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RAWAX welcomes Jay Tripwire & Maher Daniel to the artist Family!
happy to present you this with their fabulous release called "Low and Slow".
Subtile minimal techno at it's best.
Highly recommended!

RAWAX welcomes Phonk D & Claus Casper to the artist family!
We are very happy to present you their fantastcic collab called "brighter Nights" on CHIWAX mid of April. Highly recommended!

There is a strong sense of place running through 'North West Tonight', as God Colony aka Crack Copies label heads and Liverpool-raised duo James Rand and Thomas Gorton sketch out a hazy, after-hours portrait of their hometown. Drawing on 80s new wave melodies and rough-edged club rhythms, the EP balances sounds of yore with present-day energy. There is crunchy, disrupted bass on 'The Column', backlit broken beat on 'Middle Eye' and more sun-kissed depths on 'Rhyll Sun Centre'. 'The Paradox' stands out as a darker, more edgy and club-ready sound while the rework by Sasha stretches the track into something built for wide-eyed dancefloors.

CHIWAX presents St. David & Wildbox - Dance revival EP
This record was made strictly for the dance floor!
Highly recommended!

RAWAX proudly presents the 5th release by Gerald Mitchell on his own RAWAX MOTOR CITY - series.
This time we have the honor to present you "Groove Within The Groove". This classic came originally out on 430 WEST in 1999!
Don't feed the Discogs Sharks!

Alt Dub label head Federsen links with Belgrade’s Estray for a deep, percussive exploration of dub house—where analogue weight meets globally-rooted rhythm and hypnotic late-night energy.

A key figure within Eastern Europe’s electronic landscape, Estray has spent over a decade shaping a sound that travels far beyond his home base. With releases on Rebellion, Neptune Discs, Sol Selectas, Akumandra and Buddha Bar, alongside an extensive international DJ presence, his output reflects a balance of cultural depth and dancefloor functionality.

His productions draw on a wide palette of influences, fusing African and Latin rhythmic structures with rolling, dub-informed low-end. Intricate drum programming and fluid groove design sit at the core, while his basslines—heavy, warm and propulsive—remain a defining signature. Federsen, known for releases on Echospace Detroit, Grayscale, Synchrophone, Lempuyang and Avant Roots, continues to refine a sound rooted in analogue process, spatial detail and textural precision. His work leans into restraint, allowing depth and subtle modulation to drive momentum.

Recorded at Devon Analogue Studios, the pair’s collaboration unfolds across four tracks built on dense sub frequencies, shifting percussion and evolving atmospheres. Each piece is carefully structured yet organic, moving between stripped-back dub frameworks and more rhythmically charged passages.

The result is a cohesive body of work that sits comfortably within the dub house tradition while introducing a broader, multicultural rhythmic language—equally suited to immersive listening and deep dancefloor moments.

We are very happy to announce the 10th release by Fresh & Low on their own “TREASURES” series on RAWAX! This time, we have the honour of presenting something very special. It’s a split EP featuring Fever Tension—originally released on Black Vinyl Records in 1999—and Fresh Juice II, also first released on Black Vinyl Records in 2000.

Highly recommended!

Bosconi Records returns with Tangled Waves Vol. 2, the second chapter of the series—this time expanding the concept into a four-artist VA, diving deep into progressive house and neo-trance territories while keeping that unmistakable timeless, old-school spirit alive.
Like shifting currents moving in parallel, Tangled Waves Vol. 2 brings together different voices, each following their own path while converging in the same flow—crafted for longevity, built for the dancefloor.

The EP opens with Fly High by DJ Glc, founder of Digging Deeper records and already known to the label through his contribution to the Home Cooked Beats compilation. Here he delivers an epic italo-infused progressive cut, driven by a classic rolling bassline and lifted by a futuristic arpeggio that bridges past and present. Hypnotic, warm, and undeniably effective—pure late-night material.
Next up is Strange Gift by rising artist Little Sea, founder of Sea Horse Records. A high-energy progressive groover with a clear nod to ‘90s classics, the track blends a punchy forward-moving bassline with bright melodic flashes and a sensual female vocal in the breakdown—making it a proper peaktime weapon with emotional depth.
On the flip side, Matteo Guarnieri (aka Rare Happiness) makes his Bosconi debut following a standout release on Kulture Galerie. His track Roller Disco Truck merges old and new with ease—leaning into a tech house framework with a distinct groove, textured stabs, and a subtle arpeggio that adds a psychedelic edge. A playful yet driving cut with strong character.
Closing the EP is Stargazing by Andrea Mera, also debuting on the label. A soft, mesmerizing progressive journey, the track unfolds with lush pads, a fluid atmosphere, and a gently evolving energy. With its warm 303 touches and emotional depth, it feels like a timeless closing moment—introspective, romantic, and built for those final hours on the floor.
With Tangled Waves Vol. 2, Bosconi introduces a new wave of artists while staying true to its roots—delivering four carefully crafted cuts that balance nostalgia and forward motion. Another essential addition for the bag, made to last.

SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.

ORANGE - Limited Edition! SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.

Transversales Disques proudly presents PANORAMA Vol. 2, another deep dive into rare French soundtracks, Library music, and instrumental oddities that have largely remained untouched by reissues or compilations.

This curated selection features 11 forgotten gems recorded between 1968 and 1980. It showcases the brilliance of celebrated maestros like Francis Lai, Karl-Heinz Schäfer, Eric Demarsan and Jean-Claude Petit, standing shoulder-to-shoulder with unsung composers such as Oswald d'Andréa, and Jean-Louis Bucchi.

Embark on a cinematic journey brimming with moody string arrangements, funky flanged drums, signature French basslines, and deeply dramatic atmospheres.

Deluxe Tip-On jacket LP with printed innersleeves
Including exclusive and extensive liner notes.
Vinyl Only / No Digital

Pleased As Punch presents four tracks from the many shades of house. Groove P featuring Adeva's 'Hold On Honey' opens with a steady groove and bass he's known for, while vocals from Adeva carry you through the track. A2 follows with Saison's 'Keep My Mind'; a deeper, tougher sound they sometimes bring. Fresco Edits' 'You Are the One' adds classic disco flavour that brings warmth to the EP, while Capri's 'Sax Thing' closes with raw, sax-driven energy. Simple, solid tracks made to resonate.

Bienvenue Recordings head Gene Tellem is back with a first collection of tracks on sub-label GT. Three yet to be released + two hard to find songs originally released on a short run of lathe cuts. All newly mastered and together on one powerful piece of plastic.

‘Five tracks that have yet to be officially released, produced during the making of other projects over the last 5 years. All of them with a taste of their moment, presented to you as this collection of ‘unreleased’ songs.’

-G.T.

Fur:ther Sessions celebrates its 5-year anniversary with a special 2x12" compilation. Bringing together familiar artists from the label's journey alongside exciting new additions, this release reflects the past, present, and future sound of Fur:ther Sessions.

Bite the Hand That Feeds You is rooted in a simple but confrontational impulse: to question what is presented as normal. The release reflects on the moral codes and social expectations that shape behaviour, challenging the idea that obedience and gratitude must be synonymous with compliance. Set against a world of contradictions, where values often feel hollow or inverted, the project explores the tension between survival and self-preservation, asking what is lost when conformity is prioritised over instinct. At its core, the release is about reclaiming autonomy from conditioning. The title's central image, a dog turning on its trainer, speaks for itself. A primal rejection of hierarchy and control.

SUNANDBASS Recordings proudly presents its next release, welcoming rising artist Napes with a brand new single: Hit The Corner / Clamber. This release marks the exciting introduction of a new artist joining the SUNANDBASS Recordings roster, signalling a bright future for both the label and its evolving sound. With previous releases on Shall Not Fade and Alix Perez’s 1985 Music, Napes is a promising name within the modern jungle scene. This release is a clear statement of his pushing boundaries combining grime influences and old school jungle, giving us his fresh sounds and melody-led drum and bass music, reaching new horizons while staying rooted in foundations. On the A-side, Hit The Corner showcases acid-tinged synths that meet a UK grime edge, driven by energetic beats and rolling breaks. In 6:20, Napes lets us travel through all the facets of a SUNANDBASS Recordings journey, with his ever-changing arrangement that evolves from heavy, club-focused energy into a euphoric jungle-inspired middle section, before concluding with driving arpeggiated synths. On the B-side, Clamber offers a deep, darker contrast. Between the atmospheric strings set intro which is dropping into a heavy, bass-driven groove, easily imagined shaking the dancefloor during an Ambra Night indoor session. The track reveals a more introspective side of Napes, blending refined sound selection with classic, weighty basslines built for the dancefloor. We’re honoured to welcome Napes to the SUNANDBASS Recordings family, an artist whose sound reflects our love for all corners of the genre while paying homage to the music that brings us together in Sardinia year after year. SUNANDBASS Recordings continues to push the boundaries of drum & bass, fostering connection through music that transcends borders, unites listeners, and celebrates rhythm, movement, and culture.

For the 6th edition of Easy Tiger, Marko Nastic welcomes Bosko Balos for the first chapter of their new project, Mooshoo Clan, presented through a 4-track EP titled A Journey To Hyperspace. The record opens with Bellissimo - a wavy bassline-driven track followed by old-school drum programming that pulls you straight onto the dancefloor. Down the grooves, we arrive at Original 59. From the very first moments, you’re drawn into a vocal and bass-led paracosm, evoking the feeling of falling into a lost world of pure joy. On the flip side, the strong energy continues with Take It From The Top - a classic pumper, fueled by vintage stabs designed to get the crowd moving. Part one closes with the signature track Mooshoo Clan - a bass-heavy roller that keeps the momentum alive, this time leaning into a darker, more hypnotic mood.

Aquasonic Vol.1 marks a new chapter for Afalinas, presenting a carefully selected vinyl compilation featuring Ukrainian producer iO (Mulen), Berlin based Tro, Afalinas founder Olekhar, and Chilean artist Existencia Pasajera. Each track reflects a distinct geographical and emotional perspective, united by a shared focus on depth, groove and immersive sound design. From refined deep and juicy tech house and subtle techno structures to psychedelic textures and spacious rhythms, Aquasonic Vol.1 unfolds as a cohesive listening experience shaped by four individual voices.

A1 - THE ULTIMATE DANCE TRACK
the juno 106 main line in the front and super fat bassline make this track to a special dance floor killer!

A2 - TIMELESS WHISPER
dramatic, and in the same time beautiful moments in a one tack live jam can you hear, here. Get lost in your memories..
featuring Dawn's background drums - a LONG TIME female studio friend of MEGNA

B1 - D-PAD
in love with the envelope in the melody and a handplayed angel synth line, this track is a mix of electro and trance and presents how easy it is to combine music styles.

B2 - DIRTY WASP
8 Track Tape Beats, 3 synth lines, a super long break to set the effects to the final, bring this slower wobbling track to the next level of dreams.

A1 - THE ULTIMATE DANCE TRACK
the juno 106 main line in the front and super fat bassline make this track to a special dance floor killer!

A2 - TIMELESS WHISPER
dramatic, and in the same time beautiful moments in a one tack live jam can you hear, here. Get lost in your memories..
featuring Dawn's background drums - a LONG TIME female studio friend of MEGNA

B1 - D-PAD
in love with the envelope in the melody and a handplayed angel synth line, this track is a mix of electro and trance and presents how easy it is to combine music styles.

B2 - DIRTY WASP
8 Track Tape Beats, 3 synth lines, a super long break to set the effects to the final, bring this slower wobbling track to the next level of dreams.

We are very happy to presents you the 3nd and last part of "The Ambient Trilogy" by Zoo Brazil on HOUSEWAX!
Don't miss this beauty!

RAWAX proudly presents the 6th release by Fresh & Low on their own RAWAX TREASURES series!
This time we have the honor to re-issue "Interact/ Get Up" formerly released on Bomba Records in 1996!

The new version on RAWAX is re-mastered

Brussels-based Maloca presents Paradise Mountain, the new EP from Katatonic Silentio, DJ and production moniker of Italian sound artist Mariachiara Troianiello. Positioned in counterpoint to her darker,
more visceral work, the record delicately folds Detroit electro and techno drum structures into a softened New Age glow, generating environments that breathe, shimmer, and slowly coalesce.

Across the EP, tracks unfold gently, rife with wet modular tones, chromatic arpeggiations, and light-touch percussion which drifts in and out of focus, blurring the line between dancefloor function and inward-facing sound art. Paradise Mountain ultimately traces a slow ascent through luminous, carefully crafted terrain - quietly joyful and deeply hypnotic in its approach.

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The vinyl sounds like it means business.

The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster serves the synth work well, keeping the melodic lines clear and the low end present without overcrowding the mix. Zentz built something durable here, and the vinyl pressing confirms it.

Sound Whore by DJ Mes follows, and Mes doesn’t waste any time. The wah-wah guitar arrives early, the trumpet not far behind, and then the Latin percussion and vocal samples start stacking up. It’s a lot, but Mes holds it together with a groove that keeps pulling everything back toward center. You don’t resist it. You just follow.

The B-side belongs to the most requested track in the label’s catalog, and it’s easy to understand why. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and then opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a particular gift for this, the ability to make a moment feel like it could last forever without ever losing tension. Ramirez’s own keyboard solo survives toward the end, a subtle crescendo that feels earned. Dunster captures the whole thing with care.

It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Nothing complicated about it, and that’s the point.

Play it loud.

Track A1 written and produced by Maziar Namvar and Joshua Collins. Remixed by Bryan Zentz.
Track A2 written and produced by Jason Sutton.
Track B1 written and produced by Cesar Ramirez. Remixed by Mike Huckaby.
Track B2 written and produced by Gabriel Palomo & Geto Mark.
Mastered by Lawrie Dunster at Curve Pusher, UK.
Copyright Control
2026 Fresh Meat Records

Shorter Version

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster keeps the melodic lines clear and the low end present. Zentz built something durable here, and the vinyl confirms it. Sound Whore by DJ Mes follows. The wah-wah guitar arrives early, the trumpet not far behind, then Latin percussion and vocal samples start stacking up. Mes holds it together with a groove that keeps pulling everything back toward center. You just follow. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a gift for making a moment feel like it could last forever without losing tension. Ramirez’s keyboard solo survives toward the end, a subtle crescendo that feels earned. It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Play it loud.

Daïf presents Prezi, a new alias exploring a bold, uninhibited vision of electro house. Built for the dancefloor, the record unfolds like a transmission from another dimension. Inspired by the 2000s—echoed in its cover—it blends nostalgic energy with a colder, subtly dystopian edge.

The project arrives like a xenomorphic incursion, driven by raw, mechanical textures: sharp square synths, biting saw waves, and stripped, high-impact arrangements engineered for maximum club efficiency.

Seductive, disembodied vocals drift through the tracks, exploring themes of love beyond the human and shaping a vision of Post Human Desire.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

Besides his work as a painter, filmmaker and set designer, Philippe Lamiral Poirier (1951-2025) played guitar and saxophone in the group Kat Onoma, which he co-founded with Rodolphe Burger.

His fifth studio album combines his written texts with music composed by his son, Roméo Poirier, whom he considered to be cut from the same musical cloth as he was. It also confirms what has emerged from his previous albums, namely songs more spoken than sung and whose words evoke images, thus the album’s title – Images parlées.

A book of his paintings, Images traversées, will be published simultaneously with the album.

In this continual back and forth movement between text and image, music has always been present – sensitive and abstract, expressing nothing other than itself. It hollows out a place to tell us where we are. It is life without delay.

Roméo Poirier is working in the field of electronic music, focusing on heavy processing of samples and digital collage. He released albums on the London based record label Kit Records (Plage Arrière), the mancunian record label Sferic (Hotel Nota), and Jan Jelinek’s own imprint Faitiche (Living Room and Off The Record).

Following the sold-out first volume, the Belgian label Covadia presents a second chapter of Les Belgicains, focusing on the European rumba created by Congolese students in Belgium during the 1960s.

Volume 2 includes 11 rare tracks originally issued on 45 rpm singles or never released before. Highlights include the dancefloor favourite “Guaracha Fredo” by LOS NICKELOS and previously unreleased recordings by the orchestra EBUKA EBUKA, like the swinging “Merengue Soucouss” and the emotional “Mpenzi Niambiye”. The songs unmistakably express a longing for recognition and for a rightful place for a new nation.

Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original track REPROGRAMMED and five amazing remixes by Parand, X-Truder, Ohverclock, Doug Cooney and Commissar Lag. This 4/4 sci-fi inspired original has been reimagined in five very different ways, with all executed to perfection, providing a wide range of dance floor annihilation! This is part three of a three part series from GAMADON with remixes from some of the best in the underground.

2026 Repress

Malmo-based producer Martinou returns to his roots with a debut on hometown label Kontra-Musik. Since crafting his first album for Nous'Klaer Records (NL) at Inkonst's studio, Martinou has steadily built an international presence through acclaimed releases on Mule Musiq (JP) and Turbo Recordings (CA). This three-track EP is the result of a long-running dialogue with label head Ulf Eriksson--blending Detroit-inspired techno, hypnotic depths and broken lush, all produced with subtle precision and emotional weight. A homecoming of sorts, but also a new departure.

Palace Vinyl proudly presents the new London-based label, Midnight Lounge – the brainchild of Moon Chaser and Paddy Cotter. The label’s inaugural release from label co-founder, Jacob Crowther Head aka Moon Chaser. 12″ record with full colour picture sleeve.

Eco Edizioni debuts in 2025 as an Italian publishing and recording project dedicated to mapping radical sound aesthetics. The label explores the territories of unconventional electronic music, giving space to forgotten productions that outline complex soundscapes through the experience of expert synthesis producers. The first vinyl release embodies this philosophy through a dialogue between different generations of the European industrial and electronic scene. The dark atmospheres of Okиho meet the analytical and methodic techno of Andrew Lagowski, taken from his 1995 album Prismatic.

The album Malnovnova is the culminating synthesis of this synergy, presenting itself as a manifesto of avant-garde sound engineering. The work pushes the Okиho duo’s research towards a totalising and hyper-technical electronic abstraction, where granular signal processing is mitigated by Lagowski’s atmospheric industrial layers.

Ezra Collective’s Chapter 7, now celebrating its tenth anniversary, captured the restless energy of a young band finding its voice - spiritually curious, rhythmically fearless, committed to community as compass. Built on grooves made for sweat-slicked basements and late-night communion, its seven movements reveal a blueprint forming: jazz as a living expression of where you come from and who you stand with.

The forthcoming Chapter 7 (10th Anniversary Edition) reissue revisits that formative statement from a band that would soon become trailblazers as both the first British jazz act to win the Mercury Prize, and then a BRIT Award. Remastered for vinyl and expanded with new incarnations - live cuts from NPR's Tiny Desk and the band’s landmark Royal Albert Hall performance - the reissue presents Chapter 7 not simply as an early document, but a living manifesto: rhythm as ritual, youth culture as sanctuary, and jazz as an open invitation.

Pressed on black vinyl, housed in a single sleeve jacket with printed inner sleeve, featuring credits and a message from the band.






k B3. Chapter 7 Live at NPR's Tiny Desk
m B4. I Have a God (Feat. Zara McFarlane) Live at the Royal Albert Hall






[k] B3. Chapter 7 [Live at NPR's Tiny Desk]
[m] B4. I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[k] B3. Chapter 7 [Live at NPR's Tiny Desk]
[m] B4. I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[f] B3 | Chapter 7 [Live at NPR's Tiny Desk]
[g] B4 | I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]






[f] B3 | Chapter 7 [Live at NPR's Tiny Desk]
[g] B4 | I Have a God (Feat. Zara McFarlane) [Live at the Royal Albert Hall]

A defining transmission in the history of Skylax Records. Originally released across different moments of the Skylax catalogue, these recordings are now assembled as the final chapter of the Skylax House Explosion series — a project exploring the architecture, memory and survival mechanisms embedded within house music culture. The record opens with Move D’s “Outer Rim 64”, originally released in 2018 as part of the Skylax House Explosion narrative. Suspended between motion and distance, the track establishes the conceptual perimeter of this final chapter — a space where rhythm no longer functions only as propulsion, but as orientation. Here the listener stands at the outer edge of the dancefloor’s architecture, where structure persists even as its original social conditions begin to disappear. The sequence continues with Hardrock Striker’s “Motorik Life (DJ Sprinkles Dub)”, originally released in 2011. Rather than operating as a conventional remix, the Dub reinforces the motorik continuum of the original composition, transforming repetition into endurance. DJ Sprinkles preserves the infrastructural skeleton of the dancefloor — its capacity to sustain bodies through duration alone, without narrative resolution or emotional release. The record culminates with “Motorik Life (DJ Sprinkles Mountain Of Despair Remix)”, one of the most politically explicit works ever associated with Skylax Records. Through the relentless repetition of the phrase “mountain of despair,” Terre Thaemlitz dismantles the traditional function of dance music, transforming remix culture into structural critique. Referencing Martin Luther King Jr.’s famous metaphor, the remix removes the promise of redemption and leaves only the architecture of struggle. The dancefloor is no longer presented as escape, but as a temporary condition of survival. Together these recordings reveal house music’s true function: not to resolve despair, but to create temporary conditions in which bodies can continue to exist despite it.

AFTER THE DANCEFLOOR

you cannot preserve a dancefloor
by archiving its sound
because the dancefloor was never sound

it was bodies
finding temporary protection
inside systems designed to erase them

house music was never a genre
it was a survival strategy

when the lights disappeared
the structures remained
and so did we

American ambient powerhouse zake is back with a meditation on stillness, memory and the quiet power of seasonal change. Rooted in the Midwestern winter that inspires much of his work, his latest album Cantus for Winter in Six Parts unfolds in slow-moving analogue drones, soft hiss and faint environmental textures that are both intimate and expansive and true to his signature style. Each piece drifts gently into the next, evoking cracked wood, falling snow, distant strings and the eerie calm of frozen landscapes. By the time the 19-minute finale arrives, you are lost in a world of solitude and reflecting deeply on many things that will ultimately leave you feeling restored.

With releases on now legendary labels like Kazumi or Holzplatten the Japanese producer Yamaoka has been rooted in the Techno scene since the late 90s, even though the stylistic range of his entire body of work over the past decades exceeds pure dancefloor functionality by far. Originally released via the Leipzig-based underground label Minor in 2017 the two tracks on this super limited 7“ vinyl release capture a raw, hounded and unpolished high octane take on Techno which is rarely to be found these days with especially the B-side cut „Low“ presenting an absolute peaktime weapon for the adventurous and experienced DJ's out there.
Never officially distributed before and only known and recognized by a few well informed selectors out there this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.
Limited pressing of 100 single copies on blue vinyl.

Antal, founder of the Amsterdam-based Rush Hour Records & Store and renowned for his global DJ touring and eclectic sets spanning house, techno, rare funk, soul, and jazz, curates a personal selection from the historic label Timeless Records.

For Timeless Presents From The Archives, he handpicked highlights from 1974–1994 by jazz luminaries such as Art Blakey and the Jazz Messengers, Pharoah Sanders, Carter Jefferson, Gary Bartz, Woody Shaw, and more. “I want to thank the Wigt family for allowing me to dig deeper into their catalog to compile a selection of personal jazz favorites. Their passion for jazz and independent labels has inspired me as a DJ and record store owner. A great song is a great song, no matter when or where it was made,” Antal reflects. For this double album, Antal shares his love for modal and spiritual jazz, celebrating a pivotal era in jazz and creating a must-have for collectors, selectors, and new explorers.

Timeless Presents From The Archives 1974-1994 is packed in a gatefold sleeve, featuring notes by Antal and artwork by Dirk-Jan Deckwitz. Affixed on the protective sleeve is the 50th Anniversary Timeless Jazz sticker.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

Disco Segreta proudly presents the reissue of one of the most elusive and sought-after gems of underground italo disco, Govindo’s “Ou Ka Vini Com Moin”.

Originally released in 1983 on the obscure “Gala” label and quickly withdrawn from the market, this hypnotic, space-tinged cosmic italo disco bomb remained virtually unknown outside a small circle of hard core italo disco collectors — until now.

Wriitten by Mario Baldoni aka Miro and recorded during a journey across the French Antilles, the track was laid down in Fort-de-France, Martinique, capturing a unique cultural and musical intersection. Its title comes from a typical Martinican Creole expression—”U Ka Vini Co Muè”—meaning “C’mon, come with me.”

The track’s lush arrangement, crafted by Gregorio “Greg” Puccio, is a quintessential snapshot of analog italo disco at its finest: Roland Juno 60, JX-3P, Korg PolySix / Poly800, and LinnDrum LM-1 create a dreamlike, deeply atmospheric soundscape.

For the first time, this edition presents the original 12” full-length versions (vocal/instrumental), alongside the shorter 7” vocal version, remastered directly from the actual analog master tapes, plus two new remixes: the Marcello Giordani Hypnomix – a future electro synth classic from one of Italy’s finest producers and the Miro’s Fort de France Sunset – a balearic downbeat contemporary reinterpretation by the original artist 42 years after.

4 carries on the celebrated series, showcasing selections from the legendary Sub-Urban catalogue, bringing together a selection of classic garage house cuts from some of the scene’s most respected names.

Featuring standout tracks from Tommy Musto under both his Tribute & Unifunkation guises, Kenny Dope as well as Matthias Heilbronn & Mike Delgado as Lift, the release captures the soulful, groove-led sound that helped define New York and US garage house throughout the 90s.

Including favourites such as Kenny Dope presents James Rouse’s Dance and Unifunkation featuring Alexander East’s Feel Me, this fourth volume brings together a selection of proven club records in one DJ-friendly vinyl package.

“Dancing is immediate. It happens in infinitely small blips of the present, strung together one into the next, direct and spontaneous. And as each moment fades out of the present and into the past, these blips coalesce and ferment and refract into memory.

Play is the first album from Sam Hall’s new project, Spinbeat. Sam has previously released glitch-inflected bedroom pop under the name Ghost Orchard, putting out albums on Orchid Tapes and Winspear. Spinbeat comes with a turn towards rawer sounds and something like the dancefloor.

The tracks on Play linger in the space between music for dancing and music for listening. They are the memory of a dancefloor- sounds, feelings, moments of darkness and color. In contrast with other recent music to come out of the dubby post-club zone, Play is marked by its lightness and warmth. Fragile, intimate moments come bubbling up from underneath the surface, glimmering in plain view for a moment before sinking back into the fog. These pockets of earnestness lend depth and substance to the mystique of the murkier stretches.

Dance music for post-rave romance, for August haze, for the frogs in the pond out behind the warehouse party.

Mastered by The Bastard.”

ALUNAH says: "Embers of Belief" features the first Alunah recordings with vocalist Daisy Savage and continues our long-standing relationship with Heavy Psych Sounds Records. We are both excited and proud to present our contribution to this split release - two brand new studio tracks that give a glimpse into where this new chemistry as a band is taking us creatively, alongside two live recordings which document and acknowledge the incredible job Daisy did in stepping up to tour and promote our previous full-length. This significant release is part of our "VINGT" celebrations, marking 20 years of Alunah with both new music and festival appearances, including Bloodstock Open Air and Desertfest London. To everyone who's stood by Birmingham, heavy rock, and doom through the years_this one's for you! SAMAVAYO says: Creativity _ it burns deep inside, demanding to be heard and when it wants out, ist has to get out. So here we are! Longing, recklessness and hope_three themes that couldn't be more human or more relevant right now. Samavayo present three exceptional tracks on their split release with Alunah: BAVAR is a crushing heavy piece built on the Fibonacci sequence, featuring Persian lyrics inspired by a poem from Siavash Kasraie. It stands as a defiant cry against grief and mortality_the narrator refuses to accept the death of loved ones, clinging instead to love, shared tears, and the breath of life as proof that loss can neither truly be believed nor surrendered to. Mottainai, the 2nd song takes aim at a reckless, consumption-driven mindset_the relentless pursuit of instant gratification and shortcuts. The song warns that this culture of excess and selfishness will ultimately leave a devastating legacy for future generations. California Sky is a psychedelic, acoustic ode to Samavayo's 2025 US tour, captures a paradoxical longing for the American desert landscape. It evokes a sense of spiritual belonging in the vast emptiness of Joshua Tree, while reflecting a deep yet helpless emotional connection to the United States and all its contradictions.

Transparent orange vinyl, limited to 300 copies. ALUNAH says: "Embers of Belief" features the first Alunah recordings with vocalist Daisy Savage and continues our long-standing relationship with Heavy Psych Sounds Records. We are both excited and proud to present our contribution to this split release - two brand new studio tracks that give a glimpse into where this new chemistry as a band is taking us creatively, alongside two live recordings which document and acknowledge the incredible job Daisy did in stepping up to tour and promote our previous full-length. This significant release is part of our "VINGT" celebrations, marking 20 years of Alunah with both new music and festival appearances, including Bloodstock Open Air and Desertfest London. To everyone who's stood by Birmingham, heavy rock, and doom through the years_this one's for you! SAMAVAYO says: Creativity _ it burns deep inside, demanding to be heard and when it wants out, ist has to get out. So here we are! Longing, recklessness and hope_three themes that couldn't be more human or more relevant right now. Samavayo present three exceptional tracks on their split release with Alunah: BAVAR is a crushing heavy piece built on the Fibonacci sequence, featuring Persian lyrics inspired by a poem from Siavash Kasraie. It stands as a defiant cry against grief and mortality_the narrator refuses to accept the death of loved ones, clinging instead to love, shared tears, and the breath of life as proof that loss can neither truly be believed nor surrendered to. Mottainai, the 2nd song takes aim at a reckless, consumption-driven mindset_the relentless pursuit of instant gratification and shortcuts. The song warns that this culture of excess and selfishness will ultimately leave a devastating legacy for future generations. California Sky is a psychedelic, acoustic ode to Samavayo's 2025 US tour, captures a paradoxical longing for the American desert landscape. It evokes a sense of spiritual belonging in the vast emptiness of Joshua Tree, while reflecting a deep yet helpless emotional connection to the United States and all its contradictions.

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell commanding you to get on the dance floor. Resistance is futile against the Grays...

Ryo Fukui, who passed away in 2016 after releasing only five albums, recorded this fourth work in 1999. Featuring bassist Lyle Atkinson and drummer Leroy Williams—the longtime rhythm section of Barry Harris this New York-recorded album captures the full appeal of Fukui as a bebop pianist. Centered around standards, the track selection, structure, and of course the performances all radiate intent and vitality. His assured and weighty touch, the firm yet elastic swing, and the emotion and lyricism that permeate his dynamic phrasing everything here conveys Fukui’s breath, will, and presence in vivid form. The re-performance of his signature piece “Mellow Dream” is also a welcome highlight.

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band's early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring, and three acclaimed albums, Downtown Boys have continued to grow as artists, musicians, and organizers. Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band's most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the second Downtown Boys LP, Full Communism. Straight up, Public Luxury means, "everything for everyone." It's the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we all feel. Sentiments like "everything for everyone," and "we will have it all" perfectly represent the cathartic, communal live experience this cadre of multi-instrumentalists create. These sentiments also encapsulate the inclusive, joyful sonic fusion that defines the album: anthemic punk and indie rock mix with Latin traditions, drum machines blend with acoustic drums, saxophones punctuate riffs, and layers of synths add flourishes from new-wave to industrial. The amount of ground covered on Public Luxury can't be overstated, and yet the album feels totally vital and cohesive. Public Luxury is a revisitation of the band's past for the sake of their future. It was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets, not far from the band's first home of Providence, RI. Victoria Marie's grandmother-a monumental figure for the band throughout their existence-passed away in May of 2025, and her influence looms large over the album; the songs "No Me Jodas" and "Sirena" are crystallized representations of the love between a woman and her ancestor. Beyond the loss, rage and frustration of the present, Public Luxury points boldly towards a vibrant, open-hearted vision of both music and the world: "Our music is simply for anyone and everyone who believes in the new future we can make together," Victoria Marie declares. "A world that will be awkward, inconsistent, yet truly free when it comes to all that matters."

To mark 25 years of Tsunami Records, Wunsch delivers a landmark release that celebrates the label's legacy while looking firmly toward the future.

For this special anniversary project, Wunsch brings together a powerful lineup of artists who embody the spirit and evolution of the sound: Black Forests (Arcanoid and Wunsch), The Rare Breed (Regis and Wunsch), Broken English Club, Giving Ground (Function and Wunsch), Microcorps, Rumenige, and Sabotak. Each contribution reflects a distinct voice, yet together they form a cohesive statement - raw, uncompromising, and deeply rooted in the underground.

This release is more than a milestone; it's a testament to 25 years of dedication, vision, and sonic exploration. From driving, industrial textures to immersive and atmospheric moments, the record captures the essence of Tsunami's identity across decades.

A celebration of past, present, and future - this is Tsunami at full force.

"Beyond HEAVY METAL": the deluxe edition is a special 2LP zoetrope vinyl featuring live recordings from arena shows in the UK, US, and Japan, along with “from me to u (feat. Poppy)” Major Lazer Remix and “from me to u (feat. Poppy)” Jordan Fish Remix

Having celebrated its 15th anniversary last year, BABYMETAL presents a new style of heavy metal album created in collaboration with a new generation of friends encountered across the globe. A powerful statement of who the band is today, this album pushes toward what lies "beyond HEAVY METAL" and aims to change the course of history.

Available to own on special edition zoetrope vinyl. Limited quantities, available while stocks last!

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Diffuse Reality presents TOBAS 005. We welcome Kushkusshhh with Hollowed Memories. A deep, hypnotic and powerful LP. Stellar sounds that awaken all your senses, a constant hypnosis, immersive from the very first track, with textures and atmospheres that take you on a rewarding journey into your most inner self. Available on 12" vinyl and digital. Prepare yourself, we're in this journey together.

Sleeparchive and Oliver Rosemann present a collaborative EP built as a shared system rather than a dialogue.
It is procedural: reduction, iteration, feedback.

Elements are introduced to be tested against the system. Changes occur slowly, often at the edge of perception, creating tension through persistence. This record documents convergence. A temporary alignment of processes, tools and timing.

The Sunken EP is cut for long-form playback, where variation becomes noticeable through duration to put you into a hypnotic state.

Mr Bongo are thrilled to have one of the leading lights in contemporary soul joining the label. Melbourne-based vocalist, musician, and songwriter Ella Thompson is an artist whose name is being championed by some of the best in the business. She’s been building a reputation as one to watch, with two standout releases on Hopestreet Recordings, Domino EP in 2023 and Ripple On The Wing LP in 2024, alongside a heavy touring schedule and a stacked list of support slots and collaborations.

For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.

Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.

‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.

The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.

Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise to Keep’ and ‘Change of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.

Capturing the full scope of the Straw Hat Crew’s journey into the Grand Line, this collection brings together the massive, high energy score by award winning composers Sonya Belousova and Giona Ostinelli. From the shores of Loguetown to the snowy peaks of Drum Island, every moment of the voyage is brought to life through soaring orchestral arrangements and unforgettable pirate anthems.

2LP Audiophile Black Vinyl: Two 12 inch records pressed on high quality black vinyl for a classic look and superior sound fidelity, delivering every orchestral swell with crystal clear precision.

Double CD Set: Two discs featuring the complete original score and songs, presented in a premium compact format.

Premium Packaging: A double gatefold jacket for the vinyl edition and a three fold digipack for the CD, both showcasing vibrant cinematic artwork of Luffy and the Straw Hat Crew.

Complete Soundtrack: Over 40 tracks spanning the entire second season, including character themes, emotional moments and epic battle motifs.

Whether at home or on your own journey, this release is the perfect way to keep the spirit of adventure alive, immersing you fully in the world of One Piece.

Netflix’s epic high seas pirate adventure, ONE PIECE, returns for Season 2, unleashing fiercer adversaries and the most perilous quests yet. Luffy and the Straw Hats set sail for the extraordinary Grand Line, a legendary stretch of sea where danger and wonder await at every turn. As they journey through this unpredictable realm in search of the world’s greatest treasure, they will encounter bizarre islands and a host of formidable new enemies

Mark Jenkin, the BAFTA Award winning director, editor, screenwriter, cinematographer and musician, presents the score to his new film, Rose of Nevada on Invada Records. Unique among British feature filmmakers for the analogue way in which he crafts his films - all three feature films have been shot on 16mm using a Bolex clockwork camera – as well as his multifaceted roles as the writer, director, director of photography and editor of the film, once more he is responsible for handling the sound design and composing the original score.

The new score mirrors the techniques employed in the film, with analogue synthesisers drawing the listener into nebulous hypnotic tones and delicate movements.
Composed, produced, engineered and performed by Mark Jenkin using synthesiser, guitar, percussion and loops & effects, the environmental recordings remind us of the context in which the music was originally borne, but as the score ebbs and flows between ambient tranquil seas and crashing storms, it affirms its presence as a powerful stand-alone piece of work.
The score’s physical release follows the Cornish director’s third feature film: the time-travelling Rose of Nevada cinematic release in UK and Irish cinemas on 24 April, with a BFI Blu-ray and BFI Player release in the summer.

King Street Sounds Sampler Vol. 7 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Mood II Swing, Jovonn, Roy Davis Jr. and Osunlade, the release highlights the soulful, groove-led house sound that has defined King Street across decades of dancefloor culture.

Including standout tracks such as Mood II Swing’s Nafara and Osunlade’s The Fifth Dimension, the sampler brings together several proven records in one DJ-friendly vinyl package.

With warm grooves, musical depth and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the seventh edition in the King Street sampler series, this release presents a selection of essential house cuts on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

International superstar Pitbull presents his 'Greatest Hits' album. The compilation features his chart-topping singles from 2009 to 2014, alongside electrifying tracks like 'Jungle' (feat. E-40 and Abraham Mateo) and 'Locas' (feat. Lil Jon). 'Greatest Hits' serves as a powerful testament to Pitbull's prowess in crafting infectious, energetic, and celebratory anthems. The album features monumental hits such as 'Give Me Everything' (feat. Ne-Yo, Afrojack and Nayer), 'Timber' (feat. Kesha), 'Time of Our Lives' (feat. Ne-Yo), 'Fireball' (feat. John Ryan), and many more.

Forest Drive West returns to Mantis with a double pack of crooked, finely chiseled rhythms and porous, tactile atmospherics. Hovering comfortably between the distinct energies of drum & bass and techno, Joe Baker has helped define the creative upsurge in crossover tempos and tones with a practice that focuses on mood and presence rather than genre tropes. His first releases appeared 10 years ago on influential labels like Livity Sound, Rupture and Hidden Hawaii. He reconvenes on Mantis after delivering the first release for the Delsin series back in 2020. The scope across these eight new tracks is steeped in Baker's trademark restraint and subtlety, but equally he explores a broad scope of energies and tempos. From ambient, spacious downtempo and slow-motion, heavily dubbed drum mantras through to crisp, techy drum funk and dancehall-coded swagger, the range within the distinctive Forest Drive West sound is more versatile than ever. It's a range cemented further by the guest appearances on the album, as Patrick Russell comes on board for snarling, D&B-coded workout 'Uromastyx' and DB1 lends his chops to mesmerising closing breakbeat trip 'Planes'. Exquisite sound design with a mysterious streak binds these various approaches together. With club impact matched by spatial immensity, Mantis 1920 furthers the surefooted, intentional sound Baker has been shaping out as Forest Drive West for the past decade.

Atkinson first saw Les yeux sans visage when she was a teenager, around the turn of the century. The film made an impact for its iconic imagery and the way Franju draws on the aesthetics of early filmmaking, from its score that relies on stylistic markers typical of the 1940s or 50s to the decision to shoot in black and white. Even four decades after its first release, it was clear that this was a work that stood outside of the cultural moment that birthed it, speaking through time in ways that were uncanny, but profound.

A quarter-century later, Atkinson was approached by the Belgian cultural center VIERNULVIER to create a new score for Les yeux sans visage for its celebrated Videodroom series, which has seen artists like claire rousay, Mabe Fratti, Lee Renaldo, and many more create new original scores for cult classics and genre cinema. Atkinson's music, with its sublime meditations on space and proximity, its elusive sense of narrative development, mirrors the pacing and mystery at the heart of horror filmmaking. There is a shadow at the heart of her soundtrack to Les yeux sans visage, an ever-shifting wisp and an insinuation of encroaching transfiguration. Echoing a climactic moment in the film, the music obliquely points to "the Beyond," an impossible place of discovery and revelation.

Atkinson envisioned her music as something akin to the air moving throughout and beyond the many cages that appear in the film, unconstrained by the bars and with undefined borders. Those cages hold the victims of a madman surgeon, determined to graft a new face onto his daughter, the protagonist Christiane Génessier, who lost hers in a car accident while he was behind the wheel. Atkinson was reminded of her predecessors at the pioneering French studio the GRM, who approached sound in a less sinister, but similarly surgical manner, and took inspiration from their playful approach to cerebral soundmaking for the electroacoustic topography into which the piano is embedded. As such, Atkinson’s reactions to the larger themes and the minute-by-minute happenings onscreen are both audible simultaneously.

A film about a man who destroys the lives of young women marked by their beauty and similarity to his daughter in a shame-fueled rage has clear, continuous cultural resonance. "Through the music, I decided to bring back their empowerment despite what they endure," says Atkinson. "This is why the record is also dedicated to Gisèle Pelicot, whose trial happened while I was in the process of composing the music and kept thinking of her strength and her decision to share her trial in order to reverse the shame."

This recorded version of the soundtrack is a 34-minute synthesis of the full 90-minute score, presented on LP along with an essay by writer-musician Claire Cronin and drawings by Momo Gordon, together forming a complex reflection on the film's themes. If these sounds move as if the bars of cages are no barrier, they also intimate the freedom and power of those held behind them. Rather than simply mirroring the fear and confinement shown onscreen, Atkinson offers an elusive escape, a beacon for the characters, and the listener, to follow as they reckon with the narrative and move through it.

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.

We’re delighted to be working with London based deep house label, To The Rocks

Presenting the Visions of love EP from Lucas Moinet, a Paris-born producer with his roots planted firmly in the soul of house music. Through projects like Keraw, Groove Boys Project and Projecture, he’s built a catalogue that doesn’t chase trends, it’s going straight back to the source. Chicago, Detroit, New York. Four tracks. Deep, soulful, deliberate. Made by someone who clearly loves and lives the culture.

For its first release, Neurotrain Records presents a 4-track EP by its co-founder Krijka.
The label grew out of a friendship, a duo that spent years exploring and nurturing the Seoul underground scene.
‘Our Spleen’ EP carries that undefinable, elusive atmosphere and construction that has become Krijka’s signature; reflecting a desire to extend this identity now part of him, while opening doors to new elements and maybe a new era.

Strut Records proudly presents a new reissue of the original Afrobeat classic Low Profile (Not For The Blacks), recorded and composed by Afrika 70 saxophonist and bandleader Lekan Animashaun and produced by Fela Kuti. After years touring the world as Fela’s baritone saxophonist, Animashaun stepped forward to lead the legendary Egypt 80 band following Tony Allen’s departure, remaining the group’s musical director until Fela’s death in 1997. He continued on subsequent tours with Seun Kuti until 2016. Lekan began recording his only solo project, Low Profile, in 1977. The album was composed and recorded across sessions at home in Nigeria and on tour with Fela, who both produced the recordings and added keyboards to the album’s title track. ‘Low Profile (Not For The Blacks)’ referenced a government campaign during the country’s 1970s oil boom: “It was inspired by a speech by Olusegun Obasanjo, Nigeria’s military Head of State, when he urged black people to keep a low profile about their wealth and not to behave in a vulgar, arrogant way,” explains Lekan. “I argued that low profile is not just for the blacks, as everyone is human, regardless of race.” On the flip side, the simmering Afrobeat anthem ‘Se Rere’ (which translates as ‘Do Right’) delivers Animashaun’s message of living with integrity: do right, and you will reap what you sow.

The song later became the band’s opening number during Fela’s live performances both in Nigeria and internationally throughout the 1980s and ’90s. Despite recording beginning almost two decades earlier, Low Profile did not receive an official release until 1995, when it finally surfaced on Fela’s Kalakuta label. One of only a handful of albums led by core members of Kuti’s band, Low Profile captures a pivotal moment in Afrobeat history. Over time, the original has become a rare and highly sought-after record, and this new reissue places the spotlight back on a modest but influential Nigerian legend. Strut’s reissue features the complete original artwork, is fully remastered by The Carvery, and includes brand new liner notes by Lekan Animashaun himself.

From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia - Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025.



An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away, as if to deceive reality, or at least our perception of it.



More than two semi-improvised hours in which Rue des Garderies (Sweetzak, Désiré Bonaventure & Vasco Cesaretti) summon us to an astral yet motionless journey, somewhere between ambient, IDM, and post-pop.

Somewhere between the after-hours haze and the first flicker of sunrise, Nebraska re-emerges - this time with a twist in the signal. Long respected for his deep-cut sensibilities and dancefloor intuition, Ali Gibbs returns to Delusions Of Grandeur not just as Nebraska, but with a handover to his new alias: Dubl Drat. The Alter Alter Ego EP plays like a transmission from both sides of his creative psyche - one rooted in warm, groove-led house and disco mutations, the other drifting deeper into dubbed-out, heady abstraction.

The A-side opens with Alter Alter Ego in its Nebraska OG Mix form - a crunchy, funked-up mid-tempo burner. Chopped Rhodes solos flicker in and out of the mix while a rolling bassline locks into a low-slung groove - equal parts party-starter and late-night dancefloor hypnosis. Next, The Teckel Track slides the tempo down into a proper slo-mo four-on-the-floor bumpy groove. Fat stabs punch through layers of glitchy FX while a melodic bassline snakes underneath, forming a hazy, infectious earworm tailor-made for those early-night mood-setting sessions. Closing the A-side, Olive (Dubl Drat Dub) signals a shift. Here, Gibbs leans fully into his Dubl Drat persona, dissolving structure into a blissed-out dub excursion.

Chopped breaks scatter across the stereo field, chiming melodies echo into the distance, and granulated percussion parts build a dense, immersive landscape - one to get lost in rather than dance through. Flipping over we have Alter Alter Ego (Dubl Drat Remix) which reconfigures the title track into a stripped-back boogie workout. The groove is leaner but no less potent, driven by a killer bassline and punctuated with signature Rhodes licks - pure, understated club pressure. Finally, Olive (Nebraska Version) offers a gentle comedown. This alternate take softens the edges, introducing additional guitar textures that drift into Balearic territory. It’s nostalgic, introspective, and quietly expansive - a closing chapter that lingers long after the last note fades. The Alter Alter Ego EP isn’t just a new release - it’s a dual-state exploration, a conversation between rhythm and space, between Nebraska and Dubl Drat, and marks the last ever Nebraska release as Ali closes the chapter and the alias for the final time.

Featuring rare- and first-on-vinyl tracks from beloved producers such as 2000 And One, Stasis, and CiM. Remastered by DMX Krew and with an accompanying online essay by Oli Warwick.

Across eight carefully selected slices of starry-eyed machine soul, Cold Blow presents an exquisite tour through backroom techno and downtempo electro. With a focus on thematic flow and an immersive listening experience, the London-based label explores works from leading lights of the 1990s and previously unreleased cuts that celebrate the human heart that can be discovered in synthetic sound practices. The development of techno in the 1990s saw the music evolve in different directions across the world. From the expressive blueprint laid out by the Detroit pioneers, a wide range of tempos and energies emerged. Techno's evocative synthesis and intricate drum machine programming was especially potent for deeper explorations away from the dancefloor. Documents Of A Different Reality casts back to when technology was steering quantum leaps in communication and creativity and the future was shot through with naive optimism. It was also a time when the media and industry hadn't caught up with the music to box it into distinct categories. As such, there's a sense of creative freedom that informs the older tracks on the album, from 2000 And One and Sandy Huner's sparkling example of early Dutch techno to London-based LA Synthesis' detailed take on braindance and the majestic night sky vision of cult legend Stasis. There's also space for rare, late 90s machine funk from Icelandic outlier Thor alongside Connective Zone's charmingly fractured bleep dream and a more contemporary offering from Barcelona-based duo Permutation. Meanwhile Mind Control and CiM both capture the spirit of stylistic fusion with twitchier rhythms that take influence from hardcore and jungle as much as techno. With an atmospheric through-line of melancholic pads and harmonious leads, this small but perfectly formed collection naturally follows on from previous, equally thought-out compilations on Cold Blow, and adds a distinct perspective on the history and continuing legacy of pioneering early ambient techno.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

Newly signed to indie heavyweights Heist or Hit (Westside Cowboy, Her’s) EP two: ‘Marionette’ has been produced by Daniel Fox (Sprints, Melts, Psychotic Monks, Naked Lungs, Nerves, Ronan Group) and it’s set to be seminal. A set text for future musicians with aspirations of innovation. “The theme of the marionette is present throughout each song, involving some aspect of a power struggle and a lack of control within oneself.” Opener ‘Chocolate’ bounces in on a synth line as slippery and hyperactive as anything Aphex Twin ever cooked up. Crispy offbeat electronic cymbals play counterpoint to atonal guitars and pugilistic drumming before the track dry-wretches its way into a nauseating cacophony of euphoria. It’s a tale of crippling social anxiety and a preference for an unflattering, lonely reality. The muted guitar pluck in the intro to ‘Crows’ is the sonic equivalent of biting one’s nails. An anxious, involuntary tic that speaks to the theme of guilt, especially surrounding digital culture: “children can watch what they please, just with viewer discretion.” The track lurches between textures, weaving themselves in and out of focus. Guitars blare like sirens, interrupting paranoid urban centres at 2am, while the bass sounds like the inside of an insomniac’s head on day four of a REM drought.

The metallic intent of ‘Discipline’ squats on the chest as though Steve Albini is your sleep paralysis demon. The pain of accountability spews from the industrial regularity of the beat, apt to the narrative of a soldier coming to terms with the lies that made him commit atrocious, violent acts. EP closer ‘Servant’ starts like a Spectrum loading screen. Dial-up modem-coded, it pauses for moments of white-noise-vomit and existential bloops. Fitting for a more abstract take on the idea of the power struggle filtered through religious imagery and self-awareness of one’s own actions, coupled with an inability to exert control over them. The band pile on the textures with sadistic glee until the evil is exorcized and the modem melts. Connection severed. Across the EP, vocalist Joseph has a tendency to hyper-fixate on themes of control and unhappiness. Creating rooms in which doom and isolation ricochet. Not that it’s all bad news “we like to think that by shedding light on the negative, it commands a sense of hope.” Influenced as much by the liminal-space horror and uncanny dread of Silent Hill as the existentialist theatre of The Twilight Zone or the absurdity of Twin Peaks, they occupy a space between unease and impulse. Makeshift Art Bar are not a band interested in being liked. They’re a band interested in being necessary. There’s so much eating and drinking in their work that multiple listens simply don’t satisfy; something new reveals itself on each return visit. Audacious. Idiosyncratic. Vital. A young band carrying identity, defiance and an uncompromising vision as if it isn’t a rare cargo.

ROCK JUSTICE is a new hard rock/metal act featuring singer Maggy Luyten (Ayreon, Beautiful Sin, The Prize, ex-Nightmare) and guitarist Bas Maas (Doro, After Forever).

The upcoming debut album, You’ve Been Served, is the result of Bas Maas’s long-held dream. He teamed up with Maggy Luyten to shape the powerful, driving sound of ROCK JUSTICE. The album blends varied song styles, tied together by a nostalgic vibe and well-crafted production.

“The idea came to life when I was still playing in After Forever, where I didn’t get a serious chance to contribute to the songwriting. I had written a couple of songs that didn’t make the cut and realized that if I wanted to get my own music out there, I’d have to do it myself, or at least with other people,” says Bas. When he decided to form a band, he had two rules: he wouldn’t sing himself, and it wouldn’t be a female singer. Finding the right guy proved impossible and after several try-outs, one name kept coming up: Maggy Luyten. “Mag’s voice completely blew me away. I thought, ‘This chick sings like a dude and she delivers.’ Not long after that, we met at an Ayreon album presentation in Utrecht. She wanted to hear my songs to see if they inspired her. They did.” The rest is history. Maggy recalls with a smile: “When Bas came over to hear what I’d worked on, we both knew we had something. I still picture him driving back home: window down, our demo blasting, arm out, metal horns up, huge smile!”

Chuck Berry (1926–2017) was one of rock ’n’ roll’s true architects, celebrated for his sharp songwriting, distinctive guitar riffs, and electrifying stage presence. With classics like “Johnny B. Goode,” “Roll Over Beethoven,” and “Maybellene,” he helped define the sound and attitude of 1950s rock. Blending rhythm & blues with country influences, he created a style that was energetic, rebellious, and unmistakably his own. His storytelling lyrics and groundbreaking guitar work laid the foundation for generations of rock artists, making this compilation a powerful tribute to one of music’s most influential pioneers.

DJ Mart presents the new Dodge compilation *Dodge with Friends*. I am very proud of this exceptional compilation. *Dodge with Friends* reflects the musical and electronic diversity of my label Dodge, which I founded in Bochum in 1995 to promote electronic music from the Ruhr region. The new Dodge compilation *Dodge with Friends* features artists who have helped shape the evolution of music on Dodge and who are my friends—some of whom haven’t been able to release music on Dodge yet because they aren’t from the Ruhr region. All 16 of these artists have made a name for themselves in their respective fields over the years. You are the future with friends *

Quantum Vacuum /ˈkwɒn.təm ˈvæk.juːm/ — The fundamental state of a quantum system, corresponding to the lowest possible energy level, in which no real particles are present but fluctuations of quantum fields persist, making the vacuum a dynamic state that is never completely empty.

Abo Abo’s first solo vinyl EP carefully assembles minimalistic techno structures pushed at pace, sci-fi rhythmic mutations and psychedelic pressure that refuse resolution. Synthetic sweeps rise and vanish, environments where form appears only to disappear. Nothing is static. Nothing is empty. Microscopic movements surface continuously from apparent void.
DR018 marks the eighteenth release on DE RIO and the label’s sixth vinyl output.

Written and produced by Daniele Carcassi
Mastered by K.O.P. 32
Artwork by Giuliana Diada
Design by Enrico Caldini

Big Crown Records is proud to present Adult Themes, the latest full length offering from El Michels Affair. This album takes the band's "Cinematic Soul" aesthetic literally and sends the listener on a journey through a whirlwind of moods and energies. With their 2005 debut album Sounding Out The City, EMA spearheaded an instrumental funk / soul movement that inspired a slew of bands and even lead to the creation of a few independent record labels. El Michels has since lent his signature sound to artists from Adele to Dr John, Lana Del Rey to Aloe Blacc, and a who's who list of others. In 2016 he co-founded Big Crown Records and has since produced the lion's share of its output. A short stint as the touring band for Wu Tang Clan in 2007 led to the cult classics Enter The 37th Chamber (2009) and Return To The 37th Chamber (2017). Adult Themes marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017 in between producing, playing, and recording on other artists' records Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of `60s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental / orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes." The album plays like the colors on an artists pallet. Songs like "Rubix" and "Villa" are densely orchestrated with the hard-hitting drums that El Michels Affair is known for. On "Life of Pablo", Leon's son makes his first appearance on record and intros a song with an epic arrangement and a moving mood. "Hipps" is a drum heavy ballad that could've easily fit on EMA's debut record, Sounding Out the City. Other compositions like "The Difference" and "Kill The Lights" are bare, melodic mood pieces with sparse drums and sophisticated chord movement. All of these tunes come together to make perfect backgrounds for dialogue and action. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With Adult Themes El Michels Affair has created a "choose your own adventure" in musical form.

Die MerKaBa Brotherhood erforscht verborgenes Wissen durch Rhythmus und Klangtextur. Roman Norfleet (The Cosmic Tones Research Trio, Be Present Art Group) und Andre Raiah (Brown Calvin) schöpfen aus esoterischen Texten, sakralen Bildern und mystischem Denken und formen Klang zu Raum, Ton und Puls. Ihr selbstbetiteltes Album ,The MerKaBa Brotherhood" verwandelt Klang in eine Arbeitssprache - Texturen als Diagramme, Melodien als Signale -, die zwischen Rhythmus und Offenbarung mitschwingt.

With skynet T.6, the time has come for ROBOTRON to expand the network of SKYNET CYBERSONIX. From the signal zones emerges DOPPLEREFFEKT – with a conceptual transmission between time-fields, entropic resonance, and asymptotic states – entitled EONFIELD. Issued as a limited edition of 200 × 12″ copies, available on black or silver vinyl – including a numbered insert sheet, a sticker, and one of 50 randomly packed posters.

Eonfield is a conceptual framework in which reality is treated as a field defined not primarily across space, but across cosmological time scales approaching infinity. In this view, all physical states, structures, and observers are understood as functions evolving within an extended temporal domain, where the dominant variable is time in its asymptotic limit. As duration increases, local distinctions – such as form, energy distribution, and informational structure – undergo progressive smoothing under entropic dynamics. The Eonfield therefore describes a regime in which the evolution of the universe is no longer meaningfully characterized by discrete events or objects, but by the global behavior of fields approaching equilibrium conditions. Concepts like causality, locality, and state differentiation remain formally valid but lose practical significance as their effects are diluted across effectively unbounded temporal intervals.

Philosophically, the Eonfield reframes ontology around persistence rather than presence. Identity, within this framework, is not a fixed property but a transient configuration that becomes increasingly unstable as time extends toward infinity. Information is not annihilated but redistributed toward maximal entropy, rendering it inaccessible rather than nonexistent. The Eonfield thus represents a limiting description of reality in which all structured differences converge toward uniformity, and where the question of “what exists” is replaced by “what remains distinguishable over infinite duration.” It implies that being itself is subordinate to temporal extension, and that the ultimate condition of reality is not a state in the conventional sense, but a boundary behavior of all possible states under infinite time evolution.

Curated by Brian d'Souza (aka Auntie Flo), Plants Can Dance is a forthcoming new compilation bringing together a global community of artists, exploring the creative possibilities of biosonification - transforming signals from plants, ecosystems and the natural world into sound. Out June 26th, the project marks the culmination of several years of d'Souza’s work across music, ecology and technology.

The album arrives at a time when more artists are turning toward nature as both subject and collaborator, such as Brian Eno’s Earth Percent, which formally recognises “Nature” as an artist. Plants Can Dance sits within a wider cultural shift, which is redefining the relationship between sound and the living world.

The project builds on several years of work by d'Souza, whose Plants Can Dance events have taken place across the UK, Europe, India and Africa, appearing in institutions including the V&A, Tate and the Design Museum. What began as a series of intimate gatherings has since evolved into a global platform, reflecting a growing appetite for work that reconnects music with the natural world.

The compilation features contributions from leading practitioners including Modern Biology (Tarun Nayar) in collaboration with saxophonist Zekarias Musele Thompson, OMMA (Olga Maximovam founder of Playtronica), Jason Singh, Dr Helen Anahita Wilson, Justin Wiggan in collaboration with celebrated Norwegian jazz musician Arve Henriksen, Lamine Touré, Bit Marten and Balam, alongside new work from d'Souza himself. Using a range of tools - from commercially available devices to bespoke modular systems - artists translate electrical activity, environmental data and organic processes into musical material.

The processes behind each piece differ - from interpreting plant biodata to translating wind patterns into compositional structures - and the results are as varied as they are compelling. The record spans ambient, jazz, electronica and modern classical, yet all pieces are unified by a shared intent: to reimagine music as a space of collaboration between human and more-than-human worlds.

At the core of Plants Can Dance is a question about how we define music, and how we choose to listen. Traditional musical forms, with their fixed tempos and predictable structures, give way here to something more fluid and less easily controlled. The listener is invited to surrender expectation and engage with sound as an evolving environment rather than a linear narrative. In this context, the compositions function as what d'Souza describes as “acoustic ecologies” - sonic systems shaped by biological, environmental and elemental forces unfolding in real time.

Accompanying the release is a printed zine offering reflections from each artist, and deeper insight into the ideas and debates surrounding this practice. Rather than presenting definitive answers, Plants Can Dance positions itself as an artistic exploration grounded in curiosity, experimentation and critical thought.

Ultimately, Plants Can Dance is less concerned with proving whether plants “make music” than with changing how we listen. By inviting audiences to engage with sound shaped by non-humans, it opens up new ways of perceiving the environments we inhabit - not as passive backdrops, but as active, dynamic participants in a shared ecological network. In doing so, it offers a quietly radical proposition: that by listening differently, we might begin to relate to the natural world differently too.