EDM Music
NETFRACTURE, Vol. 1 Review: MANA: :DRAIN’s First Compilation Tape
NETFRACTURE, Vol. 1 is the debut compilation tape from [MANA: :DRAIN], spanning 28 tracks and representing a serious entry point for the label into jungle, breakcore, and adjacent experimental spaces.
NETFRACTURE, Vol. 1 is the debut compilation tape from [MANA: :DRAIN], released in 2025 and spanning 28 tracks across 1 hour and 19 minutes. The project brings together artists from different corners of jungle, breakcore, and adjacent experimental spaces, positioning itself as a collective release rather than a genre showcase built around a single sound or tempo. From the outset, the scope of the tracklist suggests a deliberate effort to represent range, not hierarchy.
Rather than centering the compilation around a small group of recurring contributors, NETFRACTURE, Vol. 1 distributes attention across a wide pool of names. This approach immediately separates it from algorithm-driven compilations and places the focus on coexistence between scenes that often operate in isolation from one another.
Tracklist Scope and Scene Representation
The first half of the compilation moves between tracks like “Won’t You,” “Digital Moonlight,” “Denied From Heaven,” “Double Screen,” and “Snowfall,” establishing a run that balances melodic fragments with harsher rhythmic ideas. These early placements give the listener a sense of the project’s tonal boundaries without locking it into a single aesthetic. Tracks such as “STASIS” and “Ghoul” lean into darker textures, while others leave more space for atmosphere and restraint.
As the compilation progresses, titles like “digital claustrophobia,” “failed state,” “DANGER:code,” and “the ceasefire is still downloading” reinforce the sense that this tape is responding to a contemporary digital environment rather than referencing older genre landmarks. The variety of naming conventions mirrors the diversity of production approaches, making the tracklist itself part of the project’s identity rather than a neutral container.
Pacing, Length, and Listening Experience
With track lengths ranging from just over a minute to more than four minutes, NETFRACTURE, Vol. 1 avoids the monotony that can come with large compilations. Shorter pieces such as “same shit” and “soap :3” function as pressure points between longer cuts like “Low HP,” “Wight Monster,” and “drop that.” This variation in duration helps maintain forward motion across the full runtime.
Later entries including “mylastdayonearth,” “hydroplane,” “no way out,” and “Software Piracy” continue to expand the emotional and structural range of the tape without breaking its overall flow. The final stretch, ending with “going mental (dj trawa mix),” feels intentional in placement, closing the compilation with intensity rather than ambiguity and reinforcing the tape’s refusal to soften its edges.
A Clear Editorial Statement from MANA: :DRAIN
As a first release, NETFRACTURE, Vol. 1 reads as a statement of purpose from [MANA: :DRAIN]. The label’s emphasis on collaboration is evident not only in the number of contributors but in how evenly space is given across the project. No single artist or sound dominates the compilation, which supports the idea of rebuilding trust and visibility across fragmented jungle and breakcore communities.
NETFRACTURE, Vol. 1 does not attempt to resolve the tensions within the scene or present a unified direction. Instead, it documents coexistence as it currently exists, allowing different approaches to sit side by side without forced alignment. As an opening chapter, the compilation establishes [MANA: :DRAIN] as a label interested in long-term participation rather than momentary relevance, and it provides a credible foundation for whatever follows next.
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Scottish producer BETH returns on The Cross Records with new single Wait, following a breakout 2026 of festival slots, Ibiza dates and Radio 1 support.
In the space of a year, BETH has gone from respected up and comer to a genuine festival act. Her debut on The Cross Records, “Keep It Movin’,” is closing in on 1 million streams, and she’s kept up a steady run of releases on labels like TSHA’s Jackfruit, Eats Everything’s Edible, and Melon Bomb Records, along with a well received remix of Karen Harding’s “Island.” That output has earned her support on BBC Radio 1, with plays from Sarah Story and Arielle Free.
Her live schedule has kept pace too. This year she’s played TRNSMT Festival, Sub Club, Cabaret Voltaire, and SWG3 in Scotland, Mas Que Nada in London, and Lakota in Bristol, plus Ibiza dates at Hï, Cova Santa, and Pikes.
“Wait” marks a step forward in her production. Where “Keep It Movin'” leaned into sultry, harmonic melodies, “Wait” goes bigger and brighter, built around euphoric piano chords, a driving 90s inspired break, and deep reese bass. It’s a feel good summer record from an artist whose rise shows no signs of slowing down.
Listen to “Wait” here: https://thecrossrecords.lnk.to/wait
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The ever-evolving Deadlynoiz is back with another new single ‘Rock The House’ adding to his stacked 2026 repertoire.
Stepping into the world of bass house for this track, Deadlynoiz has produced a hugely impactful hit brimmed with his hallmark strengths. ‘Rock The House’ is a fantastic showcase of his ability to design and blend together a myriad of creative synths to deliver powerful soundscapes. The track keeps pumping from start to finish but is dynamic in its energy shifting from the more melodic verses to the aggressive, bass face inducing choruses. Deadlynoiz is consistently looking to evolve his productions and has leaned into more experimental territories here with emphatic results.
His development as an artist is evident from both his productions and his accolades as he’s attracted the attention of LVLD Music. He’s dropped a slew of hits with them and is continuing to develop their relationship with the release of ‘Rock The House’ on their label. Since it’s release the track has already raked in thousands of streams and he’s pushed onto releasing even more music in ‘Magic’ and ‘Block.’ Now bringing in over 20,000 streams a month on Spotify it’s clear that Deadlynoiz’s hard work is paying off as his fanbase continues to grow.
‘Rock The House’ is another step forward in Deadlynoiz’s evolution in sound and development as an artist. With every release he’s proving his abilities in the studio and with the rate he’s working at, there’s plenty more to come.
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Scarper releases ‘Off-Cuts (2014-2021)’, a collection of eight unreleased tracks from the era behind his debut album ‘Warmer Squares’ and ‘E-Funk’.
UK artist Scarper has released ‘Off-Cuts (2014-2021)’, a hand-picked collection of eight previously unreleased tracks pulled from the same period that produced his critically acclaimed debut album ‘Warmer Squares’ and his 2020 dancefloor tune ‘E-Funk’, which has been experiencing a resurgence thanks to a recent physical release on a new imprint.
The project is exactly what it sounds like, Scarper going back through his studio archives and finding the demos, jams, and ideas from that era that were good enough to polish up and put out. “I realised I had quite a few demos, jams and ideas on my laptop from that period, some of which were decent enough to polish up and get out into the world,” he said. “It’s a snapshot of where I was musically at the time, so I thought I’d package them together as a retrospective rather than a proper release, giving people something to enjoy while I crack on with the next project.”
The eight tracks cover a lot of ground, from the epic opening chords of ‘Skynet’ to the acid squelches of ‘Steppe’ and the string arrangements of ‘Halocline’. It is the kind of release that rewards the people who have been paying attention, and sits comfortably alongside some of his best work.
Scarper has built his career almost entirely on his own terms, releasing through his own imprint Plexus Records and picking up support from Orbital, Laurent Garnier, Carl Craig, Rinse FM, BBC 6 Music, Mixmag, and DJ Mag along the way.
‘Off-Cuts (2014–2021)’ is out now on Plexus Records.
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