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Eliza Rose joins the ‘FABRICLIVE. presents’ series with a release that reflects the breadth of her creative journey in club music culture. A DJ, vocalist and songwriter from London’s vibrant underground, she has become one of the UK’s most compelling voices, equally at home in the DJ booth, on record, and crafting music that resonates across dancefloors and charts alike.

To accompany the release, fabric presents commissioned a bespoke, hand made tapestry depicting Eliza Rose and her friends at Carnival, a celebration of community, heritage and collective joy that runs through her story and the culture she represents. Rich in texture and detail, the piece transforms a living moment into something timeless and craft led. Eliza is pictured alongside the tapestry in an iconic hot pink tracksuit, set within a council estate garden that feels instantly recognisable as a portrait of London life. Surrounded by nostalgic children’s toys, from a rocking unicorn to a plastic slide, the scene captures the everyday intimacy and character of the city’s estates, spaces where music, family and friendship intertwine.

The contrast between the ornate woven artwork and the raw familiarity of the setting creates a striking visual metaphor, bridging past and present, celebration and reality. Together, the imagery reflects the spirit of the release itself: rooted in community, shaped by lived experience and grounded in the environments that continue to inform Eliza’s creative world.

Mad Rey is a Paris-based producer and DJ whose universe moves freely between warm house, raw electronic textures, and influences drawn from the international club scene. First emerging through the D.Ko Records collective and label—one of the key forces behind the French house revival of the 2010s—he quickly developed a sensitive and organic signature, blending analog groove, evocative melodies, and a deep dancefloor energy. His notable releases on D.Ko, followed by projects with labels such as Red Lebanese and Ed Banger Records, reflect a singular trajectory at the crossroads of France’s most influential underground and electronic scenes.

Constantly evolving, Mad Rey is now opening a new chapter in his journey. An upcoming EP on Yoyaku affirms a more club-focused and percussive direction, while new productions leaning toward tech house outline a sharper sound designed for powerful systems and late-night dancefloors. This evolution comes with a clear ambition: to carry his music beyond French borders and expand his presence on the international stage.

Balancing production precision, DJ instinct, and an ongoing search for renewal, Mad Rey continues to shape a distinctive artistic world—rooted in the present yet firmly oriented toward the future of the dancefloor.

Das Debüt des transzendentalen Gitarrenmeisters aus dem Jahr 1971, remastered für all eure Sabbat-Bedürfnisse. 37 Minuten ambienter Gitarrenzauberei und der perfekte Soundtrack für das Erwachen des dritten Auges, Lichtalchemie oder Menschenopfer. Mit diesem Werk könnte man eine Sekte gründen. Der kalifornische Versandhandelsmystiker Master Wilburn Burchette wurde erstmals durch seine Anzeigen bekannt, die auf den hinteren Seiten des ,Fate Magazine", von ,Beyond Reality" und ,Gnostica News" versteckt waren. Im Angebot: Burchettes siebenteiliger, im Blockdruckverfahren hergestellter ,Psychic Meditation Course", der den Menschen beibringen sollte, wie man Musik hört. Passend zu seinen Lektionen verkaufte Burchette eine Reihe von Instrumentalplatten mit Gitarren- und Elektronikmusik, die mit kunstvollen, handgezeichneten Cover-Motiven versehen waren und Höranweisungen vom Meister selbst enthielten. Bereits seit seinem zwölften Lebensjahr war Burchette von der Parapsychologie fasziniert und verbrachte ebenso viel Zeit mit dem Lesen von Büchern über die Grundlagen der tibetischen Mystik wie mit dem Üben auf der Gitarre, deren Schwingungen er nutzte, um Klangbilder und -muster zu erschaffen. Nachdem er eine Zeit lang klassische Gitarre unterrichtet hatte, veröffentlichte Meister Wilburn Burchette in den sieben Jahren von 1971 bis 1977 sieben Alben, bevor er abrupt alles, was mit seinen musikalischen Erkundungen zu tun hatte, verbrannte und wegwarf.

MEGAPTERA, the scientific name of the humpback whale, is also the title of the new album by French producer and composer Rone.


Born from an ambitious film project, the record was largely composed at sea, off the coasts of Brittany and Réunion Island, using a modular synthesizer and melodic sketches developed for an almost unreal proposition: attempting to resonate with whales through music.


Following Room With a View—a soundtrack to a performance created with the alternative dance company La Horde, exploring collapse and rebirth—Rone continues his investigation into new imaginaries. If that earlier work emerged from reflections on ecological, social, and technological tipping points, MEGAPTERA marks a shift: away from the city, toward the sea.


Gradually, he moved away from performance toward a more craft-based approach, extending his practice beyond the studio into a wider space of listening, exchange, and fieldwork. Early footage of sailors broadcasting his work into open water—seemingly answered by whale presence—circulated online, generating fascination, but also a growing unease for the artist regarding what these projections might imply.


This tension became the starting point for a longer period of field experimentation, developed in dialogue with scientists, environmentalists, sailors, and bioacousticians. The resulting 15-track album reflects this open-ended inquiry — not only into whether human-made sound can reach whales, but also into how this process can shape a new form of electronic music, and open it towards new deep-sea soundscapes.


Rather than seeking imitation, Rone works with reduction. Drawing on research into cetacean vocalisation, he pares back his language—focusing on frequency bands, repetition, and suspended structures. Minimalism appears less as reference than as natural convergence.

2026 Repress

In March 2023, Tresor Records will release "Crash Recoil", a new album by Surgeon. It marks Anthony Child's first techno LP in five years, following a period in which he felt uncertainty in his role as a techno producer and found it tough to locate inspiration. This new album encounters him drawing on spontaneous techniques to arrive at unchartered topographies.
"Crash Recoil" originates from Surgeon's recent live sets, where he experimented with constraints in performing and embracing the twists, turns and paradoxes that arrive from this. Each fresh iteration on consistent MIDI sequences and hardware reconfigured tracks into dierent constellations, creating an inspiring vortex of unpredicted events where ideas could flourish. This new approach allowed him to capture the spontaneous energy of his live shows in a way he had never done before. "This is not a live album, since it has not been recorded in one go during a live performance. In the same way that bands tour songs before going into the studio to record an album, I was able to explore these songs and hone their eectiveness during my live performances before creating a studio version."
The result is eight tracks that emphasise a new techno sound for Surgeon, drawing in references from across the musical spectrum. "I can hear Coil, King Tubby, Detroit Techno and The Cure all wrapped up with 30 years of DJing," Surgeon says of the album. Melancholic hum-like ambiences smudge around unadorned, near-droning basslines, crunching rhythm and percolating arpeggiations. The tracks carry unique and potent locomotion, with a low-slung grind through toughened terrains, breathing with a free spirit, untethered by a studio-based perspective. We hear manifestations of the same raw material across the album, like a textural motif, carving new variants and creating a cohesive work full of recollection.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

Sa Pa launches Dub Techno For Life: a dedicated outlet for the artist’s more dancefloor-focused material - work that has largely sat outside the conceptual frame of his previous releases.

The label’s first release, Girls on Tour EP, opens with “Mokira Ultra Dub”, a 10-minute club rework of Mokira classic “Manipulation Musik”. Originally produced alongside an ambient version commissioned for Kontra Musik’s 2016 Kontra X compilation, the dancefloor mix was ultimately shelved until now. With Andreas ‘Mokira’ Tilliander’s blessing, it finally surfaces as a standalone Sa Pa production. A track too banging to go unreleased.

“Waiting For You” traces back to Sa Pa’s orbit around the giegling ecosystem via FORUM. Once lined up for an official release on the parent label before plans stalled, the track slipped into the archives. Buoyant and disarmingly pop by Sa Pa standards, it finds its place here as the A2 - tuned to the collective memory of mid-2010s German house music.

Harnessing the spirit of Chain Reaction from the abandoned patches and borrowed machines of a rainy night’s recording in Taipei, the B-side’s “Modular System” captures a late-night, one-take modular jam. A broken yet hopeful “World Saving Banger” closes the EP with some raw and IDM-leaning force, showcasing Sa Pa’s new label - and the Girls On Tour EP - as a space for neo dub techno ideals to take shape.

Tip! Amazing and subtle groovin house! This is exactly the kind of record that does not need to scream for attention, it pulls you in slowly, hypnotically, with groove, texture and an effortlessly cool sense of restraint.

Parra for Cuva returns in 2026 with a new LP – Nacar – and world tour, marking the next step in his ongoing artistic evolution. Known for creating immersive electronic soundscapes that combine organic instruments with detailed, emotive production, he now extends his vision with a renewed visual language and live experience that deepen the connection between sound and space.

Growing together both personally and musically… That is indeed the good fortune of the musicians in the Marseille-based trio ubaq. We’re talking about bassist Antoine Carletto, guitarist Lucas Schemidt, and drummer Antoine Saussol, winners of the Rezzo springboard competition at Jazz à Vienne 2025. In their early twenties, they met in their late teens while still honing their musical skills. Nearly ten years later, they burst onto the scene, in perfect harmony, with their very first album, “Night WIP,” a follow-up to their EP, “20bis,” released in 2024. They owe their stylized stage name—written in lowercase with a “q”—to the ubac, that side of a mountain with very little sun exposure, where twilight reigns. “We liked that idea because we’re night owls,” says bassist Antoine Carletto. Hence the “night” for “nuit” and the “WIP” for “Work In Progress,” explains guitarist Lucas Shemidt. ubaq’s music is characterized by a nocturnal, melancholic heaviness, pierced by beams of light. “We love creating music that soothes us and highlights the precious nature of composing and playing in complete harmony,” says Antoine Carletto. “We cultivate complex tones, sometimes difficult to bear, whether they’re nostalgic or even verging on depression. But we manage to convey emotions without falling into clichés,” adds Antoine Saussol. Night and twilight serve as the perfect catalysts for this trio, which moves forward with perfect chemistry and harmony.

On this album, they feature the German-Armenian rapper and singer Talin, who is also based in Marseille. She appears on the track “Regarding Others,” where she chants that even though the year 2026 may see mothers weeping in every corner of the world, she still manages to smile. Thus, this track explores the three musicians’ relationship with the world and the necessity of looking at others. The unsettling “Sciatiq,” the haunting “Sakakinik,” and the ambivalence of “Flayosc”—the final track, on which the trio features trombonist Jules Regard—owe their titles to the musicians’ own observations and experiences. The multi-faceted track “Proud,” in two parts, is a tribute to Lucas Schemidt’s mother, who has since passed away. The presence of wind instruments—whether Jules Regard’s trombone or Mathieu Fabre’s saxophone on the intense track “From The Ending”—adds textures missing from the natural landscape depicted in “Night WIP.” This debut album captures the obsessions and introspective wanderings—sometimes anxious, sometimes enchanted—of a trio that cultivates melody as a pledge of warm fulfillment.

Luis Ripa is already making big waves, with a number of his tracks receiving support from someof the most respected DJs in the underground house music scene. As part of Amsterdam’s Naked collective, he is one of the most promising talents carrying theflag for raw, stripped-back grooves and drum aesthetics. Pisco Slap EP marks his debut on Salty Nuts and showcases his ability to create energy and atmosphere without overproducing. Elegant yet edgy drum programming, combined with innovative sample chops, adds a special essence to his outstanding grooves. The title track, Pisco Slap, is already gaining support from some of the biggest names in the scene and has already caused serious damage on dancefloors worldwide. Accompanied by two more high-end grooves, A10 and Hippie Joint, the release is completed on the flip side by Fabe’s twist on Pisco Slap - a deeper stomper that delivers the well-known signature groove Fabe is known for.

Golden Earring were together between 1961 and 2021, and their last and best known line-up included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone) a member since 1968 and Cesar Zuiderwijk (drums) a member since 1970.

They had over 40 hits and released 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single "Radar Love" and their 1982 single "Twilight Zone".

Around 1992, the unplugged sessions on MTV were a trend; almost every rock band or artist was doing them. Bass player Rinus Gerritsen suggested to record an acoustic album themselves. The record company wasn't very enthusiastic at first so with a small budget the band recorded the album live in an intimate cafe in Amsterdam. The Naked Truth turned out to be the Golden Earring's best selling album.

The Naked Truth is available as a limited edition of 2000 individually numbered copies on purple vinyl. The 2LP is packaged in a deluxe sleeve with linen laminate finish and includes an insert.

Ursprünglich 1968 in New York auf Barakas eigenem Label Jihad veröffentlicht, ist "Black And Beautiful Soul And Madness" ein leidenschaftliches Zeitdokument der 1960er Jahre. Man könnte es leicht für eine verschollene Veröffentlichung von ESP-DISK halten, fügt es sich doch nahtlos zwischen Sun Ra, The Fugs und Albert Ayler ein. Die Band nutzte ihre Stimmen auf vielfältige Weise: mal singend im Stil von Doo-Wop und Soul, mal rappend im Stil der Last Poets, und oft auch beides gleichzeitig. Emotional fesselnd und von enormer Kraft, wird dieses Werk nun erstmals wieder auf Vinyl zugänglich.

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Salin, gefeierte Schlagzeugerin, Produzentin und Komponistin, geboren in Thailand, wohnhaft in Kanada, ist bekannt für ihre innovative Verschmelzung globaler Rhythmen. Ihr bahnbrechendes Album "Rammana" erhielt 2025 eine JUNO-Nominierung als "Global Music Album of the Year" und wird nun flächendeckend auf Tonträger erhältlich. "Rammana" ist eine zutiefst persönliche Reise, die die Klänge Nordostthailands mit dem psychedelischen Soul Westafrikas der 1970er-Jahre verwebt – gefiltert durch Salins modernen Produktionsstil. Inspiriert von traditionellen Trommeln und Volksliedern der Urak Lawoi, einem indigenen Nomadenvolk Thailands, ist Salins Album eine Hommage an die musikalische Migration und den Austausch zwischen Ost und West. Ihre Musik reflektiert Themen wie Identität, Spiritualität und Menschlichkeit, gepaart mit einer Prise Lebensfreude, und erschafft eine einzigartige Klangreise für die Zuhörer. Salin tourte durch Nordamerika und Europa (u.a. Jazztage Dresden, Überjazz, Trans4JAZZ-Festival, JazzOne+ Festival) und trat als Support für Kokoroko und Yussef Dayes auf.

Ryjel was a band from suburban Pittsburgh, PA, that started out in the mid-1970s performing classic rock covers. The band was approached by a local entrepreneur who wanted to cut a single for the disco market, but a lack of financing scuttled the proposal. Nevertheless, the band was able to record a dozen of its original tunes in a professional studio for possible release, and among those songs were "Heart's On Fire" and "Baby Don't Stop."

Both tracks were recorded some 50 years ago having remained unreleased to this day. It needed the investigative work of the Tramp Records crew to discover them. Finally they are available on a strictly limited 45 RPM single release. In addition, the full length version of "Heart's On Fire" will soon be released on the upcoming Tramp Records compilation titled "CAN YOU FEEL IT Vol.5 - Modern Soul, Disco & Boogie 1977-88".

2026 Repress

"To make authentic Jungle you’ve got to get the breaks right sonically and LMajor does that without effort. Something in the tone of his drums really spoke to me and I knew immediately I wanted a record for Astrophonica. Authentic UKG is also all in the drums and it turns out he can do those too. Throw in some killer hooks and riffs and it’s the perfect combination - full of vibe and character” - Fracture

‘Can’t Do It’ is raw dance floor Jungle in a drawn out and journey like fashion. They don’t make ‘em like this anymore. Incredibly fun to mix - can you do it?

‘Spinnin’ is all blissed out UKG with dizzying chord stabs and vocal ticks. Wait for the irresistible walking bass line to take you by the arm and go for a stroll.

The drums in ’Feelin’ are so in the pocket that there’s no space for your wallet and keys so forget them and just bubble. Heavy sub bass will have the rest of your jeans flapping.

‘Hush’ closes the EP on a high with trademark LMajor breaks and drawn out arrangement. No need to rush this one, just tune out to the rhodes and Think break workout before the lashing and metallic Amen ramps up the excitement. Shhh, just listen.

2026 Repress

Jack Stevens aka Sully has become somewhat of a cult figure in the jungle world with his output being in high demand. His work is unmistakable. It’s always true to it’s origins while simultaneously adding new takes and juxtapositions in palette and composition. A true artist that excels in his field.

Stevens returns to Astrophonica with Swandive, a body of work presented in dual energies - dark & light, body & mind, Yin & Yang. In Werk you’re put to the test physically as es- ki-like percussion stabs grab the attention and demand a response. A staple in Fracture’s DJ sets for the last year or so.

Poison demonstrates a side to Stevens’ production that is harder, meaner, cruder and all together more brutal than he is known for. The result is an infectious mix of venomous bass and corrupted drum breaks fit to kill any dance.

The title track Swandive begins to counterbalance the fierce energy and bring some harmony opening with calming strings and trademark icy melodies before elevating to an intense state of amen divinity that twists and turns in a story like fashion.

Memories completes the balance with euphoric bass stabs and emotional strings culminat- ing in a searing and conclusive anime-like solo. Some of Stevens’ most daring work. The cycle is complete.

2026 Repress

Fresh his Keysound D&B opus Blue, Sully returns to Astrophonica with four pristine slabs of breakbeat science. "Flock" places the full strength melodic elements over the faraway amen echoes in a way that's not dissimilar to early Good Looking. "Helios" is a much colder flashback to the darker corners of jungle's formative dance; all breathy minor key chords and vapour trails of paranoia countered neatly by a precision dub vocal sample. "Crystal Cuts" recalibrates the focus to the drums by way of broad jazz chord strokes while "Hours/Miles & Still" concludes affairs on an emotional electronica tip where the breakbeats thanks to a beautifully arresting intro. Powerful.

Mystic Letter K presents Occulimus. Behind this alias stands Cari Lekebusch, one of Europe’s most respected and prolific techno figures, with an undeniable legacy and historic releases on labels such as Missile, Hybrid, and Planet Rhythm, among many others.

With Mystic Letter K, Lekebusch steps into a parallel, more mature and conceptual universe—one where he fully explores a mental, tribal, deeply hypnotic and highly danceable strain of electro. His sound is built on constantly shifting patterns: elements that repeat, reconfigure, and sequence themselves in multiple ways, creating a continuous sense of motion that drives the listener into states of trance and altered perception. Occulimus captures this essence with surgical precision: an unmatched groove, raw yet refined, designed for the dancefloor but equally suited for full immersion. Each side of this double vinyl acts as a powerful and versatile tool, allowing any DJ to build, sustain, and transform energy with a single record in the bag.

A direct, functional, and absorbing work that reaffirms Lekebusch’s forward-thinking vision and his unique ability to sculpt sound in motion.