The Comfort News

To submit or to surrender? Robert Johnson resident Oskar Offermann doesn’t have the answers, and that’s kind of the point. Things change: one moment you’re touring the globe as a recognizable face of one of the greatest clubs in the world, the next you’ve started a new life as a teacher. How do you handle that shift? On this record, Offermann doesn’t offer solutions so much as trace his own way through it, reflecting the whole process in his music and creative work.

Whatever the story, whatever the case, Oskar Offermann can still produce some of the most emotive, bleepy, strange dance music out there and this 12 inch is the proof. Sonically and conceptually it leans into that precise, melancholic German school: at points drawing from 80s wave and experimental music, then flirting with trancey motifs and closing in divinely crafted breakbeat. In just four tracks it packs in a surprising amount of functional range, exactly what you’d expect from one of RJ’s longest-standing residents. The A- and B-sides mirror each other: they open at full intensity, tempos pushed well past the 130 BPM mark, easy to imagine ripping through a peak-time floor – and still both sides land on something far more personal and reflective.

Even inside a framework of high-intensity club tunes, Oskar’s character shines through loud and proud. Think the slightly disjarring yet melodically captivating winds in the middle of the B1 trance induced number “Accepting”, or the masterfully paced build of opener “Planet Interface”. The same goes for A2 “Televise Improvise” and B2 “Sei mal nur lieb”: on paper they should feel like breathers next to the two behemoths, but they don’t. Offermann crams so much substance and personality into them that they become quietly dangerous. There’s that magical mix of squelchy acid, rough low end and naturalistic melodies on B2, and the relentless emotional drive of A2 “Televise Improvise”. Oskar is really, really good at making dance music irresistible.

Character, skill and honesty in one record, meant for the attentive listener and the brave DJ. A rare combination nowadays, get it fast!

For catalog number 19 Rødhåd teams up with Munich based artist Polygonia. In 2025 these tracks were recorded over multiple sessions at the WSNWG studio in Berlin. The result is MAUVIER a four track EP showcasing the fusion of the two creative minds.

Written & Produced by Polygonia and Rødhåd at WSNWG Studio Berlin.
Mastered by Conor Dalton at Calyx Mastering in Berlin

a a1 MAUVIER 01 250120
b a2 MAUVIER 02 [250331.1]
[c] b1 MAUVIER 03 [250331.2]
[250401]

It’s time to unleash the mini-album from pothOles: Today Tomorrow Whichever Comes First. This project started well over a decade ago and has evolved into six tracks. It’s a lush journey of deep house, built on scattered breaks, sample chops, and growling acid lines. The release features unique sonic textures, including field recordings captured during a sabbatical in Western Kenya back in 2011. The full pothOles package.

For the first time ever, this Common Labour wax arrives in a fully printed sleeve, featuring amazing artwork by Jessica Michaela. Don’t miss out on this limited run—only 195 hand-stamped and numbered copies are available worldwide.

Besides having one of the most original artist names out there, Qrusifix aka Hampus Karlsson, is a true record collector who has been putting in the work on his MPC 2000 for quite some time. With roots in Småland and now based in Stockholm he’s been spinning records, low-key producing tracks on his home turf and popping up whenever the time felt right to spread his vibes. In 2024, together with fellow producer and friend David, he released his first record on the Malmö label Hip Hop Weekend.

The Chasing Clouds EP, out in May 2026 on Västkransen Records, presents four tracks built for late nights that drift into dawn - calm, dreamy and slightly melancholic soundscapes, as if you're on your way somewhere but without rush.

We're always excited to welcome new faces to the imprint. Although not totally new to the label, having featured on the Fragment / 1 VA back in late 2024, Quartz returns here for his first full EP release.

'Cold Voids' is ominous, yet uplifting in its own right. Nostalgic but forward thinking. Techy, deep, rolling goodness!

Rosati continues mapping the sonic identity of Global Pulse with the ‘Sweetest Taboo EP’. Across this collection, he delivers four hard-boiling grooves, engineered to keep the energy on the dance floor high. GP06 explores the duality of contrasts: ‘Red Valve’ and ‘Sweetest Taboo’ focus on bright rhythmic pressure, while ‘Tranquillizer’ and ‘Ignition’ lean into darker, shimmering atmospheres. Melting tradition into the present, this record highlights the interplay of seductive sound design and a refined taste for warm grooves. The sound from Amsterdam, built for the global pulsation.

The Teflon Dons' Rudiments EP, released in 1996 on Worldship Music and now reissued on FRL Classic edition, is one of those records that perfectly embodies the most authentic spirit of 90s underground deep house. From the very first bars, Rudiments EP stands out for its raw but deeply soulful sound, built on filtered samples, “dirty” drum machines (typically SP-1200) and an aesthetic that mixes Chicago and Detroit.

Nicola Conte and Nico Lahs’ Tema Due project finally comes to full realization in a double LP entitled “Universo Astratto”,adding a wealth of new musical shades and ideas to the two EPs released on Schema Records in 2025. The albumrepresents not only the natural evolution of their artistic dialogue, but also a statement of intent in terms of sound.Fans of the most sophisticated and refined club music, elevated by the fusion of exquisite electronica with spiritual jazz (it isno coincidence that the opening track evokes the baseline of “A Love Supreme”), African-American rhythms and tribalpercussion, will be thrilled by this complex and multi-layered album, which unveils new hidden details upon each listen.A meticulous selection of exceptional musicians contributes in a distinctive and significant way to broadening the scope ofthe project: Giovanni Guidi, Pietro Lussu, and Dario Bassolino on keyboards, Gabriel Prado and Abdissa Assefa onpercussion, Magnus Lindgren on wind instruments and Hammond organ, and Pasquale Calò on saxophone. On vocals wehave Lalin St. Juste, Siya Makuzeni, Nina Miranda - for what is probably the best track on the album, “Share Your Love”- and Toco - for a new and previously unreleased version of the track “Macumba de Oxalà” featured on the first EP.In “Universo Astratto”, Tema Due’s vision is finally fulfilled: a world of ancestral grooves, cosmic jazz, and electronic musicconceived for clubs as a type of “active experience” in which one is transcended by music. This record is an invitation—tomove, to feel, to elevate—and a manifesto for those who see the dance floor not just as a location, but as a shared experience of awareness and rhythm

TAR046
The Miller
Tar 46 - Cycle (incl. Cari Lekebusch Remix)
TH Tar Hallow

'Cycle' is a construction for repairing the soul. 'Cycle' deconstructs limiting beliefs. 'Cycle' takes the time for inner reflection.

Italy via Atlanta, say hello to Titino and “Sun Splicer”, the latest release on The Comfort. Three separate ideas connect this EP across 4 tracks. It toys with the expectations of its listener — core features morph as tracks progress, stable kick patterns turn to breaks and in reverse, simple stabs progress to melodic junctions. Acid permeates this record, not as a clear motif but a tinged essence. And it’s sincere, both to the setting of these pieces and where they’ll be listened to and what it honors.

“Shblasted” — a back-and-forth groove machine filled with dub sirens and stepped up acid. Clubby introduction meant for sacred dance floors.

“Ouachita” on the A2 is controlled chaos, snares fly around, synth lines seem to want to escape their own confines and it just bursts onto the listener. Then the keys come in, the groove stabilizes, pads become bigger and new life is given.

The B-side is playful. “Sun Splicer” is perhaps most aptly categorized by a now notorious idea of ‘electro house’, and the pure aggressive euphoria this track carries just might be that, but as we all know the Italians do it differently — it’s a heady dark excursion. “Existenz” is all-smiles no matter how menacing its first contact, a hook of a track that reimagines the weirder side of Italian trance — think Interactive Test at its most wonderful. The dusty snares feel like a balancing tool instead of an homage.

Holic Trax presents its 36th release, featuring Tuccillo.
On the A-side, “Eves Sky” returns, a track that was played on the terrace at DC10 Ibiza in the early 2010s. Now reissued on a full 12” cut,
the one-sided pressing allows the low-end bassline to be pushed to its maximum.
On the B-side, “Percussholic” and “Musicly” are included.
The former was previously vinyl-only, while the latter was released digitally.
Both tracks are now brought together on the same format for the first time.
A three-track house EP

On the label's latest, Oath are proud to present 'Times', the latest morphological masterclass from Ukrainian producer extrodinaire Vakula, on which his boundless and intuitively captivating sound remains as absorbing as ever.

Drawing deeply from a rich palette of genres such as deep house, ambient, dub techno, and jazz, and feeding in inspirations from natural and philosophical spheres, Vakula's musical ethos has allowed him to continuously explore the inner and outer reaches of his universal soundscape. By feeling things out through hardware, he allows his music to grow organically, blending humanistic tendencies with technological outputs that always bring harmonious musical riches to the surface.
'Times' represents another seismic chapter in his story, one which contains a series of genre-defying blends that twist, turn, and enthrall with their ever-evolving beauty. 'Atmos Time' plays out as the EP opens up, and draws the listener close with a textured melodic chime and spaced out groove.

Floating along on a bed of cosmic ambience, the groove and melodic features cascade as one, drifting further through the layers of time and thought. 'Break Time' ups the urgency ever so slightly, with a similar atmosphere unraveling above an energised broken beat.
'Drum Time' brings in side B, and this one shifts perspective once more. The melodic sways up above merge and blend with the poly-rhythmic undertones, with the jungle-lite broken beat creating an enchanting energy. 'Soul Time' wraps things up, which moves into a distinctly ambient techno sort of realm. Dreamy pads and looping key lines intertwine amongst a captivating sea of mood and tone, as a laid-back beat shimmers underneath with poise and elegance. . A fitting end to a record filled with moments of tonal excellence, ever-shifting melodic feeling and rhythmic sequencing - an experience that forever drifts through the memory, always capturing the imagination….

XPRESS Singles Vol.2 is here, and its a certified dance floor weapon. Here at TDE we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocal of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fesh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these're both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed on a limited run of 300, this is one for the collectors and the selectors alike.

Walter G & Jay Caruso deliver a warm, groove-led Soulful Disco version of “From East To West”, built for DJ’s who appreciate real disco dynamics. Rolling basslines, bright piano chords and lush strings wrap around an emotive vocal, creating a timeless club-ready moment that bridges classic 70s soul-disco with modern dancefloor aesthetics. Ben Liebrand delivers a classic 12-inch reconstruction rather than a modern nu-disco vibe. It leans into Ben Liebrand’s signature extended format philosophy, letting the groove breathe. His is a rhythm-first reconstruction with crisp percussion, dynamic low-end and long instrumental sections. The vocal sits naturally within the groove, while the arrangement allows DJs space to build, ride and transition with ease. Less modern sheen, more heritage authority, a purist disco tool with timeless floor appeal.

After Maghreb K7 Club – Synth Raï, Chaoui & Staïfi (1985-1997) and Maghreb K7 Club Disco Singles Volume 1, 2, and 3, Sofa Records and Les Disques Bongo Joe team up again for a new project exploring funky, synth-driven tape music from the Maghreb.

This compilation brings together eight songs —delivering a Saharan pop sound melted with reggae, dub, new-wave and funk — by Yassine (Ahl) Nana, the iconic figure of Mauritanian pop music in the 1980s and 1990s. Yassine and his band recorded songs between Nouakchott, Paris, and Rabat, resulting in only a pair of rare cassette tapes. This music was definitively part of the vibrant wave of African sounds sweeping across the continent at the time, from Abidjan to Oran and Kinshasa.

This compilation features previously unreleased recordings, along with liner notes, interviews, and exclusive iconography.

Veinyl returns with Decant Vol 1, the fourth release and the label's first Various Artists compilation. Rooted in the label’s philosophy of connecting sound, atmosphere, and the social ritual surrounding a good bottle of wine, this record unites producers from the deeper edges of house and tech-house. Much like wine, which brings people together and reveals different notes with every sip, Veinyl seeks to curate music that encourages listeners to savour the moment and discover new layers with each play.

Diego Krause opens the bottle with “Currents,” setting the tone with controlled momentum. Punchy kick and bass sync with swinging hats and airy pads as crystalline synths gradually expand in colour, culminating in sparse, darker echoes and an understated atmosphere in its final moments. Lescano’s “Illusion” uses a stripped-back tech-house palette of resonant dubby chords, vocal echoes, and funky bass stabs, all thrown into motion, ready for the dancefloor. On the flip, NVNDO & Until6’s “Donkey Long” brings a playful shift: bongo-driven percussion, rubbery grooves, and 90s-tinted house basslines and synthwork give it a hint of Balearic flavour without losing club weight. Skotsch closes with “Blood,” a dark, jacking tune where acidic basslines, razor-sharp drum programming, and teasing vocal fragments close the V.A. out with punch and style.

With Decant Vol. I, Veinyl distils its approach into four tracks that move between minimal house atmosphere and tech-house mechanics without losing focus on groove. It’s a compilation that highlights the label’s ear for subtle detail and functional design, pointing toward a catalogue shaped less by trends than by carefully curated underground talent and special dancefloor moments.

Finland-based producer Slowct is a new name, but his Panelia EP — the second 12″ to come from the rising DISCO.VERY imprint — lands with a quiet confidence and a rich, sunlit warmth. Pressed in an edition of just 300 copies, vinyl only, this is music that nods to the 90s without ever sounding trapped there: the chord language, the swing, the palette all carry echoes of that golden era, yet the production breathes with a fresh, contemporary clarity.

Across four tracks, Slowct blends house music with hip-hop shuffle, street-soul texture, and Balearic drift. There’s an unhurried, melodic quality here — drums with weight, chords that float rather than pound, melodies that feel both familiar and pleasantly unexpected. Made for summer parties, late drives, and those hazy moments when the sun sits low and the speakers are just loud enough.

On the remix front, GFH (Grooves From Heaven) steps in on “Panavia” and delivers something genuinely singular. Lush and humid, yet unmistakably futuristic. It’s a remix that twists the original into new and wonderful shapes.

New full-length album from Posthuman, veering deeper into electro and leftfield territory than usual. The A side opens with the Drexciyan ‘What U Need’ then straight into the Rother-style machine funk of Test 14 and Reps, through to the downtempo dubby closer of Torus Dreams. The flipside starts more heavy duty with industrial rave in Break Bones before dropping back to chilled ambient house with Chronophobe. Facts Not Opinions and Detramental close off the album with more classic electronica sounds reminiscent of Posthuman’s early 2000s releases on Seed and Skam. Released on unique starburst/splatter/glitter coloured 12” vinyl. It may be computer music, but no humans were harmed in the making of this album; 100% guaranteed AI free material.

A collection of spellbinding, melismatic vocal improvisations taken from 78s cut between the mid 1920s to mid '30s - a period defined by the aftermath of the Ottoman Empire’s partition, the Greco-Turkish War and the compulsory population exchange that followed.

This same period also represented a time of intense efforts, following the establishment of the Republic, to westernise the new nation's music - coupled with a ban on traditional music education in schools, and later a complete ban on broadcasting Ottoman-Turkish classical music on the radio. As such these performances seem shrouded in an even more distant past, and feel quite intimately connected with forms of Greek amanes and rebetiko - having stemmed from the same Ottoman makam system, both with a subject-matter focussed on heartbreak, yearning, and pain.