery sound”. In this light ALT026 lands right on time - yet we might disagree here, as it’s suited for all seasons, and all terrains, both the shiny festival grounds and the dim-lit club floors.
On the 2024 Altered Circuits release “Tropicana Tracks,” Rotterdam-based artist Betonkust paid tribute to the former subtropical pool (now a circular entrepreneurship hub) “Tropicana” of his hometown. ALT025 is the follow-up: the fallen-from-grace swimming paradise again fuels a club-oriented selection, inspired by, in the artist’s words, “the electronic music from 1988 up until now”, more specifically “the Benelux-sound”.
“Tropicana Tracks Two” kicks off in full gear with the zero swing drums and lately bass rhythms of “Don’t Think I’ll Be Here Too Long” setting the stage for intense synth stabs. Its counterpart comes by way of “Realxing”, which nonetheless uses similar patches. If the A1 is the thrill of the slides, this one feels like blissfully floating in the geothermally heated waters afterwards. “Will support” on the reverse side takes on Detroit techno. Minimal in its composition, it is carried by tough, loopy minor fifth synth sections and prominently mixed rides. “TV For Lonely People” features more big bass catchiness and melancholic, silky melodies, glued together by vintage flanger treatment and chlorine-damp reverb. The production revels in what feels like the quintessential Betonkust sound. Innershades then joins for the encore, and, characteristically, the mood turns a bit darker. “Letting Go Of The Dream” is an emotional new beat update, fully equipped with thudding drum works, haunting lo-fi vocals and pivotal 303 programming - a fitting reaffirmation of the long-standing ties between two of Low Countries Electronics's finest ambassadors.
Late ’80s and early ’90s electronic music has had a steering influence on the Altered Circuits catalog curation, so we are delighted to present an EP by one of the pioneers of that era: Olivier Abbeloos. His 40 years of experience as a producer and DJ translate into a Discogs profile so extensive it reveals his real name alone can be (mis)spelled in 20 different ways. “1993-1994: Rare & Unreleased 1” features five tracks produced under three different aliases, all sourced from the artist’s DAT tapes vault, dating back to the prolific two-year period referenced in its title.
ALT024 opens with two “Conga Squad” tracks. “Combo” is a high-energy cut driven by a savory staccato chord progression, and “Substitute” works a similar, yet more restrained dynamic, that is, until a boisterous vocal sample enters. The quirky bass lines and moody synth work of “Under The Ground”, the first “Holographic Hallucination” inclusion, concludes the A-side. Its twilight atmospherics fit right in amid the B-movie horror electro trending on contemporary dancefloors. The flip opens with “Psychosky”, which caters slightly more to a slow-burner vibe and sets the stage for extensive piano work. “Dj Flavour”, composed under the “Warp Factor One” alias, closes the EP. Here, the Latin-tinged percussion that runs as a subtle thread throughout the release takes the spotlight, while funky basslines and manipulated vocals add layers of detail. It is the only track on the EP that was already released in 1994, appearing as part of a – by the standards of that era – obscure and very limited 300-copy pressing. Those times sure have changed, but the music still sounds as fresh as ever.
Release date: 27/03/2026 @clonedistribution
Three years after the release of Volume 1, Innershades returns to home turf with a second entry in his Heritage series.
The New Beat territory that its predecessor tackled serves as the starting point for the A-side of Volume 2 as well. The glistening arpeggios and choir patches on “Mind State”, alongside the unyielding kicks, alarm-like synth lines and plodding tempo of “System Breakdown,” reaffirm how the genre’s hallmarks smoothly align with the artist’s own inclinations. The B-side draws from the broad spectrum of styles that emerged a bit later, in the beginning of the nineties, when it seemed the dance floor would move unimpeded between and bridge genres, its boundaries often not as firmly established. “Fuse Memory” nudges the pace forward, driven by the 909 and a staple hypnotic lead. When the drums come to a halt, a 303 emerges to flesh out the break. “Rhythm Composer” continues in a similar early techno vein, but pulls the track into outer space via its formant-heavy leads and Detroit-tinged sci-fi sweeps.
On ALT023 Innershades appears in fine fettle, providing another batch of up-front club tracks that approach history as motion rather than memory, translating the past into forward momentum.
On its “Various 2” compilation, Altered Circuits returns with a gripping four-track selection by an equal number of distinct-voiced artists.
“Perrax En La Calle” sees tINI merge sturdy drums, arpeggiated basslines, and ominous synth work. She knows what makes the floor tick blindfolded, and keeps the energy high here, channelling electronic body music and Italo into a contemporary club knockout. Up next is “Ionic”, a fusion of quirky, pointillist hooks that play call and response, driven by 909 kicks and a sub pattern underneath. Mogwaa spellbinds, and often pulls the rug only to reveal more intricate melodic needlework — it’s done so nimbly and enticingly, there’s no way not to get drawn in.
On the flip side, rising talent Desirée Falessi joins with the peak time “Scandal”. Statically-charged basslines mesh with reverb-drenched percussion salvos, and as slinky pads and subtle theme variations emerge, the intensity builds toward a tipping point. Closer “Flex” features a sharp arpeggiated bassline that funnels through misty, LFO-steered synths, scattered alarm-like melodies, muffled vocals, and gated-reverb snares. When classic high-pass modulation intermezzos are introduced, Monile demonstrates how sparse means, when deployed precisely, can sustain considerable tension.
The twentieth Altered Circuits entry comes courtesy of Attack & Disperse, the moniker Cooper runs in parallel with his Reflex Blue project. It focuses on darker, deeper moods, with a hardware-based, imperfection-embracing approach—and sits on the axis of electro, Detroit techno, and progressive.
“DiscoNnect” revolves around a murky, slightly unstable bass with strong sub presence and a thickly accented vocal sample. Distorted synth brass interludes enable the bare-bones sections to punch as hard as they do. “Higher Places” works with the same energy, but channels it in a bolder way thanks to its snappy palette. The tune is indebted to the after hours, yet carries enough crossover appeal to set off any club setting. On “Power Of Overthink” the current shifts somewhat toward the effervescent. Its flanged square lead is surrounded by fidgetty arps and acid squelches, and feels sturdy enough to carry a dozen tracks’ weight. Closer “Beat from E” is a composition of IDM-inspired drum patterns laced with a brash mixture of samples - pitched-down vocals, vocoders, and scratch salvos all make their way in - and propelled by a fat MS20-type bass.
Cooper has been on a steady tear with his sleekly balanced, club-oriented releases, and we are delighted he’s now joined our catalog with “The Second Contact EP”.
Alex Neri - Club Voyage EP
Release date: 10/06/2025
The nineteenth entry in the Altered Circuits catalog comes courtesy of Alex Neri with a selection of 4 tracks that distill an equal amount of decades in the studio. They are undeniably straightforward yet difficult to pigeonhole. It is clear Neri is aware of current trends and, at times, might even throw them a little nod - but overall, his music escapes easy temporal classification. On the “Club Voyage EP”, he aims at the brash and brazen yet keeps the pace lighthearted. When the results come buttressed with the type of technical prowess at hand, it is hard not to get sucked into the adventure.
“Teller Mood”, charged with a fierce bassline, boisterous drums and jittery arps, is a slab of electroshock production. The track comes complete with extra motivational vocals to drive the point home, and when it arrives at its most stripped parts, instead of toning down, an alarm-like lead emerges. “Schelter’s Sounds” features an FM bass and gently modulated, slow-attack synth embellishments. It is a set-up that allows for catching a breath until a grandiosely introduced portamento-heavy patch cranks things up a notch again. On the other side, the delayed and flanged percussion of “Tenax Roots” forms the ideal conditions for ominous synth work and robotized vocals; a theme that could have been lifted from a giallo flick completes its suspenseful, hypnotic ambience. “Move Tokyo Inputs” starts with another salvo of invigorating percussion. Amidst subtly evolving formant basslines and several risers, the tune directs a tweaked deadpan vocal sample to take center stage, showcasing how, in the right hands, the sparsest source material can be turned into a showstopper.
Salomée - Before Time Began EP
Release date: 10/06/2025
Bordeaux-based emerging talent Salomée deals in menacing and moody atmospheres, drawing on a range of techno, electro, house, and the ill-lit corners in between. Hypnotizing and neon-tinged melodies drive her tracks: these are bare bones, high on repetition, and very compelling. They come backed by elaborate and agile drum rhythms, composed with a rawness that references the most seasoned inspirations. The “Before Time Began EP” sees the artist further develop her sangfroid aesthetics with four tracks that assuredly reach beyond bunkers and basements.
On “Sacred Gatherings”, several entrancing, alternating arpeggios work up a spark against a backdrop of tightly choreographed kicks and SH101 patterns. When the cut rises to a peak, a salvo of vocal chops drops - a rare event in Salomée’s discography, even though the samples are rearranged beyond recognition. “Before Time Began” utilizes a similar palette, but this time, an undercurrent of melancholy seems to propel the track. A leisurely modulated, dubby sub segment amplifies the theme. “By The Sea” combines dark bass sequences and strings as gloomy as a fog horn with vivid 909 drums. The highs of the lavishly programmed hats and claps and the intense lead provide a slug of energy. It is a rendition of trance, manipulating both the genre’s and the artist’s signifiers. On “Love Prevails”, a slowly filtered, heavily delayed lead is spread atop a Bristol techno style beat. An array of cinematographic chords and subtly mixed gasps inject this closing track with a precarious balance, one that explores the tension between yearning and relief.
Jacopo Latini - Signal Drift EP
Release date: 26/05/2025
On his second EP for Altered Circuits, “Signal Drift”, Jacopo Latini further distills his sound. Taking a more minimalist approach, he unreservedly focuses on groove. Still relying on his staple talent for weaving melodies and hooks, he delivers four trippy club tracks that show more can be done with less.
Opener “Sharp” delivers immediate proof. After starting with a sequence of eerie sci-fi atmospherics and recondite vocoded vocals, the adding and subtracting happens so ingeniously, the track switches to club velocity 303 squelches and enhanced drum programming seamlessly. Similar techniques in building and layering are deployed on “Impulse”, but this time, the shifts seem a tad more dramatic. The track revolves around an FM bass melody that’s equally effective as it is simple, and its return to this stripped theme, surrounded by characteristic jittery hats, squashed claps, and a little more frills, keeps the listener on his toes. A bass patch, its sustain knob turned wide open, somewhat buried in the mix, drives “Bright Sound” together with a heavily modulated formant mid lead. Deadpan vocals add icing, and slightly euphoric, phased chords bring in a touch of subtle contrast. Closer “Rave Harvey” is a rare diversion as it starts in medias res with chords that reconfigure nineties trance and a distinct bassline immediately going for the limelight. It also shows Latini switching up his palette, trading restraint for vigor, with a slab of direct, unfiltered hi-energy as a result.
