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

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

Mr Bongo presents a reissue of one of the rarest releases on the illustrious and now ultra-rare tax scam label TSG Records. A label with a checkered past, operated by Lloyd Price and with alleged ties to boxing promoter Don King. The album in question, Disco Party by Reality, is a stunning journey through ‘70s dancefloor-focussed funk into early proto-disco grooves. Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band. Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution. As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it. Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period. It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.

Opponents Stims has two cuts from his current live show, the blistering, pummeling, nominatively deterministic Relentless Opponent and the euphoric / cathartic Who Booed the Geese, maxing out Goose intensity. They nestle up against two coy vignettes, Uxor Cut and My Crow Life and then Frisky Mellows. That’s an addictive, briskly paced 4/4 Detroit-tinted number that could almost be a lost Carl Craig classic.

Be The Mountain (2026) is the latest release from Detroit-based musician STS. The record explores a serene and introspective world shaped by organically morphed textures and slowly evolving soundscapes.

While largely drumless, the album maintains a subtle rhythmic backbone - not through traditional percussion, but through modulated pads, shifting synths, and carefully sculpted ambience. The music moves and breathes without overt propulsion, finding tension and momentum through tone, density, and motion rather than beats.

Much of the record was written during a period of sustained physical and mental strain. A time when daily effort fought against perceived limits. Instead of responding with heavier or more aggressive material, the music became a quiet counterweight to the intensity. These tracks function as an escape from chaos. They are built from patience, repetition, and a gradual transformation.

The title reflects a central idea behind the record: confronting something that initially feels insurmountable, only to realize that the enduring force is the one within us all.

Be The Mountain is about endurance, not as struggle, but as presence.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'

Following their 2023 LP Presents, Nathan Nelson's American Cream Band bring the Twin City heat back to Quindi with an album rooted in duality. From the yin and yang party-starting A side and meditative B side to the dual-attack boy-girl vocals, the nature of opposites and equals steer the expansive, artful strain of rock n' roll that spill out of this wholly unique Minnesotan export. For the ever intriguing Quindi, it's a strident step into Spring after the frosty introspection of Roudi Vagou & Läuten der Seele's Taghelle Nacht. While the world burns and injustice prevails, Twin is a celebration of unity and radical expression-all the more urgent against the backdrop of authoritarian overreach and righteous protest that has whipped through Minneapolis in recent times.
Twin continues Nelson's drive at the helm of American Cream Band to draw in a colourful cast of players to feed into his orgiastic sound, meshing the trance-induction of krautrock with the irrepressible funk of the post-punk-new-wave explosion. But principal among the cast of characters and forming a central tenet to the identity of this album is Liz Buhmann, lead vocalist and a formidable, playful foil to Nelson's own Midwestern twang. Around the electric spark between Buhmann and Nelson, a heavy duty ensemble wrangle guitar, bass, sax, a cornucopia of synths and a battery of percussion into all manner of sonic forms.
The double-sided concept manifests throughout Twin. On 'Call Me' Buhmann sings in French to contrast Nelson's English, while the strident strut of the NYC disco groove is offset by an inherent dreaminess that turns the track into a more cosmic kind of dancefloor workout. 'Ethical Vampire' is a spiky cut with a garage rock patina that spirals into a psychedelic, synth-soaked get-down. 'Don't Burn The House Down' is a loose and limber roller that captures Can at their funkiest along with the hypnotic vibe of other such esteemed long format jammers, but American Cream Band boils that energy into a hook-laden art pop sensibility before a gentle, drawn out landing.
Even the more pensive moments on Twin find space for friction. For all its tender, smoky temperament, 'Leda and the Swan' lets the electric piano and guitar fray at the edges and bleed into the red while Mat Heinrich's tumbling drums lurch with pent-up intensity on the one. 'No Funeral Necessary' skirts around the mellow pools of new age but prefers to let liberally doused Tape Echo tweak out Alex Meffert's honeyed sax inflections and Buhmann and Nelson's disparate sermons.
Nelson describes Twin as "an oppositorum coincidentia" - a reference to the mystical Latin concept of the coincidence of opposites that suggests contradictory ideas 'fall together' in a higher reality. Beyond the sound of the album, this idea also manifests in the cover photography by Sho Nikado and the swans on the LP labels by Autumn Garrington. As freewheeling and wide-open as American Cream Band feels, nothing appears by accident. The end result feels like a nourishing whole - rich with substance and nuance, deep enough to be explored and absorbed yet also so brazen and immediate you can't help but feel its surface charms from the first thrusts of 'The Hive Is Pissed' to the last ripples of 'We're Not So Sinister'.

DJ Support: Louie Vega, Kenny Dope, Dave Lee, Dj Spen, Terry Hunter, Jimpster, Kevin Yost, Brian Tappert and more.

For the true listeners who still value the art of the record.

This project pays homage to the funk-disco aesthetic that defined the 70s and 80s crime-thriller genre. Paolo Fedreghini’s personal, cinematic journey through the American cityscape: an atmospheric landscape of high-speed chases, corrupt lawmen, and V8-powered escapes. The narrative weaves through gritty criminal underworlds and shady dealings, always balanced by the allure of the disco era. Rather than a mere imitation, the album distills the essential Blaxploitation sound for a modern audience, blending jazz-funk and disco with subtle, sophisticated electronic layers.

High-definition world building collides with incisive physical urgency around 170 BPM as Pianeti Sintetici makes his first appearance on Samurai Music. Davide Perrone's vivid production style found a more downtempo outlet on last year's release for Samurai sub label Saibai, but he pivots naturally towards the weightier presence of the Exoverse with a richly rendered suite of sonic systems teeming with life and pockmarked with mystery. The spacious drums that lead on 'Agilus' have an acoustic, in-the-room quality that instantly grounds the track before the myriad layers of synthesis start spiralling skywards, pitting twinkling pads against rapid, undulating acid wielded with assured control. By way of contrast 'Mimoide' burrows downwards, using needlepoint marks to puncture the brooding beds of sound looming in the middle distance. At the same time, Perrone weaves lithe, rubbery shapes across the foreground of the mix for a three-dimensional expression you can almost reach out and touch. Opening up a B side tipped towards a mellower pace, 'Living Plasma' leans into a 4/4 meditation as a vessel for another distinctive tapestry of modulating sound design from Perrone's seemingly infinite sonic resources. 'Exoverse' edges towards a more melodic standpoint with its teased flutters of arpeggio that sneak in and out of the mix and a harmonic dimension to the atmospheric layers that shape out the size of the track. Across all four pieces, the sheer detail at play in the Pianeti Sintetici universe is mind-boggling. By rights it should be a busy, stress-inducing experience, but Perrone's gift lies in the ability to take a macro view on these incredibly complex creations, zooming out by boiling the parts down into a symbiotic whole that feels patient and considered. The reward for the listener comes from taking the time to zoom in and marvel at every micro detail writhing across the surface.

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

The eleventh release from label Early Morning, run by Guy J, presents a three-track EP totaling 22 minutes and 23 seconds, reinforcing his position as one of the most disciplined and forward-thinking figures on the global scene. Despite intercontinental recognition, Guy J continues to approach his work with restraint and focus, treating sound not as a finished achievement but as an ongoing exploration. His imagination remains a constant source of carefully developed ideas that resonate through a restrained yet expressive intensity.

The opening track, Piece of Cake, sets the tone with confident momentum, unfolding through a precisely balanced structure where hypnotic rhythm meets expansive spatial design. Selector expands the palette with a fierce bassline drive, textured atmospheres, random squeaks, and euphoric build-up, building on the opening piece and taking the vibe into psychedelic territory.

The release concludes with Against the Wall, a composed and decisive finale. Strong rhythmic foundations, paired with suggestive female narrative vocal samples, bring the record to a resolved and coherent close.

Hekt's debut album Forever is released 1st May 2026 on Numbers, with the first single "Someday" featuring Valeria Litvakov out now.

Made with his friends Henriette Motzfeldt & Catharina Stoltenberg (solo and together as Smerz), Copenhagen-based composer/producer Fine Glindvad (who records as Fine), and Valeria Litvakov, Forever is built around juxtaposition: pop and bass brushing shoulders with dopamine fueled EDM. The record is a funhouse of mirrors where polystyrene arpeggios skitter underneath uplifting chords.

As Hekt describes the record: "Forever is desire and digital synthesis, car rides and lingering perfume. It’s missing someone who was never really there, holding on to something you didn’t want in the first place. The songs you hear when you’re falling in love on the dancefloor, and the songs you hear when you open your eyes and realize it’s just you alone with the DJ, the last one to leave. Songs to make out and break up to. A party so good you get depressed it can’t last forever."

Forever is a continuation of Hekt's work exploring the emotional core of pop music. "Someday" is the soundtrack to a hundred imagined futures with strangers in the club, as pristine arps and heartswelling chords skitter under Valeria Litvakov's ruminations, both lovestruck and terrified. Smerz add a level of fantastic to the slanted otherworldly pop of "Up in the Air, So" and "Forever." On both tracks, the melodies are squishy and impressionistic, the sound of all those memories we make in dance floors, taxis home, and in the blurry morning sunshine as we adjust to reality.

And while guest vocalists abound on Forever, Hekt also takes a turn at the mic himself. On "Without You" he shakes up a perfectly mixed cocktail of melancholy and beauty. And on "Promise" his voice is turned into another melodic accent against the fragile IDM sound design. Elsewhere he turns up the aggro. Dueting with Catharina Stoltenberg on Boys Noize's secret weapon, "Anytime Anywhere," the two trade bars across a compressed field of static and feedback while little hints of sub and wiry synths circle the edge of the stereo.

Hekt's music has always attempted to redefine what club music can and might be. This reimagining of the very basic building blocks of the dance floor is felt across Forever where he leans into the emotions of 2010s EDM. "What I loved about hardstyle and jumpstyle was the emotional intensity that kind of music can bring if you’re in the right setting. And I think that is what has stuck with me from EDM too. Emotional intensity," he explains. "It’s just been the soundtrack to some of the most fun moments in my life." On "But I Can't Really Show You," he compresses the EDM-era into 3-minutes. Vocal catharsis, dubstep womp, and soaring chords make it sound like the entirety of Tomorrowland being processed through MAX/MSP. This Skrillex-meets-Calvin Harris colossus is designed to destroy every sub woofer as it pulls on every last heart string.

And then there are the straight-up club stompers. "Baby" is UK club music reimagined with the steely lines of Danish modernism - think DJ Q going b2b with Errorsmith. It has a bassline made out of flubber with a vocal chopped beyond recognition as it bounces across chromatic synth lines. Even when he strips things down on the slinky garage-esque "Big Things," there are still unexpected twists and turns. The melody sounds like an Ibiza House compilation played in reverse, alongside drums that swing in and out of psilocybin bleeps and bloops. On other tracks like "Dream" and "You Won't Believe," the tropes of dance musics past, present, and future are dissolved in baths of synthesis and polished sound design.

Forever is a record where club music and Scandinavian EDM seamlessly mixes into avant-garde pop. Hekt has crafted singular and unclassifiable love songs alongside effortless bangers, making an ode to those eternal dance floor moments where time stops and you start hoping for something big.

G.A.M.O. (Gods Against Man's Oppression) recounts events leading to Napoleon Da Legend transformation after being bestowed a metal helmet, which is a weapon against our modern dystopia. The album features a blend of soulful and dystopic grit featuring the likes of Vinnie Paz, Goretex, General Steele, Skyzoo, Passport Rav, Nejma Nefertiti, Innocent?, SKAM2?, Eloh Kush, CF, Dontique and more. It has production from Dub Sonata, Maitre D, Homage Beats, Passport Rav Proffeny and Napoleon Da Legend. The result is 23 tracks that blend retro-sci fi "Noir Wave" and modern Boom Bap. It features an exclusive 2 page comic illustrated by UK's Dan Lish. Limited to 300 copies only.

2026 Repress

SK_eleven celebrates a decade of sonic exploration with a 13-track compilation showcasing its signature tension, technical discipline, and stylistic spectrum. Reuniting a tight circle of artists whose contributions have helped shape the label, the release offers an unrelenting sequence of pressure, mental twists, and textural collisions; a multifaceted snapshot of techno's enduring capacity to evolve, disturb, and seduce.

The compilation resists uniformity. Instead, it thrives on contrast: tension versus release, density against spaciousness, rhythm in all its permutations. From high-energy metallic openers and dub-inflected body rollers, to disorienting, delay-heavy experiments and stripped-back percussive tools, each contribution reveals a unique grip on groove and detail. Some tracks move like engineered machines: sharp, robotic, and syncopated to surgical precision. Others embrace sensuality and unpredictability, exploring spatial motion, layered harmonic friction, and states of controlled chaos. Each piece acts as a structural component in a larger sonic architecture, where tension is built, collapsed, and rebuilt. Friction becomes a form of choreography. Across the record, a shifting palette of emotional mechanisms takes form; granular and magnetic, haunting and quietly forceful, restrained, then disruptive.

More than a retrospective, SK_eleven's first compilation becomes a collective gesture toward techno's unresolved possibilities: its ability to hold contradiction, remain in flux, and mutate without conclusion.

For his new full-length on Second End Records, Lyon-based artist Jonnnah turns deeply inward. Conceived as a form of therapy, as much as a reflection and a testimony, the record retraces a process of introspection and confrontation with one’s own history, looking back at origins, DNA, and the invisible ties that connect us to our ancestors, while opening paths toward new connections.

The double-sided structure of the album makes this journey tangible. The first side lingers in uncertainty : opaque atmospheres, fragmented rhythms, and restless textures mirror the doubts, questions, and fragile states of self-analysis. The second side, in contrast, embraces clarity and resolution, dense yet luminous soundscapes where reconciliation and acceptance take shape, culminating in The Blue Comet, a piece charged with finality and revelation.

Opening with the multipart suite N-zero, symbolizing the beginning of therapy, and closing with O-one, evoking the soul’s original purity, the record traces a complete emotional and spiritual cycle. Between them, the third edition of Insomnia Never Ends once again portrays the struggle between sleep and the irresistible pull of musical distraction, a fragile tension that runs through the album as a whole.

The record condenses Jonnnah’s language into something rawer and more direct. Layers of dub and dub sonic resonate against ethereal ambient passages, while techno impulses maintain tension and forward motion. Each piece feels at once intimate and expansive, designed as much for solitary listening as for collective experience.

A new chapter in Jonnnah’s trajectory, the album is a document of transformation : from shadow to light, from questioning to acceptance.

On a planet far beyond our solar system lies a volcanic tropical island, a glowing mirage where alien tides crash against molten shores and the sky pulses in time with the rhythm below. E.T.H (Italy) inaugurates the first-ever
Basement Beats vinyl release with Neon Inferno. The A-side opens deep and progressive, dense with atmosphere and tension, before pivoting into the playful, radiant Cumbia Poderosa, where the artist’s roots surface through Italian vocals. As the land shifts, lava carving new paths through jungle terrain, Utrecht-based Tifra reshapes thetitle track into a hypnotic, tribal ritual meditation built for the late hours.

Closing the portal is Osaka’s Paperkraft, whose vibrant remix injects uplifting energy and subtle Asian influences, bringing the journey to a euphoric, otherworldly conclusion.

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

‘In Virus Times’ is an acoustic instrumental piece by Lee Ranaldo.
Composed during the pandemic, ‘In Virus Times’ is released as a onesided LP with an etching on Side B. The cover is a beautiful photo by
Lee’s friend, the great Brazilian photographer Anna Paula Bogaciovas.
 Originally released as one track as part of a collaboration with Lucien
Jean for Le Presses du Reel, the music was featured on a mini CD that
accompanied a book that featured two short stories.
 ‘In Virus Times’, released by Mute, sees the track transformed into 4
pieces and is available on transparent turquoise vinyl with digital
download and an exclusive poster, designed, signed and individually
numbered by Lee Ranaldo. The poster design is based on an electron
microscope photo of the COVID-19 molecule.
 Lee has written some of his own ‘loner notes’ for the release:
 “This recording began on an evening in September 2020, stuck at home
in lower Manhattan during the dark days of the Covid-19 pandemic as
we came out of a deadly summer. A heightened sense of anxiety
stemming from the then-upcoming US Presidential elections as well as
the virus seemed to pervade all aspects of life, for myself and everyone I
knew. Its minimal quality reflects the sense of ‘motionless time’ that
many of us felt. I set up some microphones in our darkened living room
(studios being closed due to Covid restrictions), coaxing out one simple,
repetitive phrase, and then another, sounding them out into the air. The
casual home ambience - a siren or truck rumbling down the street out
the window; someone talking around the table in another part of the loft;
water running - intrudes at points. I worked to develop a few simple
thematic elements, but mostly I wanted to hear the notes and chords
ringing out, hanging in the air for a long time on that evening when the
world seemed close to stopped on its axis.
 “I’d been listening closely to Morton Feldman’s catalog throughout the
pandemic. His sparse, long-duration music could often be heard playing
on repeat as we spent endless days locked inside. His willingness to do
very little, with very simple elements, and to such profound effect, has
been inspirational. I found the vast open spaces in his works thrilling,
miraculous, and comforting in those empty times. Additionally, the Drop
D guitar tuning used here has prompted my own variations on Bach’s
works for solo cello, open strings droning against melodic lines, so
simple and perfect…” - Lee Ranaldo, New York City, August 2021

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

RENEGADE METHODZ presents ENACT

5 YEARS RM - MUSIC WITH THE FORCE OF FUTURE

Celebrating five years deep in the trenches of techno resistance, the Greek label presents ENACT, a Various Artists compilation that captures the ethos of Renegade Methodz in its purest form and collects together a carefully selected group of music that embodies the Renegade Methodz philosophy.

'Trying Times' is a record about being in love whilst battling the limits of the self against a backdrop of global uncertainty. James Blake explores the tension between intimacy and isolation, the pressure to curate and perform even as everything, inside and out, feels fragile and precarious. Themes of reflection, both literally and metaphorically, run through the record’s visual presentation, as Blake holds a mirror to the contradictions of modern connection - how we see ourselves, how we’re seen by others, and what gets lost in between. It’s about the disorienting loop of joy and dread: feeling safe in love, yet knowing the bubble could burst at any moment; struggling to stay present while global anxiety and private doubt pull you in different directions. A meditation on love, identity, and fragility in an age where the world feels balanced on a knife edge

13 Track Album is James' seventh studio album and first fully independent release Album features British rapper Dave, and singer-songwriter Monica Martin Marketing plan will support long term growth, audience building and connecting with super fans Strong Content Plan including Single / Focus Track Performance Videos Alternative album versions TBC inducing deluxe, piano version and more

Welsh multi-instrumentalist and producer Huw Marc Bennett sinks his hands deep into the soil of South Wales, reimagining traditional melodies from the Morgannwg/Glamorgan region through an earth-toned palette of folk, jazz and psychedelic roots. ‘Heol Las’ is ancient music seen through a modern prism; acoustic textures rubbing up against hypnotic grooves, field-worn stories refracted into new shapes.

Every track on the album is either drawn directly from, or woven around, archival tunes of the region. Bennett’s approach is reverent yet expansive, pulling history into the present while staying grounded in community, landscape, and lived culture.

Bennett says, “On this record there are versions, interpretations and tunes influenced by cerddoriaeth werin, the folk music of Morgannwg; The place I was born, I was raised in and revisit to feel grounded. The melodies you hear were given, found and invented.”

Double Je is Hypnotique’s third release on Bordello A Parigi. Following the successes of La Pénombre and Solitude, the trio of Sergio Mesa (IAMNOTAROBOT), David and Maia Jornet have reconvened for a smouldering three tracker. Vocals scale soaring synthlines in the title piece. Melodies dip and swoop like birds in flight. A beat throbs as Maia’s lyrics sail ever higher in this tale of misguided romance and impossible answers. The instrumental version allows the track’s intricate synthwork to take centre stage. Drums snap that bit tighter, gentle pads lapping against the pulsating basslines and addictive hooks. Tempos drop on the flip, the B-Side being dedicated to “Dark.” Slender keys rise above a steady kick before a rumbling bass takes hold. Vocals take spoken word form, their message and mood shifting from resignation to resilience and then resolve as the track becomes ever more emboldened. A truly fantastic return from a uniquely talented group.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality

„SUMMER 1987 - DATA BITS RACING THROUGH YOUR PROCESSOR. BREAKING INTO THE CYBER WORLD AND TURNING THE WORLD UP SIDE DOWN. THE DAWN OF THE DIGITAL ERA HAS JUST BEGUN AND ITS CORE BRAIN EXPANDZ A HACKING COMMUNITY THAT CHANGES THE C64 WORLD. THE SOFT PIONEER, A LIL TEENAGE HACKING DUDE BLOWS UP THE COMPLETE SCENE BY USING THEIR OWN HACKING WEAPONS AND POINTING THEM AGAINST THEMSELVES. THE RESULT IS AN ANGRY FREAKED OUT CONSPIRACY TO KILL THE SOFT PIONEER. THE HUNT HAS JUST STARTED...“

A year after her rebirth on the 2.0 EP, Maedon returns to her Rant & Rave imprint with the intentions of her previous release now distilled and focused into bold new forms. Whereas before the artist was transitioning from her earlier work towards new directions, Matter & Form arrives as an extended concept piece featuring four variations on a bracing, developed sound, an equally impressive remix from Lady Starlight, and a contrasting mix of the opening track. Where 2.0 charted emergence, 'Entelechy I-IV' unites to actualize this potential into a single-minded purpose behind fundamental principles.

Immediately launching into territory her last release only hinted at, 'Entelechy I' is a showcase for her now-mature approach. Her rhythmic dexterity and groove focus remains, with drum programs subtly evolving phrase by phrase, but they now form the basis for layered, complex compositions in a decidedly contemporary vein. 'Entelechy II' shifts focus towards the arrangement while keeping its drums steadily driving, drawing attention to details in its densely designed sounds through deliberate, gradual processing. Relaxing the tempo slightly, 'Entelechy III' fills in the extra space with more dark atmospherics and finely detailed soundscapes, finding a heavy medium between dark ambience and hammering techno. Another deeper effort, 'Entelechy IV' counterbalances insistent, finely-tooled percussive bleeps and equally persistent bass figures against another sweeping bass pulse, at times breaking down into carefully-controlled atonal aggression. Lady Starlight's remix is skeletal in comparison, deploying its parts sequentially over ticker hi hats and a massive kick while using small shifts to incrementally build tension. 'Entelechy I (Bent Mix)' is more accurately described as hellbent, stripping out the original's harmonic elements to grind the heavy rhythmic workout against an unrelenting acid line.

Vel initiates the «Cuddle Protocol», her first ambient album, set for release on October 17, 2025 on PURR.


Vel, recognized for her striking presence in the contemporary techno scene, steps into new territory with the release of her first ambient album, Cuddle Protocol (P:\URR(3)_Cuddle_Protocol), the third outing on her own label PURR. Out October 17, 2025, the 9-track record is a personal and intimate statement, delivered on vinyl and digital formats.


With Cuddle Protocol, Vel explores the paradox of intimacy in a coded world. “I like the idea of a protocol for softness,” she explains, “of codifying something that should be intimate and spontaneous.” This tension runs through the album: fragile voices and soft layers unfold against serious, carefully structured arrangements, balancing tenderness with rigor.


Ambient music has always been Vel’s “first love.” Before producing techno, she composed ambient exclusively, and this album marks a return to the form in its most sincere expression. “I know this music will follow me all my life. It’s not a phase. It’s how I express myself most truthfully.”
Cuddle Protocol is about slowing down, embracing sincerity, and reaching for deeper connection. “When I listen to ambient, I access another world. It’s charged with emotion, it makes me drift and forget everything. That’s the feeling I wanted to share.”
Mastering: Sixbitdeep / Artwork: Adone Giuntini

On her fourth full-length album as Shedir, Sardinian sound artist Martina Betti offers a profound meditation on what it means to be human on the threshold of uncertainty.

We Are All Strangers is a series of ambient tapes-tries shaped by duality and introspection, where sound becomes a space to explore the tension between identity and ambiguity, presence and disappearance, connection and solitude. Inspired by the idea that we are all strangers, however, first and foremost to ourselves, Betti crafts seven fluid, slow-burn compositions that inhabit a sociological liminal zone—what she comments as an “inner elsewhere.”

These aren’t songs in the traditional sense, but evolving sonic environments that feel like emotional states made audible. Environmental textures, submerged electronics, and deep low-end pulses coalesce into a dreamlike architecture of sound: immersive, fragile, and quietly transformative.

Rather than offering answers or closure, the album invites us to live in radical openness—to stop trying to define everything we see and feel, and instead bathe in what remains unnamed. In this sense, We Are All Strangers is an invitation: to sit with uncertainty, to embrace the unfinished, and to find resonance even in our collective disconnection.

For listeners drawn to the introspective frequencies of Rafael Anton Irisarri, Félicia Atkinson, or Lawrence English, Betti’s music offers a similarly haunting and immersive experience—one where strangeness is not a flaw, but a starting point. In her hands, ambient music becomes a kind of reflective shelter: a place to brush against each other in the dark and begin to learn, as she puts it, “the difficult art of closeness.”

Chalice Sound next release as a music label is ready!

Following the six tracks previously released under the project MAFIA & FLUXY "MEETS" CHALICE SOUND, it's time for a brand new 7” record with Dean Fraser & Matic Horns. 4 Reggae Legends unite in this new instrumental song.

In addition to the riddim makers that are the backbone of this project; Mafia & Fluxy, this time we have 2 of the greatest Reggae Horns that exist: Dean Fraser on the saxophone & Matic Horns on the trombone.

On the B side we’ll find the track on its Riddim version, a Sound System hit for the best sessions.

A song standing for freedom in this times of war and tribulations; music against slavery & oppression, against racism & inequality.

After years of work, the two labels established by members of the Spanish sound, Cosme Deyah Productions and Infini-T Music merge together for the creation of a series of releases available on digital platforms and some vinyl singles:

Mista-T (Infini-t Music) and Cosme Deyah (Cosme Deyah Productions) have been working together for many years and now by joining efforts, Chalice Sound (est. 2000) is ready for its first releases as a music label.

This project include singles and their dub versions, having all riddims composed by the legendary Reggae musicians Mafia & Fluxy, arrangements by Maga Lion (Emeterians) and mixed by Mario Olivares (Daddy Cobra) at Cobra Studio, Madrid, Spain.

Natasha Pirard returns with her most personal project yet, dedicated to her mother and late grandmother, whose care shaped her life. Fernande, Cecile is a photobook of songs, weaving voice, field recordings, synthesizer, and violin into an ode to her matrilineal line. Pirard lost her grandmother at seven, yet Fernande’s warmth stayed with her as a touchstone. Her mother, Cecile, has been a constant presence, guiding her through difficult years.

Alzheimer’s—her grandmother’s illness—and the fragility of memory permeate the work. A conversation with her mother sparked the album: over coffee, Cecile placed a hand on her heart and said, “If I ever develop this disease, don’t forget I’m still here (inside).” That moment became central to the compositions, which translate Pirard’s gratitude and love into music as tender as possible.

The music moves in fragments—notes, chords, loops—evoking gardens, sunlight, and childhood afternoons. Rhythms shift like life itself, carrying echoes of loss and the persistence of memory. Ambient textures brush against her voice and instruments, sometimes punctuated by her grandmother’s favorite bird.

The album unfolds in two parts: Fernande, capturing her grandmother’s warmth and fading recollections, and Cecile, honoring her mother’s care and resilience. Track titles trace memories while the music drifts through longing and gratitude, articulating what words cannot.

The album was written and recorded by Natasha Pirard, produced and mixed by David & Stephen Dewaele of Soulwax/2manydjs at DEEWEE.

Channeling inventive sound design into incisive, characterful techno variations, Jurango returns to Livity Sound with an eight-track double EP — his longest release to date. Taíno Gold captures a moment in time for Bristol-based Nate Reece's continually evolving sound as it draws on the full spectrum of UK club music.

Following a debut for Livity's reverse label in 2021 and last year's An Amorphous Mass EP, Reece is more assured than ever tackling a variety of club-focused cuts. The tracks on the release all came together before, during and after a two-month visit to Reece's grandparents' home — an idyllic tropical environment in a small community at the top of a hill in the northern part of Jamaica.

Taíno Gold refers to the island's indigenous Taíno community and the legend of a witch luring Spanish settlers into a trap on the Martha Brae river. There are no messages explicitly embedded in the music, but the release is both a personal reflection of Reece's own experiences and family heritage, plus a reminder about the enduring sceptre of colonialism and the continued need to fight against it. From absorbing Jamaica's fraught history through museum and plantation visits to the abundant nature in the garden surrounding his grandparent's house, the double EP marks a place in time for Reece, with eight advanced, ear-catching tracks as the end result.

From the cascading arps of 'Black Torches' to the tunnelling chords of 'Waiting For Trelawny', the melodic dimension of the Jurango sound is more confident than ever. 'Hibiscus' is a shimmering celebration of dub techno and crooked drum pressure and 'Chalk On Trees' basks in aqueous, fathoms-deep pads to close out the EP. Elsewhere, Reece brings new textural and tonal detail to his percussive workouts, splashing acidic noise around the angular experimentation of 'Maybe It's Broken' and firing off double-time rhythms to inject 'Double Sevens' with infectious urgency.

With the space afforded by a longer release, Reece widens out the scope of his artistic identity while absorbing the particular scene and setting that surrounded him while making the tracks. Taíno Gold is a vibrant next step for Jurango and a natural continuation of his work with Livity Sound.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Discotchari is delighted to release a first-of-its-kind various artists compilation: Tehrangeles Vice (Iranian
Diaspora Pop 1983–1993), fully licensed from Taraneh Enterprises. The album is a groundbreaking exposé of
the vibrant subcultural hub of Tehrangeles (portmanteau of Tehran + Los Angeles), and the action–packed, true
story of the Iranian diaspora music industry. Featuring 12 tracks remastered by award–winning Osiris Studio,
lyrics and translations to all featured songs, original cassette covers, a 20+ page album note booklet by Dr.
Farzaneh Hemmasi and more! Sprawling from Westwood to Glendale across the San Fernando Valley, the
Tehrangeles scene was cultivated by the same producers and artists who industrialized the “golden age” of
entertainment in pre–revolution Iran and fled from the 1979 Islamic Revolution along with millions of Iranian
citizens. Through music and visual media, Iranian producers and artists working out of Tehrangeles have
engaged in what the Iranian government calls a “cultural attack” against the Islamic Republic for over 40 years.
The album title Tehrangeles Vice underscores the illicit nature and daring circumstances from which
Tehrangeles pop music was born and compares its legacy within Persian media to one of the most significant
crime–drama TV shows of all time. In the same manner that Miami Vice and its aesthetics had a dynamic
impact on sonic, visual and cultural trends in the United States and around the world, Tehrangeles media was a
shock to the systems of Islamic Republic ideology and Iranian expatriate communities. Listening to these songs
in hindsight, the contribution of Tehrangeles can be better understood as a triumphant effort to preserve Iranian
identity by realizing it in conjunction with prevailing music genres of the ‘80s and ‘90s, and to rebel against the
oppressive regime of the Islamic Republic of Iran through the most seductive of means: dance music.







g C1. Sattar - Khaak ("Home Land")

Going against the tide of high BPM techno, Adam X's latest release, "Memory Prisms,", is a three-track collection of mid-tempo (128-130 BPM) dark, reflective, and tripped-out bass-quake techno. This is high-end fuel for woofers to rock your body and shock your senses. File Under : Sonic Groove Techno!

The latest release from the Villains Inc. camp delivers an Italian-made electro gem.

And as the saying goes: Villains do it better! After the soulful "Time To Go Back EP" back in 2022, the "Generation V EP" (limited to 300 copies) marks the arrival of fresh talents joining the collective. This new wave steps in after the tragic loss of some of the label key figures, carrying the torch and keeping the Villains Inc. spirit alive.

Side A opens with "Vaccin", a hypnotic yet funky electro-bass track by Deepvision and Lefka. Despite their young age, the duo U.A.G.L.I.O. shows remarkable musical maturity and delivers a powerful debut. Expect to hear much more from this awesome team in a near future.

Next comes "FM Resistance" by Jack Bags (half of Dr. Boomer). A synthetic ride of swirling URish style sequences, darkened by moody strings. Breakdance moves guaranteed on the dancefloor!

On the flip, Index Case teams up once again with the late X-Beat (RIP) to provide a furious "Against" anthem, calling for "revolution against the government, against the police". The frantic rhythm and unsettling atmosphere push the track into gloomier territory in a powerful way.

Closing the record, Antizer0’s founder Zora Neti concludes the 12" with "Stereocash_(Pt.2)", a downtempo storm built upon eerie voices and mental sororities. A haunting yet masterful finale.

The legacy of the original V members lives on. Special mention to Simonloop aka Urbanmagic, one of the OG Villains, whose artwork on the B-side captures the grit of the music and makes the vinyl worth owning on its own.

From start to finish, Generation V EP is a masterclass. Crafted with the unmistakable Villains Inc. sound by label owner Gab.Gato, it’s pure underground quality. This record is dedicated to the memory of X-Beat and Yo Flava. Once a Villain, forever a Villain. Support the underground!