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Superb Repression 007 ! A french Hardcore 100% !
Nec frenchcore, nec gabber, necold school... Sed Omnia !

Simple production is the goal, no overcomplication. A sharp kick, added vocal, just a few strong elements that really stand out. Ason Teva keeps it direct and honest. The result is a powerful track that makes me rethink everything I knew about production.

Alex Caballero, also known as Doctrina Natura (Seville, Spain), is known for his organic, nature-inspired sound, and this remix follows that style closely. It exists alongside my original track, like two versions in different universes with the same purpose.

In his version, the focus is on punchy, tight drums that give a 90s feel. The track starts dark and moody, then gradually builds into a more intense and powerful climax, keeping its natural and immersive vibe throughout.

This is the second time Alex has remixed one of my tracks. The first collaboration dates back to 2019 on Edgar’s Nferee. While my own sound has changed significantly since then, Alex has remained true to his distinctive style, steadily raising the quality of his work.

Hod (Antioquia, Colombia) is a maestro renowned for his rich textures and harmonic depth. Bringing his Midas touch to this remix, he transforms the piece into a deep and immersive sonic journey. The added ambient pad evokes the moment consciousness returns in an unfamiliar wilderness, carrying the listener to the edge of space and back.

Strom UA delivers a remix with deep basslines and hypnotic sounds that create a strong atmosphere from the start. The track develops slowly, adding small, subtle new elements along the way which are not recognised at first but at the end they come together and form a full story.
To me it feels like traveling in a tunnel where the light slowly disappears. It creates a cold and mysterious feel which then keeps you interested and encourages you to progress further.
It doesn’t demand attention, it absorbs it.

Sub Radar 01 repress. Hangar dark Tribe sound. A pure psychedelic experience. No vocals samples. Just sound.

Superb Freetek oldschool weapon, mental and full of surprises. A masterpiece, second venue on this new awesome label !

Vinyl only: After a speedy sell out on the first release. Slam Duncs returns with its second offering, Home Is Where The Funk Is by Teak Makai. A fusion of out there sampling, sexy vocals, crazy jazz skills and dancefloor wonk, bringing the EP together to show something genuinely unique and “stand out”. When looking though the bag to shake things up this record will be winking at your from back.

Release description Chesster lands on Rutilance Recordings with a four-track EP rooted in classic deep house. Blending old-school influences with a modern touch, the project captures the essence of his sound: groove-led, warm, and true to its foundations. Originally from Italy and now based in Los Angeles, Chesster has been building strong momentum across the global house scene, with a run of standout releases and defining moments over the past year. This EP marks an important step in that journey - not only as his first on the label, but also as a more personal statement. After a run of highenergy, peak-time records, the project sees him step into a deeper, more refined lane. The EP also features a special contribution from Rutilance boss DJ Steaw, adding an extra layer of character and tying it closely to the label’s identity.

It’s been a while! Six years after their last release on the best seller' Good Plus label, Les Yeux Orange return in full force with four tasty edits drawn from their ever-expanding record crates. A selection of obscure and rare French gems you’d never expect to find brought together on a single release. Expect some funky Balearic vibes, sleazy Italo, infectious disco, and lustful boogie… Each track has been carefully readjusted for the aural pleasure of devoted crate diggers and discerning collectors. Sacrebleu !

Sinitsin is back on Abstract Rhythm, this time with a full EP of six strong and versatile Electro tracks, called “A Temporal Paradox”. A Temporal Paradox is a hypothetical contradiction of cause-and-effect within a timeline. The tracks contain everything from deep and subby to higher frequency driving basslines, subtle to distorted acid sequences, warm pads and melodies to harsh percussion sounds, from smooth floating grooves to energetic, dancefloor ready gems, while overall having the ability to make you travel through time and space, bringing you closer to the Temporal Paradox.

Raw techno grooves meet sharp electro rhythms, colored by subtle Italo-disco undertones. Analog basslines, crisp drum machines and retro-futuristic synth work built for late-night dancefloors. Dark, hypnotic and strictly club-ready.

We're kicking off the new year in fine style with another set of Belters by none other than Dominik Marz. Some have been tried and tested - with HURT appearing on vinyl for the first time. Others are unheard, until now.

Atjazz presents his long-awaited 27-track long player "Starbase 17" — an epic odyssey through song and sound, offering a rich tapestry of styles that draws listeners into a wondrous sonic realm where rhythm, harmony, and imagination intertwine.

Taking inspiration from his extensive body of work, Martin "Atjazz" Iveson fuses his signature deep musicality with cutting-edge production to reach new creative heights. This time, he brings an exceptional ensemble of world-renowned collaborators aboard his cosmic vessel, each adding their own distinct brilliance to the voyage

Together, this stellar lineup consisting of Fred Everything, Nathan Haines, Sio, Karizma, LyricL, Peacey, Pete Simpson, OVEOUS, Charles Webster, Kaidi Tatham, Clyde Beats, Natasha Watts, Omar, Max Beesley, Josh Milan, Rona Ray, Osunlade, and Clara Hill joins Atjazz on a journey through sound, space, and emotion — where each track is a world of its own, yet all are united by a shared creative vision and boundless imagination.

DJ Support - DJ Target, Majestic, Scott Garcia, Daddy G and more.

Zed Bias relaunches his BIASONIC imprint fresh for 2026 with a bang, as MC FIZZY and KILLA P bring a heavy slice of roots and dub to the UKG party!

Produced by Zed himself alongside the Manchester powerhouse METRODOME.

This one has been smashing up raves and radio for a couple of months by a selected few, including DJ Target (Genius crew takeover on 1xtra), Majestic (KISS), Scott Garcia (KISS) and Daddy G (Massive Attack).

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."