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Originally released 1996 on the short-lived Picnolypsis Records (DE) - Down D.C. and Analog Consciousness take a side each for a raw, stripped-back excursions into underground acid house. Driven by hypnotic drum programming, rolling low end and corrosive 303-style lines, the record captures the rough-edged spirit of mid-90s European club music. Long buried in obscurity, the record's reputation has quietly grown amongst DJs. The spotlight now shining on it further after Down D.C.'s Acid-House Part 2 was played on Shanti Celeste’s BBC Radio 1 residency.

This first time re-issue features a remix from Pacific Coliseum - alter ego of Canadian artist Teen Daze.

DJ HS presents "Booty Shake EP" on Ghoststyle

A legendary figure of the Belgian electronic scene and one of the iconic DJs of the famous Lagoa, DJ HS returns to Ghoststyle with Booty Shake EP, a four-track release showcasing the sound that has made him a favourite among clubbers for decades.

Featuring Booty Shake, Spectrum, Shut Up and Acid Twist, the EP delivers four driving cuts packed with infectious grooves, pounding rhythms and unmistakable acid flavours. Staying true to DJ HS's signature style, each track is built for maximum dancefloor impact while preserving the raw spirit of authentic underground electronic music.

Whether you're looking for energetic peak-time weapons or timeless club grooves, Booty Shake EP is a solid addition to any DJ bag and vinyl collection.

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DJ HS présente "Booty Shake EP" sur Ghoststyle

Figure emblématique de la scène électronique belge et DJ incontournable du mythique Lagoa, DJ HS signe son retour sur Ghoststyle avec Booty Shake EP, un EP de quatre titres qui reflète parfaitement le son qui fait vibrer les clubs depuis des décennies.

Composé de Booty Shake, Spectrum, Shut Up et Acid Twist, cet EP rassemble quatre productions percutantes mêlant grooves entraînants, rythmiques puissantes et touches acid irrésistibles. Fidèle à l'univers musical de DJ HS, chaque morceau est pensé pour offrir un impact maximal sur le dancefloor tout en conservant l'esprit brut de la musique électronique underground.

Que ce soit pour les DJs à la recherche d'armes redoutables pour le peak time ou les amateurs de vinyles électroniques authentiques, Booty Shake EP trouvera naturellement sa place dans toute collection.

Do not adjust your tuning! Cowper emerges disc in hand from the liminal static, exposing us all to his peculiar brand of outsider club chaos. Boldly, slowly, Goa-ing into the fray, these three tracks chew your ear off in the sonic language of acid, trance and progressive house, churning and gurning their way deep into the darkness. In the time since the first dispatch of edit excellence, Cowper’s Between Stations has firmly established itself as an essential underground outpost, adding tape releases by Tolouse Low Trax, Zato and Miles J Paralysis to a growing catalogue of genre-fluid mayhem, consistently captured by his essential Noods Radio shows. Introducing itself with a gut punching kick and gurgling prog throb, the first track here is simultaneously upbeat and downcast, a glorious gloom-core ode to narcotic indulgence.
Extra-terrestrial pads and choral synth hark back to childhood days of Perfect Dark before a trance lead interrupts all remaining neural connections. When that snare lands in the second half we’re in fully fledged techno-pagan mode, red-faced and rushing right till the end. Assuming that even xenomorphs dance sometimes, this end of the world apocalypso is absolutely their jam. Track 2 tunnels further into the planetary core, 16bit woodblocks and bells sitting atop synthetic swells and hoover-ish vamps, before a hooning bassline drops like a sledgehammer on your unsuspecting ear drums. An unexpected, but very welcome left turn into mid track breakbeat provides a moment of airy reprise before we lock back into the cavern-shaking groove until the run out abates. For the encore, Cowper didgeri-doesus with the oscillating bass and molasses-apache break of a techno-tribal, prog-frog delicacy. Complete with the type of mantra vocal usually found on pound-bin trance or superspenny Dream House rarities, and a little acid-gwamph resonance abuse Josh Wink would be proud of, this chug-athon sounds a bit like Psychic TV tuning into Psy-trance, which is a very good thing indeed. Dark, dense and musky stuff that will drive a proper dance floor wild.

Chicago-based duo DRASII (Lisa Armstrong & Chris Kalis) return with The Seeker, the follow-up EP to 2024's Spirito Celeste. Co-released on ETC and Shmee Records, it continues their trek through a paranormal sonic landscape. Using vintage analogue and FM hardware synths, the five-track release runs through Deep House, Acid, Electro, Balearic and Post-Industrial.

The opening track, "Daydream," features celestial, wispy vocals, deep bass and sparkling synth melodies. It leads into "Vertigo," which follows with a shifting drone over repetitive Juno 60 notes channelling Chris & Cosey or Adrian Sherwood. This is what Sarah and John Connor would have in the tape deck while barrelling down the freeway in a stolen police cruiser.

On the reverse side, "Tiger's Eye" leads with SH-101 bass that moves around a swinging 909 beat, creating a downtempo feel that mixes inspiration from Larry Heard and Ibiza in the 90s. From there, "Hycean" propels forward with 707 drums and acid bass before breaking into a syncopated polyrhythm accented by witchy vocal samples. "Sorcerer" closes on an upbeat, electro feel, centered around a dark metallic bass blended with 6/8 time arpeggio melodies.

The Seeker is a lucid dream, a spell, and a stirring of the subconscious: five transmissions from somewhere just beyond the void.

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Nearly six years since his last full EP on Claptrap, Vanity Project returns with a fresh release, featuring a killer remix from Manchester aficionado Ruf Dug.

File Management Blues was born in the malaise that followed an irretrievable loss of studio files dating back over ten years at Claptrap HQ. Made with love in the wake of that back-up drive meltdown, these jams drift between acid, proto house and dreamy balearic sounds, moving from uptempo club rollers with swirling pads and biting acid lines to downtempo dub chuggers. Running through all of it is a melancholic digital string melody, four original versions on a theme, plus that tasty Ruf Dug rework of the A1.

Always remember to back it up kids!

Chino, AKA Artur Oles, makes his debut on brokntoys with The Chase, a new EP drawing on new beat, electro and acid influences. Across three tracks, the Polish producer builds a slow, tense atmosphere where nothing is hurried and the pressure only tightens. Closing the record, Not Waving cuts loose with a driving acid trance rework, pure propulsive 90s rave.

Edition of 100 copies including an A4 insert.

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

Berlin-based producer and live act Volkan Akin lands on Secret Society with a brace of finely tuned minimal house sounds for the small hours. 'Famosus' is stripped back but not lacking in clout: the drums and bass are tightly coiled while the hits pop out of the mix as a soft acid line wiggles endlessly in the middle of the mix. Franco Cinelli remixes with a bolder sense of swing and trippy vocals that are like voices in your head. '2SHY4' is the other original and is dry, dusty tech house with jazzy chords softening the edges and bringing some warmth, then Thomas Melchior remixes with his masterful touch and distils everything into deft, hypnotic grooves.

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

Almost four decades in the making, Dave Seaman’s very first artist album ‘Mirrorball Sleaze’ has finally been completed and will arrive on Selador on November 6th. Featuring a heady mix of both new and old recordings, all created, revised and / or re-purposed especially for this project, this assemblage represents the best of Dave’s sprawling oeuvre, joining the dots between the some of his most celebrated past glories right up to the present day, where he remains on the frontline of electronic club music. A culmination of a life lived and breathed in the trenches of acid house.

This limited vinyl edition will feature all 11 tracks especially segued together, split into two flowing listening pieces across sides A and B. After a long and storied vocation in music, his own artist album was the one itch Dave has long wanted to scratch. And now, at long last, it has arrived - a sultry, shimmering beauty, by turns deep and euphoric. A career milestone.

A hot slice of Latin dance music — produced by the legendary Masters at Work, the house icons and masters of that Nuyorican sound, “Little” Louie Vega and Kenny “Dope” González — from Los Amigos Invisibles, the Venezuelan band who have spent decades perfecting the art of getting away with everything.

Packed with raunchy songs (of course) that fuse every American genre under the sun — from salsa to acid jazz to disco to funk — this record tore up dance floors twenty years ago.

Library of the Occult presents ‘The Empress’ the collaboration between Paul Elliot (Pleasurewood) and Paul Osborne (Project Gemini)

Turn the card and follow your destiny into a dreamscape of vintage magic. Fortune Teller is a deck stacked with analogue glamour and midnight omens where fuzz and mysticism collide. But who is the mysterious Empress? Some say she’s a soothsayer of sound whose grooves are eternal. Others say she’s a front for instrumental masterminds

Paul Osborne of Project Gemini and Paul Elliott of Pleasurewood, paying homage to library labels like Sonoton, MP 2000 and CAM. No matter the truth, this is an album that foretells what’s yet to come via electronic sorcery, acid invocations, and some hot hot synths.- Thomas Patterson

U//D welcomes Swedish maestro Arkajo to the label with Fourier Dust, a four-track EP built for deep dancefloors. Across the record, Arkajo moves through breakbeat techno, dark 2-step, broken techno and dubstep, with close friend and Naarm/Melbourne stalwart Pugilist rounding things out with a remix of “Chasm”.

A1, “Fourier Dust”, opens the record with a breaky techno groove driven by a ferocious acid bassline, razor-sharp percussion and deeply atmospheric pads. Tough, spacious and hypnotic, it sets the tone for the EP perfectly.

A2, “Illusion”, shifts into darker 2-step garage territory. Wobbling bass, submerged vocals and rolling percussion build throughout, with bongos keeping the groove moving as the track gets progressively deeper. There are clear echoes of the darker UK garage lineage of SP:MC and EL-B.

Flipping to the B-side, “Chasm” moves into techno-bass territory, pairing a wonky 4x4 groove with hypnotic, heavily dubbed vocals. The result feels both spacious and eerie, balancing club pressure with a distinctly psychedelic edge.

Closing the EP, Pugilist’s remix of “Chasm” takes things in a dubstep-leaning 2-step direction. Heavy rolling sub, signature dub stabs, swung percussion and the occasional wub give the remix serious weight — one designed to be felt properly on a big system.

Amsterdam's Stefan Vincent makes his Aquaregia debut with Until Meaning Emerges. With a discography spanning techno, acid and IDM, Vincent's versatility is on full display here. The four-track transmission uses the 303 as its central signal, soldering together halftime polyrhythms, breaks and techno. The EP opens with "Soothing the Beast", an alluring polyrhythmic acid stepper with squelching 303 and crisp halftime breaks, where interference resolves into coherence. "Full Scope" then slows the pulse down with a chilled-out, growling acid line that moves with a gravitational weight. On the flipside, "Degauss" reboots the system with a high-octane acid techno tool; a recursive groove spiraling deeper into the network. "Paranoid Origin" closes the release with a euphoric final ascent, layering breaks, melodic arpeggios and shimmering fragments that dissolve into open air.

This is Acid – for the deep, driving, uplifting after-hours. It's also a pure Acid remedy, sorely needed to elevate today's Techno dancefloors. With absolutely hands-in-the-air stabs, the Moon Creator EP nods to the best of the '90s Dutch club scene, while always staying true to the Acid game with its continuous double-303 sequencing. Swedish trio The Sysop – aka Pascal Mayet, Jonas Månsson, and Erik Jäähalli (of Börft Records) – present a beautifully melodic EP. In the right hands, this will impress dancers with their eyes closed.

ZC-ELEC020 — Electro Guilde VII continues Zodiak Commune Records’ established Electro Guilde series with five tracks by Nasty Boxes, Akkaelle, Vema-Diodes and 303 Vision, including a mix by Elektrotechnik. Underground electro remains at the core, with acid elements surfacing across parts of the release. Electro Guilde VII also introduces the new standard Zodiak Commune Records sleeve, now forming the visual presentation for current label releases.

Behind The Mask is back with its third release signed by Lorenzo Aribone. The EP features four dancefloor tracks, characterized by a hypnotic and energetic atmosphere. The sound ranges from dark and light sounds, with an acid touch characteristic of the label.

One of the biggest underground rave anthems of the early 90's produced by Gordon Matthewman (Dj Edge) and Doug Osbourne (Sourmash).

The track perfectly bridged the gap between early 90s UK rave, European hard trance, and sinister warehouse techno. It is instantly recognizable by its slow-building, intense tension, heavy pounding kick, and the stark, ominous, distorted synth stabs that cut through the eerie acid lines.

With its massive dancefloor appeal, it was quickly snapped up for major compilations, notably appearing on the highly influential Reactivate 8 compilation put out by React Records. Original vinyl pressings on the iconic XVX label remain highly sought after by old-school electronic music collectors worldwide. This is your chance to own this Rave Classic on an official Repress from the XVX Label.

Channeling his honed sample craft towards the ominous portent of modern times, Romare returns with his fifth album Oblivion, with the previous 3 out of 4 LP's appearing on Ninja Tune. Across a suite of downtempo, broken beat, bubbling grooves and brooding reveries Archie Fairhurst threads a narrative that wrestles with the big questions of the present moment — the tipping points of the planet and technology, the fight for social justice and the power structures that govern our existence. While his trademark source material continues to cast a long line back through recorded history, this is Romare at his most contextual.

Nothing is placed by accident. 'Machines' hums its throbbing 4/4 pulse along to a German language recital of Johann Wolfgang von Goethe's 'Blessed Longing' — an enduring reflection on the human condition that rings true from way back in the 19th Century when it was written. 'Computer Love' slinks into a sumptuous trip-hop lull laced with sci-fi flourishes sculpted from samples of old computer documentaries — a bittersweet romantic backdrop to our complicated situationship with the devices in our lives. 'Take Us' goes one step further on its hard-stepping boom-bap strut as a subtle tale of possession by screens unfolds around Romare's signature strain of technicolour mutant funk.

There is space for optimism in the message on Oblivion as well — the strength of the suffragettes as a benchmark for social justice and activism amidst the speakeasy slink of ‘Deeds, Not Words', and spring-loaded acid house joint 'Change' pointing to the need for positive action in the face of imminent calamity.

The artwork for the album follows Fairhurst's thought process, drawing on Edvard Munch's iconic 'The Scream' along with Philippe Halsman and Salvador Dali’s ‘Voluptuous Death’ to help render the ideas of the album visually.

The wild ride of Oblivion races towards a final beguiling opiate on 'The Last Lullaby' — the perfect sedative after the rush of information and emotion that comes with a full-length trip through Romare's vivid, uniquely creative world of sound.

RAWAX WELCOMES WESTCOAST GODDESS TO THE FAMILY!
WE ARE VERY HAPPY TO PRESENT YOU THIS FANTASTIC ARTIST ON CHIWAX!
THIS BIG RELEASE WILL BE OUT END OF MAY. ENJOY THE TEASER AND WAIT
FOR THE VINYL TO ARRIVE SOON! HIGHLY RECOMMENDED!

Burnski's Instinct label hits release number 40, having very much helped to define this latest era of minimal, tech and garage mutations. Mattik is in charge for this one and he has become a northern heavyweight in this world. 'Original Badboy (It's Ecstasy)' is a title alone that tells you what to expect - naughty, playfully sleazy garage sounds with old school motifs and a killer descending bassline. 'We Tell Dem' brings an acid squelch and screwy synths that are decidedly futuristic. Mattik & Tuff Trax's 'Get No Sleep' tightens the low end bump and drops in some neon chords and choppy garage-house drums, while Cronnik's 'Feelin' (Mattik's Got The Feelin' mix) blends bumpin' drum work with spraying synths and wobbly bass. Fantastic fun.

...a sound unbound by time and space

DRIVETRAIN - Feel Me
Mezmurizing in ethereal pads, a beguiling vocal repetion and punchy rhythm

JAY STRATA - Something 4 U
Mondo bass directs spicy pad lines and female vocal drops for something evocative

DJ SINJIN - Things On My Mind
Straightforward, funky and direct, from the fierce bass line to the aggressive dialogue

DJ MOURAD - Dreams Of An Insomniac
When jazz meets acid and a mythical descendant is born clad in muted trumpet and bleeps

With nearly 20 albums & a similar amount of Eps & remixes, for labels such as Firescope, Exalt, Childhood Intelligence, Deeptrax, Fourier, Form@ out of Tokyo, Magnonic Signals and his own Spacetime Recordings, Darren Nye is one of the more prolific producers of the deep tech soul sound originated by B12, As One & Status in the early 90s Lunar Refraction is a 6 track exploration of intergalactic sounds, swirling pads, bubbling bass, analogue drum sounds & Detroit influenced synth riffs & stabs. Other influences shine through - the 70s Kosmiche Krautrock feel of Solar Drift, the Fingers style bass of Perception Shift & the ethereal acidic breakbeat What Is The Answer recalling early Plaid & Mo Wax era Stasis

Watch out for forthcoming radio show appearances on Kane FM & Soho Radio with Ross Allen. Radio spins from Colin Dale & Damo B.

System One. Bass Beats Pads & Bleeps

We’ve always been careful not to call Balmat an ambient label, because we like having the freedom to move, to drift, to morph. But with our 11th release, we turn our ears—proudly, blissfully—to a strain of ambient at its most timeless. The appropriately titled Dreams & Whispers comes from Warsaw’s Bartosz Kruczyński, who has recorded under a number of guises, Earth Trax, as well as his own name. Over the years, he’s touched upon deep house, breakbeats, acid, techno, electro, IDM, and more; often, the throughline running through a given album is simply the refusal to remain in any one place for long—well, that, and his unusually nuanced ear for harmony and texture.

Those qualities come to the fore on Dreams & Whispers, which might be the most focused encapsulation of Kruczyński’s atmospheric sensibilities to date.. Across 14 stripped-down tracks for shimmer and pulse, Kruczyński evokes overlapping styles in ambient—warm vibraphones, taut arps, massing strings, lonesome delay chains —but always with his own twist. Fitting the album’s title, the album is loosely divided into two distinct moods: The A-side, “Dreams,” is charged with subtle movement, rhythms spreading out like rings around skipped stones, while the B-side, “Whispers,” plunges into a zone of shadows and hush. The two complementary moods flow into one another like the faces of a Moebius strip, yielding an album that’s intuitively shaped and rich in emotion.

We have reached the final chapter of Kontra-Musik Records' 20th-anniversary celebrations - a busy and rewarding year filled with new releases, represses, club nights, festival appearances and tours. To bring the year to a fitting close, Andreas Tilliander, aka TM404, has once again teamed up with label head Ulf Eriksson for a new limited, vinyl-only 12-inch. Entitled Tjugo (Twenty), the EP sees the duo return to their dusty, machine-driven sound. It opens with Navet, a deep techno track built around rolling stabs, a melancholic organ chord and a solid bassline. From there, it moves into Ravet, a hissing, propulsive piece of minimal techno. The B-side is given over to Sjuhundrasjuttiosjuan, a slow, acidic bonnadub, to close of the year and the record.

Three decades deep and as essential as ever, Ralph Lawson's 20/20 Vision Recordings continues to mine its rich back catalogue with care. To that end, 'Full Circle Vol.3' feels both respectful and forward-facing with new mixes of enduring classics. Roman Flugel reworks 'Machine Life' into a driving club sound with fresh vocals and elastic acid lines, while MADVILLA sharpens 'Rhythm Freq' into a sleek hybrid of house, UKG and electro. Simon Baker's updated 'The Liptrick' retains its raw punch, and Formidable Force close with a warm, late-night dub of 'Reactivate'. It is a tidy reminder of the breadth and depth of sound this label has always dealt in.

The Comfort enters the double digits of its catalogue with the label’s most ambitious release to date by Saudi Arabian artist Noboot, titled “Call and Pulsate”.

Fluid in genre yet wholeheartedly electro in spirit, Noboot’s creative output shapeshifts across the record: from four-to-the-floor acid-tinged propulsion to time-freezing illuminations, with neon-coloured synths, body-twisting low ends and piercing drum hits mutating throughout the album, and often within the tracks themselves.

Noboot’s capacity for sonic manipulation is on full display here with the pieces moving with a captivating direction and command. Sometimes gentle, sometimes dramatic, but always carried with a particular elegance and poise. To listen to the record from start to finish is to step into Noboot’s own conceptual world, one in which the artist has the confidence to take floor-oriented dance music and elevate it both in spirit and form.

There is composure and ambition in this approach. Tracks move the listener from one emotional state to another in the span of six minutes: not merely teasing transformation, but by fully taking the listener there. To deliver on that ambition requires control and idiosyncratic intuition. If “Desolated Delay” and “Timer Set” are striking examples of Noboot’s capacity for propulsion, “Meter Tired” shows the other side of their talent: the ability to make time feel briefly suspended in a weightless flux of cybernetic psychedelia.

To achieve this once or twice would already be impressive. To sustain it across an album of this scale is rare in electronic dance music, and makes The Comfort’s tenth release a defining moment in the label’s catalogue.

Doubt Records puts out a release from one of its own: Berlin-based modular live act O/Y whose debut album "Variations" set the tone for a sound moving between micro house, dub techno and downtempo. "Perpetuity Wing" continues that trajectory, threading dubbed-out chords and acid textures through three tracks built for deep, late rooms.

Dame-Music celebrates its 55th release with Second State Of Reality EP, a special reissue of two acclaimed Bloody Mary tracks, “Reality One (Acid Mix)” and “Reality Three (909 Mix)”, alongside a brand new remix by techno legend Chris Liebing, one of the genre’s most influential and enduring artists.

For the A-side, Bloody Mary invited Liebing to reinterpret “Reality One (Acid Mix)”. A long-time supporter of his work, she wanted to hear her track through his distinctive sonic approach. The result is a heavy, driving techno remix, pushing the original’s acid energy into darker and harder territory.
The B-side returns to Bloody Mary’s hardware roots, with crunchy TR-909 drums, crisp highs and mind-melting 303 sequences across two raw, hypnotic cuts.

A special reissue celebrating the 55th release on Dame-Music, bringing Bloody Mary’s acclaimed hardware productions back together with a fresh Chris Liebing interpretation.

2026 Repress

¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light.
The title track of the EP, already known from the album (D1 - Extrawelt - ¡No Pasaran!) carries a commanding presence, pulses with a rolling, insistent bassline that anchors shifting rhythmic currents and evolving sonic layers. Between tension and release, shadows and melody, it's a track that moves like a living entity.
Arctic Dead Run hits like a surge of raw energy. Acid lines roll relentlessly, building tension that feels alive. Then a melody sneaks in - soft, almost fragile - cutting through the intensity, until hi-hats erupt and the groove snaps into full focus. Maximal yet controlled, every element finds its place.
Clipping Me Softly dissolves the pressure with a dark, playful groove. Precise rhythms meet spacious pads, opening into a dreamlike state where night slowly gives way to warmth and light.
A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.

Dutch-born and Singapore-based, Mike Risk has spent more than three decades immersed in house music. As a DJ, producer, promoter and agent, he has experienced the culture from multiple angles, building relationships and sharing dancefloors across Amsterdam, London, Ibiza, New York, Chicago, Singapore and beyond.

Now Is Forever is a full-circle moment. A statement. A celebration of a lifelong relationship with house music.

Mike first made his mark in the Dutch underground through Club Risk and later RiskSoundSystem, two platforms that helped shape nightlife culture in the Netherlands throughout the 1990s and 2000s. After decades spent championing the music of others, Now Is Forever is Mike adding his own chapter to the culture that shaped his life.

Created with longtime collaborator Greg van Bueren (Hardsoul) between Amsterdam and Singapore, the album is a deeply personal tribute to the music, people and places that shaped him. From the clubs of Amsterdam and London to the sounds of Chicago, New York and Detroit, it distils decades of dancefloors, record stores, studios and late-night conversations into one body of work.

From deep and soulful grooves to raw house cuts and acid-tinged late-night moments, Now Is Forever explores house music in its full spectrum. It reflects the way Mike has always approached a dancefloor as a DJ: not as a collection of tracks, but as a journey through the many moods and moments that make a greatnight unforgettable.

Featuring Mike Dunn, Bluey Robinson, Marc Evans and John Agesilas, the album brings together years of experience, inspiration and dedication. Crafted not out of commercial pressure but out of creative necessity, it is the product of pure love-for the culture, for the craft, for the music.

Now Is Forever is a past-forward record: rooted in the music, dancefloors and relationships that shaped Mike, while carrying their spirit firmly into the present. At its heart, it is about honouring the kid who first fell in love with house music-and never let go.

Because when you are truly lost in music, there is no past and no future. There is only now.

And now is forever.

,Evergreen" vereint die musikalischen Welten von Dave Harrington und Kalia Vandever zu einer offenen, improvisationsgetriebenen Klangsprache. Die Einflüsse reichen von Jazzgrößen wie Bill Evans, der melodischen Weite von Bill Frisell, atmosphärischem Ambient, moderner Elektronik und Minimal Music bis hin zu experimenteller Improvisation und zeitgenössischer Kammermusik. Harrington, bekannt durch Darkside, bringt Elemente aus Minimal Techno, Acid Jazz, kosmischer Musik und experimentellem Rock ein, während Vandevers Posaunenspiel zwischen modernem Jazz und avantgardistischen Klangfarben pendelt. Das Ergebnis ist ein vielseitiges Album, das lyrische Jazzharmonien mit elektronischen Texturen, freien Improvisationen und atmosphärischen Klanglandschaften verbindet.

Zodiak Commune Records presents Dogs Rule Outer Space by G303, the first entry in the label’s Limited Series. Six tracks of raw acid electro, including remixes by Ekman and Nasty Boxes. Raw, uncompromising electronic material with the underground character of Zodiak Commune Records.

Raw and unfinished. Never released, for various reasons. DAT and compact cassette tapes forgotten in home studio drawers, then boxed away in the basement for decades. After modern mastering, sounding solid and fresh — so why not release them after all?

Kilotoni drops its sixth vinyl-only round of radioactive techno findings. Be prepared for the meltdown and fallout.

A1 Banging acid techno in the Public Energy vein, mixed with the minimal Landstrumm-style funkiness of the 1990s. Raw and minimal, but dialed in just right.

A2 Simple acid house with shuffling beats and romantic chords. Perfect for setting the mood at a club night or an outdoor sunrise.

B1 Tech house from the 90s — or perhaps from outer space. A bouncing bassline and funky drum machine programming are joined by unidentified bleeps.

B2 Wild but unconventional acid techno with shuffling beats and throbbing basslines. Midwest acid and ghetto techno shake hands on a nuclear wasteland.

DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...

A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.

Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.

About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.    


DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:

The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.

Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.

The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.

Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.

Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.

The release comes as a 2xLP gatefold.

Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.

Bogdan Ra's Love Affair label is still in its infancy, but thus far has yet to make a misstep. On his previous EP for the imprint, the Lisbon-based artist explored his love of TB-303 powered acid house insanity; here, he drops a much more diverse but no less impressive five tracker. He begins with 'Tour De Acid', a punchy electro-meets-acid house workout featuring nods aplenty to Kraftwerk, before blurring the boundaries between formative acid house, bleep and deep nu-disco on title track 'Light Boom'. 'Take Your Time' and 'Manic and Cool' are both peak-time ready slabs of peak-time-ready house nostalgia, while closing cut 'Strictly Business' is a brilliant blend of bass-heavy breaks and acid-fired dancefloor psychedelia.

2025 repress

Repressing of Larry Heard's return into the spotlight with another classic release after all those years! A fantastic 12 presenting the gifted Memphis based vocalist Mr. White (aka Chad White). 'You Rock Me' is a soulful affair, created to be timeless, while 'The Sun Can't Compare' is a fun play with vocals over a typical Larry Heard acid track. Must have for all fans of good house music!!

A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts- the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.

"Once Turin-based producers Mattia and Massimo joined forces under the Voodoos & Taboos moniker, they quickly became a notable force in contemporary club music. A crafty take on house music, combining groove with sculpted production work and a bent for lush melodies, drawing from a wide range of influences - anything that borders on the electronic genres really, and beyond - fueled their own namesake imprint with 6 EP's and landed them spots on a variety of top-tier labels. We have been keen to work with these artists for a long time, and are thrilled this finally materializes with the release of ALT027. Title track "Sempre Sognar" immediately sets out the duo's floor-focused intentions. Breakbeat-laced drums gradually build momentum before a formant lead drops in. It trades phrases with an equally infectious organ that's eventually joined by a 303 pattern for the track's finale. Similar vibrating, buzzy leads thrust "Take Me" forward. Amid heavily delayed vocal samples, the proggy beat takes a more trippy turn however. Synthesized idiophone interludes create room for moments of repose, although not entirely unambiguous ones. A subtly detuned lead and more sleek acid lines are supported by the type of arp bass that characterizes Voodoos & Taboos' sound on the B-side's "Revolution". A collage of broadcast and war-movie lines alike not only adds color, but underlines the sense of indeterminate imminence that looms throughout the track. B2 "Afterhouse" sees the BPM drop a notch, yet the palette shows no signs of winding down; it is downright exuberant. As different arpeggiated melodies play call and response, tape-delayed chords, alarm-like risers, and sprinkles of guitar add extra flavor. This does not lead to excess, however. Everything is carefully measured and kept in check: after all, at the helm are two artists who understand that perfection lies in getting a great many small things exactly right."

Three years on from the release of his critically acclaimed second album as Tambores En Benirras, Graham Newby returns with album number two, a glorious celebration of the mystical, magical and life-affirming musical meditation on stretched-out sunrises and the breathtaking beauty of dawn.

Newby has more reason that most to cherish picturesque and soul-enriching sun-up moments. During the process of making second set Onda Horizontales, the long-serving Cumbrian DJ, crate-digger, beat-maker and producer’s sight deteriorated to such a degree that he was certified ‘registered blind’. As a result, new working methods were found, with Newby delivering widescreen Balearic visions as much from muscle memory and feel as the visual environmental cues that once fired his imagination.

Third album Alba Amba – ‘amber dawn’ in English – finds Newby in dawn-ready mode, serving up music to soundtrack stunning sunrises and those clear early morning moments where anything seems possible. It’s a simple idea, beautifully executed, with the artist once known as Gripper conjuring up a meditative and mesmerising mix of slow-burn aural colours, tactile textures, gradually unfurling chords, and heady melodic motifs.

Newby sets his stall out with the smouldering, pre-dawn bliss of the jaw-dropping title track, where reverb-laden female vocalisations and twinkling electronics usher in a golden dawn, before reaching for shimmering, sun-bright melodies, heart-stirring chords and undulating TB-303 lines on the ambient acid chug of ‘Bucanero Acido’.

Newby’s instinctive grasp of mood and texture comes to the fore on the drifting, soft-focus ambient dub head-nod of ‘No Se Me Pasa’, where strummed acoustic guitars, echoing vocal samples and weighty low-end warmth catch the ear, while his history of dusty downtempo beat-making – originally explored on his early 2000s releases for Grand Central Records – informed the dancehall-meets-trip-hop fusion of ‘Batalla De Etiquettas’.


With its epic, head-turning ambient intro, raw electronic bass, effects-laden hand percussion and slow, restless build, this triumphant closing cut signals the moment the sun has well and truly arrived above the horizon. It’s a genuinely stunning conclusion to a soul-stirring set.

CYBERPHUNK CLAUSURA (2LP) is the closing chapter of the CYBERPHUNK saga, following CYBERPHUNK and CYBERPHUNK EXPANSION.

What began as an exploration through Electro, Breakbeat and Acid now reaches its final form: a convergence of SubBass pressure, fractured rhythms and dystopian energy condensed into a complete double LP experience.

Across 12 tracks, Calagad 13 expands the sonic language of the series — combining high-impact breaks, hypnotic sequences, acid mutations and darker atmospheric structures into a body of work designed to be experienced as a continuous journey.

Pressed as a limited edition of 150 copies, CLAUSURA stands as both a collector’s piece and a defining release within the COSMIC TRIBE catalogue.

While this release concludes the main CYBERPHUNK narrative, the universe will continue evolving through forthcoming reinterpretations and remix transmissions.

Final chapter. Final signal.

Chapter 9 in the ever growing Yellow Jackets catalogue is this double A sider that brings two takes on the Acid sound coming straight from Chicago and Detroit.
Legendary K Alexi’s raw and relentless ‘Sex O’Clock Rains’ gets the 2026 remaster treatment while on the flipside Pirahnahead’s epic ‘Mirror Muse’ sounds almost like a deep acid symphony! As usual vinyl only and properly cut for dj use!

Continuing with the next installment Len Faki's Hardspace series, he breathes new life into four distinct tracks, re-imagining them through the signature Hardspace lens: heavy, thumping, and relentlessly propulsive. Spanning decades of sound, these reworks bridge the gap between nostalgic grit and future-facing intensity, proving once again that a strong is often the most effective tool in the bag.
DJ Sneak's 2009 cut Acido sits perfectly between acid-house and techno-leaning aesthetics-a natural fit for a Hardspace edit that amplifies its jacking, loopy groove. Staying closer to techno's roots is Like A Tim's warehouse classic Rashness; here, Faki channels the raw, frantic energy of the original, proving how nuanced changes can generate a completely different, captivating energy as he reshapes the track's dynamic impact and tightens the low-end.
The B-side takes two contemporary cuts further into the red: the Snuff Crew edit ramps up the intensity, stripping back Where's The Bad? to a singular, hypnotic loop for peak-time impact. Finally, Umfang's Complete Your Collection undergoes quite the transformation, adding layered, rhythmic complexity and shifting bass weight to create a trippy but floor-focused drive.

Legendary London drummer Crispin “The Pump” Taylor releases his long-awaited debut album Licence to Fill on Monks Road Records, celebrating 35 years at the heart of the Soul, Funk, Rare Groove and Acid Jazz scenes.

A founder member of Push and former member of pioneering Acid Jazz outfit Galliano, Taylor has also toured and recorded with Zero 7, The Blow Monkeys, Dexys Midnight Runners, Seal, Paul Weller, The Funk Brothers, Marlena Shaw, Candi Staton, Carleen Anderson, Urban Species and many more.

Licence to Fill brings together original Funk, Soul and Jazz material, featuring acclaimed musicians including Mick Talbot, Angelo Starr, Joe Cang and Matt Deighton.

A heavyweight debut from one of the UK's most respected groove-driven drummers.

WOW! An early ’80s New Wave, Electro, Proto-Electronica, Industrial and Kraut-Pop album that has never been released before is now coming out on Elaste Records and it’s a perfect fit! History is being made.

Quotes: “A pearl” (Hans Nieswandt) / “Great album” (Hell, Gigolo) / “Awesome album” (Patrick Pulsinger) / “Magnificent material” (Roman Flügel) / “An ’80s electronic gem… an ’80s Krautpop highlight” (Sankt Otten).

In the early eighties, Michael Heinkel was one of those quiet electronic musicians hardly anyone knew — at least outside of Munich. While machine rhythms were being perfected in Düsseldorf, dilettantism was elevated into an art form in Hamburg and West Berlin was soundtracking its own feverish coldness, Munich seemed to be a place where, apparently, nothing was happening. Or almost nothing. Because beneath the radar, far removed from the grand narratives of those years, Michael Heinkel was already creating his own electronic cosmos — stripped-down, idiosyncratic and often ahead of its time. Electronic minimalist music, born somewhere between a home studio, nightlife and the longing for a future that could only just be imagined back then. But the recordings disappeared into drawers, onto cassettes and tape reels. For decades, they remained a secret shared only among friends, insiders and a handful of close companions. It was only 45 years later that Andreas Dorau and Ralf Hertwig (Palais Schaumburg) — two defining figures of that early avant-garde — insisted that the recordings finally be made accessible. Not as an exercise in nostalgia, but as the overdue release of a missing piece in the history of German electronic music. This music is not a nostalgic retrospective. It is a delayed signal from a future that had already begun back then. Format: Heavyweight black vinyl incl. printed inner sleeve + download card



Quotes: -"Michael Heinkel's long-lost LP is a treasure trove. I'm constantly amazed at the musical gems from the early '80s that are still waiting to be discovered." - Hans Nieswandt (Whirlpool Productions) - „Some München musical history that somehow got missed at the time finally gets released after 40 years. Great album.“ - Hell (Gigolo) - “Awesome album! Today, we can only imagine just how groundbreaking electronic music at this level was back then. When gems like these are heard for the first time in perfect sound quality, it’s like a trip back in time to the early days of electronic music. Back to the future!!!” - Patrick Pulsinger (Cheap / iO / Sluts’n‘ Strings & 909 / The Private Lightning Six) - “Terrific material!” - Roman Flügel (Acid Jesus / Alter Ego / Sensorama / Warp 69) - “ELASTE has unearthed an 80s electronic gem! A German minimal wave gem-freshly unearthed! Minimal, rare, brilliant - an 80s Krautpop highlight.” - Sankt Otten - „Pure and delicious 80s Electronics from Munich. We love it.“ - Gorilla Aktiv

What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.

Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.

Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.

In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.

In statement to Its identity, Fergus Sweetland's Pain in the Brain EP initiates the linage of the unapologetically physical, vinyl-only Wobble Wax.

His release at its core is a computerised gallop, grounded in playful but mature musicality. Fergus' chord aware contemporary detailing emits a breezing alchemy of wiseful restraint from an artist who understands the assignment.

The ever-welcoming theme of Sweetland's signature percussion ensures each of the 4 excursions deliver a cohered reference, but not without unique imprint. Speaking to the subtle, non fixed states, that Wobble's manifesto arguments.

Notable entries include: B2's 'Pain in the Brain'- a sharply composed stab anchored in acidic static'ism. And A1's 'Lean into Fuzz'- An aura farming ode to synth-tropic minimalism.

After banging releases on BPitch, трип, and Synewave, Jurek Przezdziecki (Praecox) is back on International Day Off with a fantastic LP.

It’s hard to describe dreamy acid techno without referencing 747’s Aurora Centralis. The title track captivated dancefloors in the late 2010s, serving as an emotional and interstellar reprise. Nine years after its original release, the record returns in this white-out reissue edition. The Aurora Centralis EP is a teleportation into a cosmic dream state through four 303-fuelled cuts. The title track’s surreal electronic vocal levitates us into a reverie. Continuing the excursion, Tenke takes us on a journey to the centre of the earth with a thumping acid bassline, before Night Passage drifts in with gentle allure and neutrally buoyant, disorienting trance. A fourth, vinyl-only version of Tenke sees us off with the hypnotic Oxidized Edit.

This will be Mike McDowell's last (and his most personal) album under his old 'nom de guerre' of Hellboii, so all may again expect a true classic of his very own idiosyncratic 'mechagodzilla' mix of acidic techno, electronic body music, dark ambient, industrial electro and iconic futuristic (or better say brutalistic) sci-fi-soundtrack music.

Belgrade's rising underground force Ledeni makes his KUJE Records debut with Liminal State, an emotional four-track EP exploring vivid sonic narratives through driving rhythms and hardware textures, inspired by the roots of acid and dub techno.

Limited to 500 copies, Shadow Child teases brand new music featuring Pigeon vocalist Falle Nioke and Manchester band Delphic

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

Expired Signal is a transmission from the edge of decay—where forgotten frequencies, fractured rhythms, and fading memories collide.

On this new EP, Farres & Vultur explore a new sound between House & Techno with a touch of Electro & Acid all mixed with some deep atmospheric pads.

Across the release, distorted textures, hypnotic sequences, and industrial atmospheres & fatbasslines. Each track feels like a recovered fragment from a forgotten future, balancingtension and melancholy with raw dancefloor energy.

Featuring a special collaboration with Lourene, the EP reaches a deeper emotionaldimension, blending haunting vocals with the duo's signature experimental sound design. Theresult is a collection of tracks that resonates between darkness and light, nostalgia and futurism.

2026 repress: Flatlife Labelgroup presents this one-time repress on the sought-after SouthSide Records 003. We received massive support from artists like Perc for the "Psychedelic Drug" track from Acid Chiochi. The other 3 tracks are no less impressive with massive artists like D.A.V.E. The Drummer, Marcio M. & Tiago Santos. This one is for in the bag !

Transparent Sound presents - AXIOMATIZE - The Ultra EP

The new Transparent Sound presents series. Axiomatize are will not to be compromised with there. Slipstream the next phase adjust the gauge deliverance. Shacking the cage with the extremely impressive EP thats a must own release.

Amelie Lens' debut album 'AURA' is the first full-length studio album to come from the Belgian artist despite being one of the most respected and sought-after acts in electronic music today.

Of the album, Amelie says:

"'AURA' is my story. Aura is about the connection between the crowd and me. Music has always been my escape, my way of turning my emotions and energy into something new. When I was younger, I would disappear into nightclubs and create myown world in my head. Being in the nightclubs gave me this feeling of belonging somewhere, I felt connection and freedom I had never experienced before. That feeling changed my life completely. So this album really reflects that whole journey. From playing tiny local clubs and driving myself through the night for gigs, to standing on huge festival stages, becoming a mother, building EXHALE and learning how to balance it all in life.

I wanted 'AURA' to feel emotional but still powerful, uplifting but raw. From big festival tracks to the trippy tracks I'd play at 4am at RSO. Although making this album is one of the biggest things I have ever done in my life, I wanted to keep it light and somehow playful. Because that is also how I am as a person. This is the most honest version of myself I've ever shared. I hope it brings some light, happiness and connection to others as it does to me. Because Aura is and always will be about my connection to you."

The album will consist of 11 brand new tracks, all produced by Lens - with one stellar collab, who will be announced in due course.

2026 Repress

The second chapter of The Third Room's curator-led series is shaped by D.Dan, one of the defining voices of a new generation pushing techno into sharper, more forward-leaning territory. Through his productions, DJ sets and close ties to an emerging network of artists, he has helped shape a sound defined by precision, intensity and subtle experimentation. For his curation, the focus lies on collaboration and alignment. Rather than presenting a wide spectrum, the release draws a tight circle around a shared sound: one defined by contrast and a strong sense of aesthetic cohesion. D.Dan's Bound sets the tone: reduced, warm and controlled, balancing sharp accents with a steady, grounding low-end. On Dynamic, Rene Wise delivers a record's standout moment: a fluid, rolling tool shaped by subtle disruptions and evolving tension. Slither by Connor Wall expands into a more trippy, forward-facing space, while Gensou by Sunju Hargun & DJ MARIA. closes on a fresh, detailed take on acid - understated but effective. Across all four tracks, the release feels tightly unified - less like a compilation, more like a single body of work shaped from a shared sonic language. Contrast plays a central role: between tension and warmth, control and surprise, functionality and detail. Cohesive and focused, the record feels carved from a single aesthetic, where contrast and small, unexpected shifts drive its momentum. Copyright 2026 The Third Room A1 Written and Produced by Theodore Su-Ahn Shin | A2 Written and Produced by Andrew Shobeiri | B1 Written and Produced by Connor Wall | B2 Written and Produced by Sunju Hargun & DJ MARIA. Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Rare! Limited! Hand Stamped! First and un-official Love Parade theme from 1989 and remained unreleased to this day. The Techno Deep Club were 8 guys from the early acid house scene in Berlin who organized some of the first acid house parties in both West and East Berlin, starting even before the wall came down in 1989. These three acid-experimental tracks have been recently rediscovered and are now being immortalized for the first time in a small edition remastered on vinyl.

The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.

Deep frequencies beamed out from Brixton’s front line. Four highly sought-after cuts from Grant Dell’s back catalogue that need little introduction now gathered onto a single 12”. The record highlights the infectious and rolling house groove Grant became synonymous with in the early 2000s which is as relevant today as it was then.

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Recorded between 2002 and 2005 the record features ’So Good’ originally released on Jay Tripwire’s Spaced Out and ‘Acid Bubble Baby’ ft. DJ Deano on Stupendous. The other side see’s a reissue of Grant’s Chicago Transit Authority alias with ‘Still Disillusioned’ and also ‘Be Good Tonight’ originally released on his own label, Cove Records.

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Written and produced between 2002-2005 by Grant Dell except A2 featuring DJ Deano.
Remastered by Justin Drake
Pressed by Vinyl Presents
Distributed by Palace Vinyl

2026 Repress

Let's go back to the open-minded days of the '90s, when Goa-trance wasn't strictly defined! DICA & Antidot are the perfect example of genre-crossing artists. French artist DICA is already a well-known name in the acid scene and teamed up with his friend Antidot for this EP. After visiting ZNA and Apsara, their love for Goa-trance deepened...and it shows!
Picture a room full of analog machines and two guys tweaking them like madmen. The result? A high-energy acid/Goa-trance crossover with a touch of hard trance. All tracks have been tested on dancefloors with truly uplifting results! We hope you're ready for this madness too!

Two Piers / Pavilion Records bring you the second instalment in a new series of 12” EPs called ‘Pavilion 12”s’ showcasing different genres and scenes. Put simply 4 x Killer cuts from the scene on Limited Vinyl pressings

‘Pavilion 12”s Volume 2’ features four cuts from the New Beat, EBM and Electro Industrial explosion of the late 1980s and is pressed on ‘Neon Acid’ coloured vinyl (limited 350 only pressing)


The Vinyl EP opens with the classic EBM track ‘Flesh’ by A Split Second, who were one of the pioneers of the Belgium New Beat underground explosion of 1987. Fellow Belgian New Beat exponents L&O deliver ‘Even now’, a staple in the Underground Electronic scene of the late 1980s. On the flip things take a more Electro Industrial turn with UK electronic industrial collective Nitzer Ebb’s seminal ‘Join in the Chant’, before Front 242 close things off with their EBM dancefloor monster ‘Headhunter (V1.0)’ – 4 Classic and hard to find New Beat & Electro Industrial Dancefloor bangers on one slab of 12” vinyl

DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.

Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.

There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.

Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.

For DAYBREAKERS, this is a proper fit. Buy or cry.

DAYBREAKERS welcomes Felipe Gordon to the label with DBR012 – Constant Output EP, a four-track 12” from one of the most exciting house producers to come out of Colombia.

Based in Bogotá, Felipe has built a reputation as a producer, DJ, label head and proper multi-instrumentalist, with records across labels including Toy Tonics, Heist, Razor-N-Tape, Local Talk, Shall Not Fade, Clone Royal Oak and his own Wide Awake / Nómada projects. His sound has always carried more than just club function — jazz keys, loose basslines, acid touches, live-feeling percussion and that raw, human edge that makes his records stand out.

There’s a natural connection here too. Felipe’s “Let’s Get, Get Together” appears on Rainer Trüby’s Root Down compilation, released on DAYBREAKERS, making Constant Output EP a perfect choice to end 2026 with. From Bogotá to Freiburg to London, it’s exactly the kind of musical thread DAYBREAKERS was built to follow.

Across the EP, Felipe does what Felipe does best: warm, jazzy, deep house with swing, musicianship and enough grit for the club.

For DAYBREAKERS, this is a proper fit. Buy or cry.

Incl Satoshi Fumi Remix. The titles set the mood: shouting at an empty sky, beauty in ruin, a fire that catches on wet ground. That is a dark, tense picture, and it fits the genres the record is filed under. Four tracks, one producer, one remixer, and a clear line from Detroit to acid.

2026 Repress

After the worldwide techno hit that was Darc Marc's "Dirty Rocking Bass" comes the next Cluster X instalment from French legend GANEZ THE TERRIBLE. "The Rave..." is another prime time techno monster from the Acid Techno/Techno underground that is going to cause massive dancefloor mayhem with its cheeky 'The rave, the sound, the people, the party" sample and hard funky beats and 303 stabs. With pounding remixes from D.A.V.E. THE DRUMMER, and new kid-on-the-block SEON, and a kicking bonus track "Elevator" from Ganez himself this gives a nod to all areas of harder techno.

Perry Louis is a pivotal figure in the UK jazz dance movement. As a dancer and choreographer, producer, DJ, broadcaster, and founder of the internationally respected jazz dance collective JazzCotech Dancers, he is perfectly placed to curate this collection.

Perry has been at the heart of the scene since the early 1980s, from JAFFAS, the Electric Ballroom, Dingwalls, Acid Jazz, Hi Hat, and Messin’ Around, taking its energy and sound as far as Japan, the USA, St. Lucia, India, Canada, and across Europe.

This compilation celebrates 25 years of Shiftless Shuffle, with Perry as its ambassador and driving force. Over the years, he has collaborated with top DJs including Paul Murphy, Gilles Peterson, Snowboy, Colin Curtis, and Shuya Okino, helping shape the UK jazz dance sound into a global phenomenon.

The album blends deep jazz, fusion, Latin, and groove-driven tracks, reflecting both the scene’s rich heritage and its forward momentum.

From the brand-new exclusive track by Kyoto Jazz Massive, Get It Together (Samba Fusion Mix), to Bunny Brunel’s Fickle Funk appearing on vinyl for the very first time, and the hard-hitting Caribbean Fire Dance by Tom Grant, this compilation tells the story of a movement—an underground culture born on UK dancefloors that has now captured a worldwide audience.