Search:25

MAUROMUSICA first appeared in 1999, when DJ Maurizio Schmitz introduced the name as an underground party brand shaped by long nights, afterhours and a deep passion for electronic music culture. For almost two decades, the project lived through intimate events and dancefloors before eventually going quiet for a number of years.

Now, MAUROMUSICA returns - not only as a party series once again, but finally as the music label Maurizio had envisioned from the very beginning. A long-held dream, brought back to life through a carefully curated first various artists compilation.

The first release brings together six artists from different corners of the electronic music world: Egyptian producer Raxon, German/French duo RE-ST, Italian artists JA:CK and Fedele, alongside Romanian producers Radu Dracul and Sublee.

Moving between warm-up atmospheres, emotional techno, afterhour moods and timeless club sounds, the compilation reflects the musical vision behind MAUROMUSICA - honest electronic music with character, depth and longevity.

Artwork comes from internationally acclaimed artist Tobias Rehberger, while the label typography was kindly provided by Buero New York.

Special thanks to Sven Väth for his continuous support and for championing Raxon's "Based In Space" in his sets for more than a year.

P.S. The handmade coloured vinyl edition of Raxon's "Based In Space" - limited to 100 copies - sold out within less than two hours. The track is now exclusively available as part of this compilation.

Growing up just across the water from Italy, Clint Spiteri and Madeleine Baldacchino absorbed the shimmer of Italo disco long before Deadisko took shape. Their analogue pop celebrates the past while embracing the future. “1987” melts an addictive piano house groove with clean rhythms, a sleek and smooth sound with just a hint of romance. Cat-like, “La Costa” stretches before finding its funk-filled footing. Synth stabs are ruffled, teasing rhythm patterns opening avenues for melodies to bend, curve and race. The flip is introduced with the pop opulence of “This World.” Blue undercurrents are bolstered by Sean Kamati’s emboldening vocals, his smouldering voice accompanied by daring keyboard play. Brassy tones are veiled in smoke for “Ssunrise Drive.” Mechanical reverb is offered a human touch, organic warmth breaking through to an incandescent shine. Echoes of Italy that pulsate with the rhythm of Malta.

Transamericas reissues Atom™’s Kraftwerk-goes-chachachá classic

After 25 years out of print, El Baile Alemán — the cult album by Señor Coconut (one of Atom™’s many aliases) — returns on vinyl via Transamericas. What began as a half-joke (“The only way I’d cover Kraftwerk is as chachachá or death metal…”) became a fever-born epiphany: Kraftwerk’s electronic minimalism recast through a tropical imagination — where chachachá, mambo, and cumbia intertwine with glitch, breakbeats, and distressed samples.

Long before reggaeton and trap filled stadiums and playlists, Señor Coconut was already mapping the fault lines between Latin rhythm and electronic form.
Originally released in Japan in 2000, El Baile Alemán caught the ear of Kraftwerk’s Florian Schneider, who unexpectedly championed the project. This reissue has been cut from Atom™’s 2022 remasters, preserving the album’s detail for a new generation of listeners. In the second half of 2026,

Transamericas will also reissue El Gran Baile (1997), his first outing — a rawer but equally idiosyncratic fusion of what Atom™ was going to frame as electrolatino.

Queensbridge duo Mobb Deep were already untouchable by the time Hell On Earth arrived, but this was the record where Havoc and Prodigy stopped sounding hungry and started sounding completely numb to everything around them. The production is brutally spare. Tiny piano fragments repeat for minutes at a time while drums hit with the force of metal doors slamming shut somewhere down the corridor. 'G.O.D. Pt. III' still feels poisonous nearly 30 years later, Prodigy rapping with such flat menace it barely even registers as performance anymore. 'Drop A Gem On 'Em' turns a diss track into psychological warfare, and then 'Nighttime Vultures', alongside Raekwon, moves through the album's nocturnal haze with exhausted precision. Even now, the whole thing feels airless in a way few rap records manage.

Tessellate presents a VA featuring label favourites Marius Acke, Lewis Taylor and Midas Field. The Trip also provide a brand new track. All tried and tested on the dancefloor.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

The new 12" release, "Call and Response", by the enigmatic artist MD, is a masterclass in the resurgence of retro techno, bridging the gap between the raw industrialism of early 90s Detroit and a modern, high-fidelity punch. The A-side is defined by its massive, anthemic vibes, built around a thundering TR-909 kick and a soaring, crystalline synth lead that feels both nostalgic and startlingly fresh. What truly sets this record apart, however, is its intricate counterpoint structure; rather than relying on simple loops, MD weaves multiple independent melodic lines together in a rhythmic dance of tension and release. The "call" begins as a jagged, percussive stab that is immediately answered by a "response" of lush, interlocking minor-key arpeggios, creating a sense of constant movement and architectural depth. It’s a track that demands attention on a massive sound system, proving that the classic techno blueprint can still be expanded into something grand and deeply intellectual.

Limited to 250 copies

Trevor Linde returns to Harmony with his long-anticipated second EP, further refining his characteristic sound. Peripeties of Stray Intention moves effortlessly between hypnotic tension and rigid groove structures, balancing precision with raw emotional depth. Drawing from years of meticulous sound design and live performances, Trevor Linde delivers a body of work that feels both emotionally charged and physically commanding, a carefully sculpted journey at the very core of his sound.

POEME ELECTRONIQUE was Dave Hewson (synthesisers, production), Sharon Abbott (lyrics, lead and backing vocals), Julie Ruler (backing vocals) and Les Hewson (bass), formed in 1980 by Dave Hewson in South London, UK, in 1980. Dave was studying music and as a rare kind of student species he had a deep fascination for New Wave and electronic music thus also playing and recording electronic music ever since like using the Boss DR-55, Cosmo Sound Super Drum, Elka Rhapsody 610, EMS Synthi AKS, Korg MS-20(X2)/Polysix/Polyphonic Ensemble 1000/VC-10 Vocoder, Linn Electronics LM-1, Octave Kitten, Roland RS-09/VP-330 Vocoder Plus, Simmons SDS-V Kit and Yamaha CS-80 on this retrospective POEME ELECTRONIQUE album with original material from 1981/82 only. Over the period of more than two years, Dave has remastered these tracks using the latest high-end tools making them sound better than ever before. The deluxe 2LP vinyl album comprises 16 tracks of which 14 have never been published before. “The Echoes Fade” and “Voice” are the original versions taken off their original 7” from 1982. The album “The Echoes Fade” cannot be described other than being a masterpiece and one of the best-ever early 80’s electropop records ever, and it surely has to be lined up with Rational Youth or Experimental Products’ cult albums (in terms of being minimal synth/wave scene reference albums), but to be frank, Anna thinks that POEME ELECTRONIQUE were even above their level.

Truly, they had deserved to go on the successful path like Depeche Mode, OMD or Soft Cell, but fate was against them as it seems. The main difference to other electropop groups of the time was definitely that Dave did not only master his synths technically-wise, no, he also knew how to actually play, and when you hear his amazing multi-track ‘manual sequencing’, programming skills, great harmonies and melodies throughout the tracks, along with the two girls’ performances – well they can really sing! – you will agree there is some something remarkably extraordinary in these tracks. You will find minimal electropop super hits like “Rendezvous”, “She’s an Image”, “Fragile”, or “Dilemma”; hauntingly beautiful melancholic tracks like “A Mourner’s Lament”, “This Night” or “It’s in the Atmosphere”; darkest minimal electronics on “Inside his Head”; and even more poppier tracks like “Follow”. This record will hopefully be loved by any electronic music lover and most probably marks the highlight in the growing Anna Logue Records catalogue – therefore Anna did not shy away from any costs and the album is truly an outstanding release in every single aspect including sound and artwork presentation. Apart from the bonus tracks you will find in the 2LP deluxe vinyl edition glossy inner sleeves with lyrics to all songs, as well as individual mini 7” sleeves for each song designed by our dear graphic designer Steve Lippert plus many additional group photos on the gatefold sleeves’ inner. After so many efforts and more than two years passing by, Anna is so over the moon to see this release being ready now and we have done all we could to make this an outstanding release, so now it’s up to you to give the band their final glory, but Anna is in no doubt that – at least after hearing the sound samples – you will.

The Trip To Vega is about deep outer space odyssey that occurs in the process of traveling from Earth through the Cosmos to another "favorable" star system 25.3 light-years away.

The time is year 2097, Sept 23rd.

To this day, Earthlings have managed to dodge some of nature's more dangerous extremities, massive volcanic eruptions, Earthquakes, solar burst that knocked out the Planet's entire electrical grid for 3 years, numerous plagues of disease, food and fresh water shortages, domestic and International Wars and many other life-changing operas, but for this event, what remains is a realization that has no remedy. The cause: Earth's physicality has changed. It is no longer favorable for living things.

It is the constant shifting of the planet's internal tectonic plates which has unfortunately produced an unexpected and impassable dilemma.

Because of the collisions, deep within the planet's core, the planet is now producing an extraordinary amount of sound that includes a specific harmonic frequency that erodes the natural senses of all life on Earth.

It is intensifying. It is intolerable and it is unlivable.

Yet, some humans prefer to stay, to "ride it out" like the Titanic captain going down with his ship. Some, in total disbelief as some have concluded it is the second coming of Jesus Christ. But for most, the decision is clear. Tolive another day, leaving is the only rational choice.

At an increasing rate, scientific research data shows that humans and most animals, excluding the Jellyfish will eventually lose the usage of hearing and are to greatly suffer from an array of other neurological and psychological effects. The sense of touch and taste, sleep depreciation, severe nerve damage, constant hallucinations. Everyone will lose many of their cognitive abilities within an estimated 12 months from now.

On this day and every 7 days afterwards until all registered passengers have departed, the first of a fleet of large number of massive size spacecraft carrying approximately 1 million humans per vessel will permanently leave Earth to begin the long and adventurous trek across outer space to a new home: Vega.

This is not a precautionary tale as there is nothing to learn. Instead, a decision has been made and a Trip To Vega is the consequence.

- Jeff Mills

Combining Bach with traditional Gabonese music, Lambarena pays tribute to Albert Schweitzer, a doctor and musician who settled in Lambaréné in 1913. Conceived by Hughes de Courson and Pierre Akendengué, this extraordinary project brings together more than 250 artists and blends organ, baroque choirs, and African percussion in a musical celebration of rare intensity. A true timeless classic, it is now available for the first time on double vinyl, accompanied by a 4-page bilingual booklet (English/French) recounting the history of this unique album.




b 02: Sankanda (traditionnel) + Lasset uns den nicht zerteilen Passion selon St. Jean


[e] 05: Mabo Maboe (traditionnel) + Gigue de la quatrième suite en mi bémol majeur pour violoncelle [extrait]
[f] 06: Bombé (extrait) + Ruht wohl, ihr heiligen Gebeine [Passion selon St. Jean, mouv. 62]

[h] 08: Mamoudo Na Sakka Baya Boudouma Ncombi (traditionnel) + Prélude n°14 BWV 883 [extrait]



[l] 12: Okoukoué (traditionnel) + Cantate 147 [extraits]

Slip My Soul Where A Sweet Sunday brings together four versions by Fundación Tony Manero in charge of three projects from the Catalan jazz scene: The Gramophone All Stars Big Band, The Changes and ·I·. At the hands of these interpreters, the songs by Manero (all taken from “Sweet Movimiento”, their second studio LP) wander through different spectrums of jazz. From the Jamaican-tinged ska of the Gramophone to the dragging, hip-hop groove of ·I· through the swing -more classical or more avant-garde depending on the subject- of The Changes, these four pieces prove that jazz and disco music are family. Or what is the same: that jazz has always been dance music. Slip My Soul Where A Sweet Sunday celebrates the legacy on the one hand, the Fundación Tony Manero, which is retiring from the stage after more than 25 years paving the way for new generations and new projects. Among others, those who now take the baton in this EP.

Basking in the glow of Lightsaber, the swashbuckling synthesizer synergy of Tending Tropic, Kay-Chi and Sharlese debuts. A cross-continent collaboration that bridges the Atlantic, this group joins forces through a shared passion for italo and wave with their sound set firmly on the floor. The title track is analogue brightness, drums drive a melody that dips and soars next to Sharlese’s uplifting lyrics. Energy levels are high from the needle drop. Cymbals crash for “Timeloop.” Vocoder words are softened by gently scaling chords before generous builds give way to sparking synthwork. Disco flourishes and bongos break to spiralling notes in the playful “Luminara.” Cosmic influences radiate through key shifts and understated toms in this celebration of the night sky. “Inertia” marches to a heavy-hitting beat. Industrially dipped, the percussion is fortified by a simmering melody that spills over into a bold body-throbbing close. Despite being oceans apart, this is a partnership light years ahead.

Yore Records proudly welcomes Craig Alexander with a deep and timeless 12" straight out of the birthplace of House: Chicago.
Across four previously unreleased cuts, Craig Alexander delivers a refined blend of deep, jazz-inflected House music. Rooted in the classic traditions of the genre yet shaped by a distinctly musical and organic approach, these tracks unfold with warmth, depth, and subtle complexity.
Rich chord progressions, soulful textures, and fluid grooves come together to create a truly immersive listening experience. There’s a clear nod to the golden era of House, while the production maintains a fresh and contemporary edge — perfectly aligning with the ethos of Yore Records.
This 12" is both a DJ tool and a deep listening journey — versatile, emotional, and built for long nights and early mornings alike.
A genuine and heartfelt statement from an artist deeply connected to the roots of House music.Strictly limited to 250 copies worldwide / no repress.

In this new project on Audio Music World, we find an internaonal-renowned Italian trio composed of
DJs/producers Daniele Baldelli, Marco Fra-y, and Marco Flash.
Their sound explores every nuance of Electronic Music, keeping one eye on the past and a steady gaze
toward the future. Following several notable producons and successful remixes, this new venture from the
three producers is certainly among their most accomplished.

STARDUB VA series continues with number 10. This time we have the honor to present a 6 track EP with Dub Techno's finest musicmakers Dreist, Habben, RuMa, Ohm & Lentza, Marco Cassanelli and DIB.
From Dub With Love! Limited to 250 copies.

ISKRA is the debut album by Polish multi-instrumentalist and composer Olga Anna Markowska. Starting at “Dawn” and ending at “Dusk”, it is a journey of melancholic depth and true beauty filled with warm memories from what was & what could be.

Using zither, cello, electronics and occasional wordless voice, Olga weaves together something so affecting and under the skin beautiful that it is hard to shake, bringing to mind classics from artists like Jacaszek and William Basinski, or the films of Kieslowski. However, there’s a personal touch in her playing and compositions that stands out. Olga explains: “the cello pieces, in particular, were born from a desire to reconnect with the instrument I’ve known intimately since childhood. However, I had to step away from it for two years to gain perspective and find a fresh approach when I returned.” She continues : “ISKRA is an album about "ignition" — a gradual shift in how I think about music and a search for new values. It also marks the closing of a chapter, blending archival recordings with the dawn of new ideas.”

The album feels deeply personal from the first note, and bridges the difficult point between classical and ambient music in a truly natural way, leaving any typical tropes far off, instead demanding your full attention. Olga uses plenty of loops throughout, which together with the cello and zither builds a transcendent atmosphere. Standouts contain amongst others the stunning “Train Ride Home” - a 7 minute piece with zither as main focal point; “Fever Dream” - a plunge into warm static noise and deep plucks, as well as the beautiful “Helix”, which sounds like a washed out dream with its minimal tape loops and ambient vocal washes. Overall the album connects very well with Olga’s subjects of identity, memory of the places and human relations with nature. There is a deep humanity burrowed within these 40 minutes of music which feels immensely appropriate in these contemporary times.

ISKRA was recorded in different times and places from 2017 to 2022 and lands with perfection on Miasmah - connecting the dots from the early years while reaching into the stars.

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.

Shed makes his first appearance on Dekmantel with Rave Echoes — a supple, mesmerising album of angular techno caught between the heat of peak time and the time-blurred hours after the club.

A combination of dreamlike atmospherics and rugged propulsion takes on many forms across the album. It's submerged and restrained on 'Loot 25', speckled with sharply sliced breaks on 'Everybody' and scattered across a sparse, steppy soundscape on 'Rave Predator'. Emotive, swooning strings collide with tough, squashed breakstep drums on 'Double Scoop' and 'Taking You Home' thrusts with urgency and rave romanticism in equal measure.

Wielding his signature blend of UK-school soundsystem pressure and Berlin-school techno momentum with poise and purpose, on Rave Echoes Shed offers a perfect impression of those wild, indescribable sensory overloads that leave their mark on anyone devoted to the dancefloor.

2026 Repress


Voices From the Lake (consisting of Donato Dozzy and Neel) mark the 10th anniversary of their influential self-titled album with a fully remastered reissue on Spazio Disponibile. It arrives in full on vinyl for the first time, as well as on digital formats, first quarter of 2023 as the pair continues to play select live shows around the world. The release will see the light of day as a 4-set vinyl LP release, including download. Italians Dozzy and Neel have been friends united by a shared vision of music since their teenage years. They are immaculate sculptors of sound who fuse evocative ambient and leftfield techno into multi-layered soundscapes. For many years they worked as established solo artists but came together in 2011 to craft what is now regarded as one of techno's most pure and absorbing listening experiences. It's often said that the best music comes about as a happy accident, and that is certainly true of Voices From the Lake. The career-defining album first arose in the thoughts of Dozzy and Neel when the latter was preparing a mix for the former's wedding and named it Voices From The Lake. It was a pertinent title that stuck in the mind: both grew up by waters around the coast of Italy, and in their early days the pair even held private parties on the shores of a lake. Fittingly, Japan's celebrated Labyrinth festival at that time was also held by a river and a lake in the middle of a forest on a serene mountainside. It was that exact setting the pair envisaged when making music to play live on stage. During preparations, they "accidentally" wrote an entire album. It has only ever been performed live a few times - once at Japan's Labyrinth festival in 2011, at London's Barbican, Barcelona's Mira Festival, Paris' Marathon Festival and once during 2022's Amsterdam Dance Event. Those shows saw the pair using banks of analogue and digital equipment to improvise in the moment and essentially remix the album live on stage. That spontaneity is captured in the original Voices From the Lake recordings and on later LPs such as Live at Maxxi in 2015, and the most recent EP Quarto Freddo from 2020. But the debut album remains a standout achievement. A decade on, it's quiet intensity, musical storytelling and slowly unfolding tension remain in a class of one. Each sound is meticulously designed and placed, and the spaces left behind are just as important in conveying such a captivating mood and emotion. Rather than traditional kick drums, hi-hats or snares, this is music crafted from layers of real-world sound - dripping water, chirping birds, rustling leaves or a distant breeze - and it's that which defines the album's organic allure. From deeply contemplative to cautiously optimistic, pastoral organic scenes to more underwater worlds, Voices From the Lake is a cohesive collection of tracks that add up to one inseparable whole.

Straight from the backseat of a tinted SUV and into the headphones of every die-hard fan from the West Side to the coast, LUCKI returns with Dr*gs R Bad—a title that’s half-ironic, half-exhausted, and 100% Tune. This isn't a PSA; it’s a high-speed, low-pass filtered look at a life where the designer denim is heavy and the heart is even heavier. Drowning in those signature ethereal, space-trap melodies that sound like a 4:00 AM fever dream, LUCKI trades his usual nonchalance for a raw, "out of luck" transparency that reminds his cult following why he’s the undisputed king of the heartbreak flex. It’s the soundtrack for the late-night drives and the "everything’s a movie" lifestyle where the credits are starting to blur, proving once again that nobody captures the beautiful, nihilistic chaos of the climb quite like Neptune.

A closing chapter for Iro Aka: ambient introspection and precise IDM meet in a deeply personal, memory-driven LP.
Barcelona-based duo Iro Aka present "Memories Exploration" (GLOSSY025), a record that marks the closing of a creative chapter. Set for release on May 29th via Glossy Mistakes, the LP unfolds as a personal archive-tracing ideas, influences, and emotional states shaped over time.
The A-side moves through ambient-leaning territories, building meditative landscapes where time seems to dissolve and blur. Through tracks like "Frozen Sun" and "Golden Sea", the duo showcase a refined approach to sound design, shaped by carefully distilled emotion. Meanwhile, "Gendo" and "Intervertert" lean further inward-sketching moments of deep introspection through soft textures and a minimalist sensitivity that invites contemplation.
On the B-side, the record shifts. Rhythmic structures come into focus, drawing from IDM and broken beat patterns with a precise, understated touch. "L", "Ozadene" and "Phased9" introduce movement while maintaining the album's introspective core. Closing track "We Felt in Love with a Loop" brings the album to a gentle, open-ended close.
The artwork by Jack Anderson reflects this sense of fragmented memory and process, complementing the album's emotional tone.
Rather than a definitive ending, "Memories Exploration" feels like a transition-an understated way of closing one chapter before the next begins.
"An autumn evening - without a single tear, things come to an end."

Compiled by Argentinian Djs and producers Ric Piccolo and Ariel Harari, Danza Secreta: Lost and Hidden Grooves From Argentina (1970-1980) is an emotional archive made up of music that never belonged to a single, unified scene, but shared a common spirit: a desire to experiment, to make people dance, to break away from dominant genres. The compilation, issued as a 22 track bonanza on double vinyl, also represents a tangible history of musical resistance to the dark days of the Far-Right authoritarian, fascist and military oppression that blighted Argentina and its people throughout the 1970s and into the early 1980s. Featuring tracks originally self-released on small record labels and emerging from underground studio sessions and composed and recorded against a backdrop of the monitoring of 'subversive' music by the authorities, Danza Secreta is testament to the underground spirit of resistance in a blend of Soul, Funk and Disco with distinctive Argentinian signatures. Ric Piccolo and Ariel Harari are renowned Djs and producers from Buenos Aries who share their time and DJ appearances between clubs in their homeland and those in Berlin, Barcelona, Zurich, Vienna and Paris focusing on playing Disco, Italo House and Rare Grooves with leftfield vibes. Danza Secreta: Lost and Hidden Grooves From Argentina (1970-1980) is released as a digital download and and as a gatefold sleeve, double vinyl LP with all tracks remastered at the Grammy nominated The Carvery. It also comes with a bi-lingual booklet and liner notes that serve as a written history of this magnificent music of dance floor resistance.

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.

Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.
Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.

This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.

“One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties. P.A.S albums tend to come together in their own time:

“External signals and signs combine until the recipe feels right, both musically and from being ‘out there’,” Slater adds. “10 years since I released Arc Angel on Ostgut Ton, and it’s a fitting pleasure to combine live show ideas and studio work for the new album, served up with raw energy” That patience runs through his whole Ostgut catalogue; since Temporary Suspension brought its machine-tooled weight and alien feeling to the label in 2009, each P.A.S. release on Ostgut Ton has been its own quest for discovery, from The Messenger’s search for sounds not yet present in club music to Arc Angel’s focus on melody to the deep hypnosis of Plantae.

His new album, Planetary People has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.

“Into The Night” creates a haunting, dystopic environment of corroded acid saturated in echo, absorbing from the first second. “Labyrinth” breaks into buoyant tribal percussion, modulated chirps trading off over propulsive drums. “Quadrant 10” is clean, delay-drenched techno, buzzing with noise splatters over saturated thuds. “Sermon Of The Light Tides” scrambles metallic bell sequences that distort and evolve throughout, reminiscent of a dial-up modem crossed with a game of Frogger, squelching between percussive bursts and stripped-back kicks. “Brave Cosmo” is tormentingly menacing, eerie synths panning around buried vocal fragments over frantic percussion. “Retina Burn” rolls on fierce, cement-mixer 909 cycles, rave stabs over a ride that locks you in, the whole track stuttering and repeating before stripping back to a bare echoing kick and building itself again. “Thunder Major” barrels on open hats and reverb-drenched claps ricocheting through twisting wreaths of delay, mesmeric and relentless. “Beton Brut” marches juggernaut percussion stamping through hall reverb so vast you can visualise the room, the darkest and most unrelenting track on the record. “No Ninja” crunches in metallic and immediate, a wiry plucked lead threading through glitch with the bass held low and deep, mixed so precisely you can see every layer stacked in your mind’s eye. “Ha Jam” is danceable techno with plenty of funk and a sophisticated looseness, a vocal laugh bouncing off clanging metal blocks and rave stabs. “Lynx” lowpasses its rave stabs and crystalline beeps, chirpy hats ticking, cold metal repeats, old school and mesmeric. “Generation Slip” closes everything out, ominous and churning, skittering percussion and electrical sparks rattling through steel, a freight train barrelling on into oblivion.

Hiriketiya is a small, enclosed bay on Sri Lanka's southern coast, where jungle leans toward the water and the days unfold without urgency.
Passing through in early 2025 on the way to Europe, Alex Albrecht spent a week here at MOND's artist residency, allowing the rhythms of the place to quietly shape the work that followed.
During the residency, Albrecht recorded and exchanged ideas with Sri Lankan musicians Dhyan Basho on sitar, Dinelka Liyanage on electronics, Uvindu Perera on double bass and Pasindu Herath on saxophone.
Their performances appear throughout the album, sampled and re-contextualised, influencing its melodic language, pacing and emotional tone.

Much of the music was shaped directly by its surroundings. Field recordings were gathered across Hiriketiya, and instruments were played wherever it felt necessary. This included rocks beside the ocean where waves set irregular rhythms, tall grasslands where wind and insects blend into the recordings, and open decks overlooking the sea. 'Round Table' captures this approach most clearly. Recorded while sitting together overlooking the ocean, a large steel table in front of the group gradually became part of the composition, used instinctively as an unplanned percussive element.

Not everything could be captured. Some of the most meaningful moments occurred before recording was possible. Those sounds exist only in memory, and the album is shaped in part by an attempt to hold onto their feelings.

Rather than documenting the residency in a linear way, the album gathers fragments, recordings, electronic sketches and field sounds, assembling them into a continuous listening experience shaped by place and recollection. MOND owners Jess and Renato foster an environment that supports artists without directing them, creating space for focus, trust and connection.

The result is a record shaped by Hiriketiya's enclosed bay, dense vegetation, heat and night air. Music formed through listening, restraint, missed recordings and the sensation of being temporarily held by a place.

For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar.
Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.

Using the original stems, Aroop Roy turns this MJ classic into a unifying dancefloor moment.
The arrangement is key here, building the suspense with an infectious disco/house groove, that will gradually pull in each person on the dancefloor. The raw proto house organs from the original get their moment to shine, before breaking down to euphoric horns and an anthemic vocal drop.
'Badstrumental' maintains the drama of the A side, whilst leaving the vocals to the imagination. The alternate mix saves the vocal for the very end.

Laars presents Ghost Hunter, a four-track, club-focused EP blending funky, acid textures, and melodic house-trance influences. Drawing from 90s dancefloor language while maintaining a playful and contemporary edge, it moves through heavy drum work, hypnotic melodies and tight basslines. While each track carries its own mood — from darker, hypnotic tension to more emotional, break-inflected moments — the release holds together as a cohesive late-night journey.

4LP vinyl boxset - pressed on opaque red, green, blue and yellow vinyl housed in printed inner sleeves with disco holes within a hardbound book jacket. The back cover is a Ludo board and the package contains Ludo game pieces, dice and instructions on how to play.

The Best of the Black President is the 13 track guide to Fela Kuti’s massive and manifold creative career. Fela was a musician, arranger, producer, political radical, outlaw and the originator of Afrobeat. This is the first time the complete compilation is available on vinyl. It is a 4 LP set, with updated cover art in a hardbound book jacket and printed inner sleeves. The individual LPs are pressed on red (sides A/B), green (sides C/D), blue (sides E/F) and yellow (sides G/H) vinyl. This edition features a Ludo game board as the back cover and comes with a perforated set of game pieces, dice, and instructions on how to play. Limited edition of 3000 for the world.



The release of this special edition coincides with the 12 episode podcast on the life and legacy of Fela, Fela Kuti: Fear No Man, produced by the Obamas and hosted by Jad Abumrad (Radiolab, Dolly Parton’s America). The series features dozens of interviews including Burna Boy, Paul McCartney, Questlove, Ayo Edebiri, David Byrne, Santigold, and President Obama himself. It was initially released on Audible on 9/15/25 and had a wide release across all podcast platforms on 10/15/25

Stone Foundation return with their 11th studio album. Collaborative as ever, the band's first LP in 3 years boats appearances from a diverse range of soul artists from Omar and Laville to J.P. Bimeni and regular collaborator Mick Talbot (The Style Council). Following a year celebrating their 25th anniversary as a band with a major compilation release alongside a summer touring with Grace Jones and Paul Weller, Stone Foundation's sights are now firmly fixed on the future. Join them as the sound of small town soul transforms itself once again.

shubostar, originally from south korea and currently based in germany, began releasing her own works in 2018. she quickly attracted attention with releases on prins thomas’s label internasjonal.

this work, her debut release on mule musiq, presents a new disco sound that updates elements of cosmic, italo disco, and new wave for a contemporary context.

a1, “abbiamo,” is an electric disco piece reminiscent of the french disco classic magic fly by space.

a2, “gambi,” can be described as a cosmic disco track akin to a disco version of klaus schulze that might be played by dj daniel baldelli.

b1, “starlight arcade,” offers a more dub-oriented, club-friendly new wave disco sound.

b2, “tip top” appears to draw influence from artists such as jah wobble, combining uk new wave with ebm elements into a proto-house style track.

her refined production style, which stands apart from typical disco-oriented artists, may be attributed to a distinct sensibility.

this release marks the emergence of a notable new artist.

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

Mit seinem neuen Doppel-Album "Baroque Colours" präsentiert Martin Stadtfeld eine einzigartige Palette farbenreicher Werke des Barocks. Und das in einer ganz besonderen Form: Für den ersten Teil wählte er 19 wunderbare kleine Originalstücke aus, u.a. von Bach, Rameau oder Händel, aber auch von weniger bekannten Komponisten wie Johann Kuhnau oder Joseph-Nicolas-Pancrace Royer. Für den zweiten Teil hat Stadtfeld einige seiner Lieblingstücke des Barocks ausgewählt und für Klavier neu bearbeitet. So gibt es aus Vivaldis berühmten "Vier Jahreszeiten" die mitreißenden Melodien aus dem "Sommer" und dem "Winter" neu zu erleben - als kurze, wunderbar klingende Piano-Stücke. Oder den berühmten "Kanon" von Johann Pachelbel in einer neuen Fassung für Klavier zu vier Händen, die Martin Stadtfeld mit der Pianistin Lilian Akopova eingespielt hat. Diese ist auch seine Partnerin bei den vierhändigen Fassungen des ersten Präludiums von Bach sowie der "Passacaglia" aus Lullys Oper "Armida". Ein Erlebnis sind auch die Klavierfassungen von Purcells Musik aus der Oper "Fairy Queen". Nahezu meditativ klingen Stadtfelds Improvisationen über Themen von Bach (u.a. das berühmte "Air" und "Menuett"), über Werke von Arcangelo Corelli sowie über das Kirchenlied "Ach bleib mit Deiner Gnade". Aufgenommen wurden die insgesamt 45 Stücke mit einem modernen Steinway mit einem sehr nahen und warmen Klangbild, so dass sich die Farbenpracht und Intensität unmittelbar auf den Hörer überträgt. Es ist, als ob man vor einem farbenreichen barocken Gemälde stehen würde und dabei immer neue Farben entdeckt.

Music never exists in a vacuum — every scene and sound evolves from the non-stop exchange of ideas between different groups and cultures. Traditions get passed down from one generation to the next, and then individual heads take influence from their own unique perspective. Sometimes, certain people strike upon fusions that spark massive new movements, but even those rarest innovations came from somewhere.

Jon E Cash knows this more than most — the legendary beats he started putting out at the turn of the millennium had their own disparate roots and influences which he had the motivation to put together into a sound he called sublow. There wasn't any other reference point for this music — when he took the first white labels of 'Drop Top Bimmer Kid' into Blackmarket Records in Soho, London, he had to describe it to a puzzled Nicky Blackmarket and J Da Flex as being, "between garage and hip-hop."

Playing catch-up in 2004, Rephlex Records nodded to sublow when trying to introduce a wider audience to the sounds which had been tearing up the London underground. "Grime. Sublow. Dubstep... It's Music. Different people call it different things depending on when they discovered it." But Jon E Cash's sound was rooted in more than the UK garage that had dominated the clubs through the late 90s, reaching way back to his pre-teen days when the first waves of hip-hop culture crossed the Atlantic and broke in the UK.

25 years on, it's a fine time to reflect on the impact of the music Cash made at the turn of the millennium. History looks back favourably on what he and the Black Ops crew were doing with sublow in the early 00s. The timing meant it ran in parallel with what was happening over East with Pay As U Go, Roll Deep et al, and of course there was crossover. Every DJ and every MC was on the hunt for the best beats they could find. But there's a whole different swagger to sublow — a different web of influences, a different intention and so a different outcome. It's still there in the beats Cash is making more than 20 years later — his 3dom Music label is carrying upfront productions with that sublow DNA coursing through their veins. Whatever the beat or the tempo, the drums are still hard as nails, and the bass is tuned for maximum rave damage.