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Jasper James is back on CHIWAX with his 3rd release.
WAX TRAX VOL. 1 is the start of a new series from the Glasgow based artist.
High Energy House on vinyl - don't sleep on this!

Disco Collected celebrates the dance music which originally developed from R&B, soul, and funk from the late 60s and 70s and turned into a mighty subculture in discotheques, with Studio 54, Manhattan, New York as one of the most famous and extravagant discos all over the world. Disco used a steady four to the floor beat, string sections, horns which created a perfect setting for DJs who mixed their special 12 inches to an eager dance crowd.

Movies like Saturday Night Fever and Thank God It’s Friday contributed to disco’s mainstream popularity. Compiled on Disco Collected are some of the best, well-known and great disco hits by Rose Royce, Chic, Kool & The Gang, The Trammps, Thelma Houston, KC & The Sunshine Band and 16 more guaranteed floor fillers.

The 2LP Disco Collected is available as a limited edition on disco ball silver vinyl and includes an insert.

Mihail A. Popov is a Russian with two decades in the game behind him, partly under his given name, but half of that time has also seen him work as I Gemin. Now he lands on Deeppa Records with a conceptual EP "built around depth, patience and underground exploration." The aim is to explore all new musical ground and follow newly emerging paths, and the result is a fine four-tracker. 'Like The Star' is a lush, deep nu-disco jam, 'Love Undercover' has a seductive slide to the live-sounding drums and playfulness in the horns, while 'Terra Incognita' brings jazzy chords and a balmy late-night warmth. 'Melancholy' gets more heavy and roughed up with smudged neo-soul and r&b samples, making it a romantic affair. Kid Sublime and 6th Borough Project drop remixes that bring more club-ready grooves and complete a superb EP.

Charles Webster was one of the architects of the early UK house scene but has never got the flowers he deserves. Maybe this first win a new series of reissues from his incredible vaults, will change it. Unreleased Stuff comes on Remote and opens with a louche tech house sound that's deep and emotionally dialled in. 'Don't Work' is great advice for anyone as well as being a humid house roller for the backroom. 'How To Live' brings more of a steamy energy that encourages you to get up on your toes and then 'Bad Year' slows it down and layers in some lovely liquid West Coast chords. Two more brilliantly vibey cuts close an EP that must not be sniffed at.

Revered worldwide for their love-fueled, technically adventurous all-vinyl b2b DJ sets, Maya Bouldry-Morrison (Octo Octa) and Eris Drew conceived Alchemical Sisters as a vehicle for creating music together. Alchemical Sisters describe themselves as "psychedelic chaos, acid rollers, and big beat, channeled through hardware instruments and animated by love, touch, rhythm, and spiritual fire." Their self-titled debut double album is forthcoming on Interdimensional Transmissions this October, just in time for Samhain XXVI. Alchemical Sisters was recorded in the forests of New Hampshire by Maya and Eris and mixed by BMG in Detroit in the Interdimensional Laboratory on high end hardware for ecstatically euphonic results. In the cold winter months, Maya and Eris emptied the master bedroom of their forest cabin and sealed it as an alchemical retort--a hermetic vessel in which a higher form could emerge. For a year they slept on the studio floor while, in white nightgowns and under the spell of mushrooms, they brought dulcimers and ancestral instruments into communion with turntables, twentieth-century machines, and new technologies. Alchemical Sisters is the substance crystallized within that vessel by their secret fire. They then brought their music to BMG in Detroit to meticulously mix their vision through hardware, in a high end studio environment. For two weeks at the height of winter, we shut out the world and focused on fusing their sonic vision within the Interdimensional Laboratory. Setting up their computer and sound card, BMG processed their tracking sessions through a high end mixing console, using transformers and tubes and the special properties of many machines to create a solid visceral sound out of a dream, to create a powerful euphonic ecstatic experience from their highly personal highly evolved music, whose sources could be both carnal and celestial. It was important to have their music connect before thought, to feel both the power and the gentleness of their sound, to have the texture and presence of their myriad influences unconsciously affect you. Watching them work together, the patience, the focus, the rigorous thought and discipline, the love, the space and the dedication afforded to each other was a genuinely inspiring thing to witness. They truly are Alchemical Sisters, and we are extremely proud to share their debut album on IT, and their debut performance at IT's Samhain XXVI. It truly is a loop point in time, a full circle moment.

Paraiso has been doing vital work in Portugal - documenting the underground dance scene's history and pioneers in various mediums while also showcasing equally brilliant artists from newer generations. And they've been doing it for a decade now: we all know that a label dedicated to its local scene through and through is something rare and should be celebrated. This compilation 'X - 10 Years of Underground House Music from a Paradise Called Portugal' is a manifestation of that cross-generational spirit, with ten never-before-heard pieces of music by initiators and legends like The Advent alongside more recent veterans like Roundhouse Kick and Vil or younger talent like Phoebe or Van Der. Things start off with Salbany's 'Trax 10', oozing a techno elegance and irrefutable groove that wonderfully portrays the spirit of the Lisbon sound: raw yet ethereal, disarming in its simplicity while containing rave, romance and rhythmic complexities. Label founders Maria Amor & Shcuro firmly carry on the torch with 'Intracellular', gelled by dubby washes, syncopated drums, infectious rhythmic sense and layered with a melodic vocal motif. Vil's 'Cave' brings in stone-cold tight percussion offset by rich, evocative pads and technoid know-how for days. The Advent steps in with an ode to acid-minimalism, raw and slow-burning, with curious and twisted moments peppered with the skill of an expert. Van Der storms in with a piece of hybrid qualities, impeccably blending a swing onto industrial territories for a hypnotic-yet-banging hands in the air dancefloor moment. Scam Dust (the duo of Tiago and Shcuro, from adjacent generations) picks up on the industrial flavours, adds furious jacking rhythmics and live sonic experimentation that takes us to peak-quality effect and noise manipulation. 'Subvert' follows and goes deeper, as if into the depths of the ocean, with aquatic arpeggios and sparse drums that morph into an 303-driven state of mysterious oceanfloor mania - Roundhouse Kick sending us messages from the South. Violet and her 'Dream Machine' emerge with its mutant noisy motif, delay-drenched percussion and steady beat interrupted by keys, drum variations - and a u-turn to its paranoid loopy beginnings. Phoebe enters the chat and brings sonic sun rays in 'Galaxia 2000', a wide-eyed moment lead by colourful, open synthesisers with gates and filters taking us on a beautiful ride on tense, swingy drum patterns. The tenth track comes from Lisbon's rkeat and is full of closing act ear-candy with its beautifully chiseled, groovy as hell percussion, organic sonics and metallic instruments that seem to announce that the next decade is about to be just as good, if not better than this lovely 2016-2026 stint of boundary and scene-pushing.

The record is pressed on 160 gram ultra clear vinyl, housed in a high gloss printed heavy sleeve, limited to 999 copies. The new release by the UK duo known as The KVB via the Minimal Wave sublabel Cititrax. Combining shoegaze guitars, minimal synth melodies, hypnotic drum machine rhythms and reverb drenched vocals, The KVB was first formed in 2010 as the solo project of Klaus Von Barrel.

Two tracks extending towards the 10 minute marker, very much in the unique style of Robert Mononom which was already being refined throughout his previous 3 EPs, now culminating in 2 excursions throughout deep hypnotic/psychedelic machine made sounds. A side is built on an aggressive triple and double beat kick drum with a very dubby "big room" presence upon which waves of other nuances in noise get overlayed slowly transforming the 165+ BPM experience throughout what sounds like an extended live mix. B side goes in more spacial/atmospheric direction where hi hats take control over the kick, capturing the witness in a whirlwind of dubbed out overlaying rhythmic patterns. A sound so raw and pure in its introspection, clearly showing Robert's capacity of developing an aesthetic of his own.

*Glow In The Dark Coloured Vinyl*

Four years after its original release, Mochakk's breakout anthem 'Da Fonk' featuring Joni continues to define a generation of house music. Originally released via Nervous Records in 2022, the record has surpassed 60 million Spotify streams alone, becoming Mochakk's signature track and one of the most recognizable records in modern dance music.

Fronted by fellow Brazilian artist Joni's soulful vocals, "Da Fonk" bridges classic house and contemporary club energy. Its stripped-back bassline and timeless groove have made it a fixture on stages and dancefloors around the world, while also marking a turning point for Mochakk, who has since become one of electronic music's defining artists, widely praised for his vibrant live sets in which "Da Fonk" has remained a staple. To celebrate the track's continued success, Nervous Records releases the 'Da Fonk' Remix Pack today across all streaming platforms, alongside a limited edition three-vinyl release available during Mochakk's long-awaited New York City takeover from August 28, 29 and 30.

Spanning three parts, the remix pack brings together a wide range of artists, each offering a different take on one of house music's most enduring records of recent years.

The first vinyl features Mochakk’s Original Mix and OG Dub of “Da Fonk”, in addition to a new Bass Mix from Marco Carola, whose signature rolling grooves and understated approach bring fresh weight to the original without losing its unmistakable feel. The second vinyl moves across a broad spectrum of club sounds. Australian duo Confidence Man inject their playful, high-energy style into the track, while Berlin's DJ Gigola delivers a sleek, club-focused interpretation. Cinthie, known for her deep-rooted house sound and analogue production style, offers a warm and driving remix, with Brazil’s Bronka rounding out the record on a fresh, contemporary rework. The third vinyl shines a light on Brazil's electronic music scene with an all-Brazilian lineup. Solarce Brothers contribute a soulful reinterpretation that nods to the original's house roots, alongside remixes from DJ Fuzil, Classmatic, and Deekapz & kLap, each bringing their own perspective to one of Brazil's all-time most influential electronic releases on global stages.

Un Canto por México, Vol. 2 is Natalia Lafourcade's second album dedicated to the reconstruction of the Centro de Docementación del Son Jarocho, a cultural building that was damaged after the 2017 Puebla earthquake. The album features unique new interpretations of her earlier songs, as well as collaborations with artists such as Caetano Veloso and Silvana Estrada. This album really showcases the enduring strength of her songs, which remain powerful in any form.

The album was very positively received by fans and critics. It even got nominated for multiple Latin Grammy Awards (Album of the Year, Best Engineered Album) and Grammy Awards (Best Regional Mexican Music Album).

Un Canto por México, Vol. 2 is available as a limited edition of 2000 individually numbered copies on smokey marble vinyl, packaged in a gatefold sleeve, with printed inner sleeves.

Grammy- and Academy Award-winning rapper and actor Common is widely regarded as one of the most influential Chicago rappers of all time. He is best known for his sophisticated lyrics and jazz-rap, which introduced the world to hip-hop classics such as "I Used to Love H.E.R.", "The Light" and "GO!".

He started his career with Can I Borrow a Dollar? This album immediately drew attention thanks to its top-notch production and clever, playful lyrics. Common worked with contemporary household producers like No I.D., The Twilite Tone and The Beatnuts to create this album, which put Chicago hip hop on the map.

Can I Borrow a Dollar? is available on black vinyl.

The new Machine Rise is a masterpiece of Protockick newskool Tribe music... Getting a great pleasure to mix and to dance !

Printed sleeve :)

French and Italian Industrial Hardcore, minimal (or not), and bloody dark... This sounds so Brittany ^^...

Mastering by Armaguet nad
Pressed at B-Side
printed sleeve with a sticker

“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.

“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.

“Across The Room” brings together the elegance of contemporary R&B and the infectious groove of Nu-Funk. With music composed by Midas Touch, arranged by Ivan Makvel, and led by Ivan’s smooth vocal performance, the track captures the chemistry of an instant connection across the room. Warm synth textures, tight rhythmic movement, and a sensual late-night atmosphere make it a refined yet danceable Modern Funk/R&B crossover.

“Stay With Me” captures the romantic side of Modern Funk and Nu-Disco, blending smooth talkbox vocals with a polished late-night groove. Composed by Midas Touch, with lyrics written and performed by Ivan Makvel on talkbox, the track carries a warm, nostalgic, and cinematic feel, perfect for night-drive moments. Emotional but still groove-driven, it connects classic synth-funk sensibility with contemporary R&B and Nu-Disco elegance.

Duality Trax reaches its tenth release with a defining moment for the label, as label boss Holly Lester steps forward with her debut EP. A personal milestone as much as a catalogue marker, the record channels sounds that have shaped her sound to date - early tech house, the low-end swing of UK garage and breakbeat, the rolling pulse of mid- 2000s European dancefloors, and the emotional lift of ’90s progressive house - all refracted through a distinctly personal lens. Open Your Mind sets the tone with a sense of lift and release: a wide, expansive bassline carries skippy, garage-tinged percussion, while bright piano stabs cut through guided by playful, restless FX. Big Fill pivots into tougher territory, a driving cut built on a rolling sub that pulls you into the groove - equal parts pressure and introspection, with moments of dreamlike suspension between the weight.

On the flip, Tanit drifts into more atmospheric space —an ode to Ibiza that still carries a distinctly UK undercurrent. A squelching, elastic bassline and cheeky, garage-leaning wubs provide a foundational groove but everything around it drifts: gated synths shimmer, drums sparkle, half-heard vocals dissolve into the mix and the track unfolds with a blissed-out, cruising energy. It feels just as natural in a dark room as it does out on open water, coasting past Formentera. For the remix, Holly turns to one of her favourite producers of the moment, DJ Life, who draws Open Your Mind into deeper waters. The Berlin via Australia producer stretches the groove into something more hypnotic and submerged, a patient 5am burner that lingers in the air,equally at home in basements, afterhours, and those inbetween moments as night slips quietly into day

Following on from his electric appearance on Diamonds in the Night, Tallac returns with a four‑tracker of low‑orbit elation. Tessitura blends floor‑facing energy with sleek space synths, elegant undercurrents washed in bold bars to produce a one‑of‑a‑kind sound. Drums hit hard on “Carbon Copy,” driving percussion providing the launchpad for synthlines to swoop and soar. Tempos are taken down a notch for the analogue embrace of “Kiss Me Quick.” Notes bend and flow in this smoky dreamscape, samples pulling the listener ever deeper. The rumbling kicks and hissing hi‑hats of “Pythia” are punctured by a throbbing beat; gliding above the rolling snares and luxurious breaks is a melody that thrums with palpable intensity and unbridled joy, a track made to ignite audiences. Never adhering to genre tags or style pigeonholes, Tessitura closes with “Cybersyn.” Touches of cosmic melt into late‑night glow‑stick energy, dawn’s light piercing the warehouse windows while the speakers continue to bounce blissfully.

Nicolas Balmer reveals the heavy silence of his soul.
Facing his own mirror.
The soundscape unfolds.

Fire sets the tone.
Kindling of the abyss, driven to go on and on.
Passion in his language contains suffering.
A silver lining, found in delicately layered noise.

A myriad of intertwined sounds paint the melodies of a life.
Holding the memories of those who danced with his shadows and light.

Nicolas releases his album “Leben” on Zürich based Subject To Restrictions Discs. While moving between New Wave, Kraut and Electronics, his intuition for ambient oozes from each composition, fast-paced or slow. As Nicolas Balmer lays bare his most intimate sources of inspiration with Leben. He holds nothing back.

The album is shaped by a sense of optimistic melancholy: restless and contradictory, yet full of hope. The music is not about arriving, but about the journey: loss and finding oneself; despair, love, guilt and forgiveness. This is an album that does not seek to explain life, but rather embraces it in all its contradictions.

Nicolas Balmer is a Zurich-based multi-instrumentalist, producer and synthesizer enthusiast who has been exploring contemporary music for over fifteen years. Working across music, theatre and interdisciplinary projects, he moves between genres and forms. His work includes the electronic project Nico Sun, the experimental duo Gūsū with Xueyan Chen, the collaborative project Konstant with Angelo Repetto and Kenel/Sonne. He also composes and produces music for theatre and performance, as well as working in mixing and production. Across his projects, Balmer is driven by raw textures, emotional authenticity and a search for an independent musical language.

Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space.

All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger.

There’s a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the album’s final form, with beautiful mixing work between Kenzo and Chris Botta.

With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love".

The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of click’n’cut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SG’s soft vocals rising in the ether.

The presence and inspiration of the sound system is obvious in all of Kenzo’s work, the music can rattle when spun up louder or blended into the club. But K Wata’s uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.



Written and produced by K Wata.

Mixed by K Wata and Christopher Botta at Fer Sound Studio.

Vocals on “Give You Space” and “Go” by SG.

Clarinet on “Radio Embrace” by Eugene Lai.

Mastered and cut by Mike Grinser at Manmade.

Art by S. Gong

here is a direct and enduring connection between the roots of Italian electronic music and the underground club culture of today.

Boldly pulling that thread are Marta Paradise, the duo from Martina Franca (Puglia, Italy), who have established themselves as a go-to name for anyone craving an elegant, refined sound that remains unapologetic.

For their latest release, they team up once again with a true legend: Fred Ventura. As one of the most iconic artists of early Italo Disco, Ventura brings an unmistakable vocal timbre that turns every track into an instant classic.

The result of this cross-generational collaboration is Call In The Night, a track that bridges authentic Italian heritage with the sharpest edges of modern Indie Dance. It delivers everything discerning clubbers live for: shimmering synths cutting through the dark, an octave-driven bassline that locks you to the dancefloor and a nocturnal, dreamy, relentlessly catchy vocal line.

Elevating the package even further is a stellar remix package featuring some of the hottest names on the current circuit, including Mystery Friend, Day Ventura, the unmistakable touch of the legendary Flemming Dalum, and Slow Motion label boss Franz Scala.

Far from a simple nostalgia exercise, Call In The Night is a forward-looking journey with a vintage soul that never falls into cheap clichés. Past and present merge to set the world’s most visionary DJ booths ablaze.

Written by GIANLUCA SERVETTI
HEY CABRERA
Owner of the Magazine “rockerilla”

If you don't know 'Clouds' then, quite naturally, you'd have to be living underground. The work of Venetian composer Gigi Masin went mostly ignored until Music From Memory's early-2010s reissue campaign pulled him and his ingenious ambient works out of the murk, among which many salvages include his now calling-card, 'Clouds'. Re-pressed astonishingly through P-Vine of all labels, this soul-quelling masterwork - first recorded in 1989 for a split release with Charles Hayward and mostly forgotten until said reissue - appears here at two various RPM speeds. The tune really does invite speeding up and slowing down at your leisure, especially if you're a dance music DJ's DJ who wants to prelude a set with a moment's iconic lushness.

Season Two continues with its fifth edition - a shift south this time, from KiF's English hedgerows to the island of Lutruwita, Tasmania, and the work of Soda Lite.

A gooseberry plant took root in the sand between the bricks of Alex's back patio - nutrient-deficient leaves and all - and fruited regardless. That's most of the appeal: "I'm drawn to species that survive in the interstices of human industrialisation." The husk itself carries the same idea, shielding the berry until it's ready to be let go.

Past Soda Lite records - Earthbound, Aqua Solar Cura, Vale & Stone - built outward from field recordings first. Here that flipped: you can't field-record a plant, only the noise around it, so only two tracks (Vibrant Matter and An Sí Gaoithe) carry field sound at all. The rest came from narrowing to a single species instead of the wider non-human world, and "trying to create and replicate sound and energy on the level of the plant and its perceptive world."

Two more things worth knowing. ‘Bryn Celli Ddu’ takes its name from a Neolithic burial chamber in Wales, aligned so the summer solstice sunlight reaches its back wall - the sun turning up again as its own recurring character. And ‘An Sí Gaoithe (Return)’ is a reworking of a Vale & Stone title, old fragments reprocessed into something new - "a bit like composting."

Soda Lite is the recording project of Alex Last, a gardener and composer working from Lutruwita on unceded Palawa land. Their music moves through field recordings gathered directly from the island's own biomes - coastline, forest, alkaline lake bed - alongside slow, warbling synth work, built less as backdrop than as document: proof of a specific place, at a specific time, being listened to closely. Past records have taken their titles and themes from geology and land relationships as often as botany - Aqua Solar Cura, Earthbound, Vale & Stone - so a plant with its own mineral-adjacent etymology (soda, found in dried alkaline lakebeds; lite, from the Greek for stone) suits the pairing.

The first release in the B.I.T. Productions 30th Anniversary 12″ Collection, BIT30-1 M-ULATE “M-Pathic E.P. 2025”. Originally released as a very limited white label 12″ in 1992 as a 3 Track E.P.,this 6 TRACK E.P. features: “M-Pathy (All Come Together)” K69 Dream Frequency Remix - uplifting piano house M-ULATE Anniversary Remake - breakbeat piano/rave Original 1992 Mix“ - Old Skool piano/rave A Need For Love” SARASOTA Anniversary Remake - uplifting piano house Stu Chapman Remix - breakbeat piano Original 1992 Mix - Old Skool hardcore Gold Coloured Vinyl, with a rounded anti-static inner sleeve in a black discobag sleeve.

Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.

Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.

Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.

Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.

Two voices at the frontier of deep, hypnotic and experimental electronic music converge with four-track split EP that moves between first light and subsurface dark.

Lost Few’s productions inhabit the hazy threshold between ambient and dancefloor music - textured, atmospheric productions built around mood and motion. On the A-side, Broken Dawn opens with a sense of slow emergence: layered pads and rhythmic pulse conjuring beauty before sunrise, when sound feels closer to dream than waking. Light Before The Haze deepens the journey; a longing, weightless piece that traces the diffuse glow that precedes full light — melodic, restrained, and deeply felt.

Dino Sabatini needs no introduction; his productions have bolstered the underground electronic music scene while sculpting a new narrative for deep, modern electronic music. On the B-side, Subsurface Light is characteristically Sabatini: a hypnotic descent into pressurised depths, where rhythm becomes ritual and texture carries the weight of ancient resonance. He then reimagines Lost Few's Light Before The Haze as a closing meditation — pulling it further inward, slowing its pulse, and casting it in the particular deep-techno shadow he has made his own.

Together, the four tracks form a coherent arc from the pre-dawn quiet of Lost Few's introspective electronics to the subterranean intensity of Sabatini's world — a release that rewards both patient listening and late-night movement.

Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2 in 2023, Cosmocities returns in 2026 with two new chapters in its acclaimed compilation series dedicated to the rich heritage and continuing evolution of Japanese electronic music.

Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 4 further explores the depth, sophistication and diversity that have long made Japan's electronic underground one of the world's most inspiring musical landscapes.

Since its inception, the Denshi Ongaku No Bigaku project has celebrated the artists and sounds that have profoundly influenced the Cosmocities vision. Across four volumes, the series has journeyed through ambient soundscapes, deep house, boogie, jazz-infused electronics and forward-thinking club music. Volume 4 shifts the focus firmly towards the deeper end of the dancefloor, bringing together timeless classics, rare gems and sought-after reinterpretations from some of Japan's most respected producers.

Opening proceedings is Kaoru Inoue's remix of Soft's "Art Farmer", a rolling percussive Afro-house excursion rich in hypnotic groove and organic rhythm. XTAL's "Heavenly Overtone" follows with a beautifully cosmic house journey, combining shimmering keys and celestial atmospheres that perfectly capture the compilation's expansive spirit.

On the B-side, Slow Didi's "Follow Me (Hidaway Mix Instrumental)" delivers a deep and hypnotic groove before Tokyo Black Star's "Fantastique Voyage" channels the soulful, sophisticated energy of classic 1990s deep house. The journey continues with Manabu Nagayama and Soichi Terada's "Low Tension", presented here in a sublime instrumental remix by Satoshi Fumi and Yoshi Horino, where warm piano melodies and elegant synth work create a timeless late-night mood.

The final stretch moves into more driving territory. Hiroshi Watanabe's "The Orionids (2025 Revised)" subtly raises the tempo, blending deep house sensibilities with sleek tech-inflected textures. Kaoru Inoue's "Ground Rhythm", reworked by The Backwoods, plunges deeper into hypnotic territory with a heads-down groove designed for intimate basement spaces and low-lit dancefloors.

Closing the compilation is Bitowa and YAMADAtheGIANT's "Forest (Mixtacy Exclusive Version)", a trippy, immersive finale that leaves listeners suspended in a dreamlike state between nature, rhythm and imagination.

A carefully curated collection of deep, cosmic and forward-thinking sounds, Denshi Ongaku No Bigaku Vol. 4 once again showcases the enduring creativity, innovation and global influence of Japanese electronic music.

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

We hope that you enjoy the trip into the Bayou.

In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.

Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).

2026 Repress

It's been 32 years since Hyper Go Go's 'High' crashed into life, combining the best of Italo House and rave into an exuberant, floor destroying piano anthem.

Fast forward to 2024 and HOOJ reissue this 92 classic with the Original & Cloud 9 Mixes on the A side with 2 newer remixes on the B side.

Remixes come from Fast rising Scottish duo Testpress, who strip things back a bit, working the original riffs around a thumping kick and hooky new synth line & Kyle Starkey, the youngster takes no prisoners, tearing into the OG with slamming 135bpm drums, big drops, the odd snare roll, and lots of drama, for an energy driven update.

raum…musik welcomes Jaffa Surfa back for its 121st release with ‘Tribal Diesel EP’, a four-tracker moving through progressive techno, industrial-tinged minimal, house and broken beat. Rather than treating these as fixed genres, Surfa reshapes them into something uncanny and unmistakably tribal, while keeping the groove firmly at the centre.

That approach is clearest on the A-side. “Diggers Diesel” has a ritual pull and, as the EP’s title suggests, finds Jaffa Surfa at his most tribal. Processed drums and splintered voices gradually lock into a hook while murky synths shift beneath them. “Lidl Sin” takes a leaner, slightly industrial but definitely understated route. Its reduced arrangement leaves enough room for each detail to register, with drums, synth stabs and sequenced lines appearing to exist in a state of constant mutation. On the b-side, “NGLZ” is the EP’s most direct house cut, driven by heavy low end, syncopated rhythms and flashes of phased samples. Breakbeat accents and old-school vocal fragments nod towards US house, though the track’s restless movement keeps it from settling into anything conventional. “Upstarz Galeri” closes on a wider screen, carrying traces of krautrock and decades-old sci-fi and cyberpunk soundtracks without ever feeling nostalgic. Airy and expansive, it pairs breakbeats and growling basslines with densely layered samples, giving its machine funk an unexpectedly emotional charge.

'Tribal Diesel EP' never overstates the contrast between its parts. Jaffa Surfa holds everything together through texture, rhythm and an almost cybernetic atmosphere. It is clearly built for the club, but carries enough personality and ambiguity to reward closer listening.

A staple of the ’80s electro-funk and disco scenes, On The Shelf by The B.B. & Q. Band is a classic 1985 disco-funk track. Remixed by legendary Dutch producer and DJ Ben Liebrand. (“BL” stands for Ben Liebrand), who created several extended and “Finest” mixes for the group’s seminal 1986 Genie album. Now remastered and reworked, these mixes are on point: electro drums, punchy keys, and really warm, subtle bass. A very sexy slice of mid-80s disco funk with soul.

Ever since the release of his first solo album more than 20 years ago, German musician and producer Christian Kleine has experimented with blending and contrasting the varying textures and approaches of post-rave IDM, breakbeats, shoegaze and punk. His latest album offering, Touch & Fuse, shows he's continued to refine and perfect that combination, which is less a conscious concoction and more of a natural outcome of the music he likes. From the edgy Aphex-isms of 'Val 2' and the heavily filtered breaks of 'Reverse Angle' to the slowed down grunge meets pure electronics of 'Return of the Underground', this is unique, accomplished stuff.

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

'Life As A Duck' marks the return of Fergus Sweetland's imprint Pressure Systems and the label's first vinyl release. The title originates from a joke between two friends - friends that are ducks. These ducks found one another whilst discovering themselves, trying to navigate a world built for humans. Being a duck is another way of saying neurodivergent; existing adjacent to everything whilst trying to make sense of a strange planet, determined to remain as true to themselves at the same time as trying to be accepted in society. The tracks were made in direct response to a challenge presented to Fergus from a close friend: strip it back. The test was to apply brain-licking sound design to as few elements as possible and work them into functional club tracks. 'Tickle My Tism' meets the challenge. Fergus' signature low end captures the hips as the tension builds, expanding into an unexpected soundscape with precise smoothness. 'Trouble In The Bubble' is a dark yet dubby rolling club track full of texture and soundscapes. Nørbak's remix of 'Trouble In The Bubble' strips things down further with the Portuguese Garage (PTG) version, providing a more club-focused slant to the tune. 'Mind Easer' closes out the EP. The concluding track was written to ease the mind of a fellow duck when their feathers were ruffled by life. Its soothing focus allows one to melt into the sound and calm their mind. It tells you that everything is going to be okay. Expect the unexpected as Fergus' distinct sound design carries you through a four-track journey that emphasises that less is more - from a duck just trying to do his best.

Medusa Outdoor presents the third chapter of its Vinyl Collector series: MO_03 – The Vinyl Collector III, featuring six carefully selected techno tracks across different generations, curated by resident dj's Michael Forzza and Jochen Robberecht. The release brings together internationally renowned artists including Nicole Moudaber, Johannes Heil, Envoy, Frank Biazzi, Flug and Steve Nash. Among its highlights is the long-awaited return of Johannes Heil’s “Paranoid Dancer”, presented as a Re-Mastered Original and appearing on vinyl for the first time since its original 2002 release, alongside Envoy’s timeless techno classic “Dark Manoeuvres” and Nicole Moudaber’s powerful “Movin’ On”. From rare collector material and timeless classics to contemporary techno, MO_03 brings six outstanding tracks together on one distinctive bordeaux-coloured vinyl, housed in a beautiful gatefold sleeve. Six tracks. Different generations. One shared techno legacy.

Following acclaimed releases on Permanent Vacation and Shall Not Fade, as well as their Panorama Bar debut, Rhode & Brown return with their second album, Multitudes.
Across nine tracks, the Munich-based duo showcase their signature versatility, moving seamlessly between dubby tech groovers, bouncy house cuts, and sleek, 90s-inspired downtempo. The LP features collaborations with Italian producer Ferrari (Faith Beat) and London-based Braga Circuit (Rinse), alongside vocal appearances from UK rapper RONNI and Munich/ Mexico-based artist Sianza.

Esteemed DJ & Producer Joris Voorn sets aside his dance floor sensibilities for his latest body of work as he looks deeper into his production capabilities with ‘Melatonin’.

The 17-track record serves as a direct, downtempo companion piece to his 2025 dancefloor-focused album, ‘Serotonin’. By stepping away from high-energy techno, Voorn uses this body of work to explore cinematic sound design, rich textures, and weightless, slower-paced arrangements.

Drawing from his years of studio experience, the new album focuses on the Dutch producers influence from ambient and down-tempo soundscapes. Working with long term collaborators and musicians Bram Stadhouders (braem) and Michiel Borstlap, ‘Melatonin’ delivers a thought-provoking listening experience making this an essential purchase to complete the set.

For its second chapter, Esoteric Ears switches up mood, presenting two tracks for extended sessions, memorable moments and special sunrises.

Lead track ‘Minute Machine’ comes from mysterious new entity Sektor 13. A sleek, contemporary take on Kraftwerkian Teutonic electronic funk, it slinks and slides its way onto any open open-minded dancefloor.

On the flip, bonafide legend Carl Finlow provides a remix, operating under his renowned Random Factor alias. This retains the spirit and vibe of the original, but amps up the funk and composition, swaggering its way into an epic emotional crescendo. Up there with Random Factor's finest work, it’s a true honour to share this with the world. Gracias Sr. Finlow.