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Kid Katana Records collaborated with the incredible teams at KOEI TECMO GAMES, Team NINJA, PlatinumGames and Xbox Games Studios to bring you the NINJA GAIDEN 4 OST on physical format for the first time.


This release is composed of three premium editions:


4LP Vinyl Slipcase - Limited Edition (No Repress) - no consignment, 25 units minimum order

Limited “blood splatter” vinyls with a unique “splatter” effect: handmade vinyl effect with transparent red base and white splatter. Each vinyl has a unique pattern that evokes Yakumo & Ryu combat style. This edition will not be repressed.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


4LP Vinyl Slipcase - Standard Edition

4 classic black vinyls.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


3CD Boxset

3 printed CDs with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.

Handpicked curation of the game music, mastered for this specific CD edition. Includes 4 DLC tracks and 4 instrumental versions.

Crystal Jewelbox 3CD Boxset vintage packaging.

4-pages booklet featuring tracklist, credits and concept art from PlatinumGames Sound Team.


Kid Katana Record produced this album with supervision from NINJA GAIDEN4 Sound Team, who composed the original game music.

Kid Katana Records collaborated with the incredible teams at KOEI TECMO GAMES, Team NINJA, PlatinumGames and Xbox Games Studios to bring you the NINJA GAIDEN 4 OST on physical format for the first time.


This release is composed of three premium editions:


4LP Vinyl Slipcase - Limited Edition (No Repress) - no consignment, 25 units minimum order

Limited “blood splatter” vinyls with a unique “splatter” effect: handmade vinyl effect with transparent red base and white splatter. Each vinyl has a unique pattern that evokes Yakumo & Ryu combat style. This edition will not be repressed.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


4LP Vinyl Slipcase - Standard Edition

4 classic black vinyls.

Handpicked curation of the game music, mastered for this specific vinyl edition. Includes “Infinite Gale“ DLC track as bonus.

Matte 4LP slipcase with a glossy effect on the game’s logo.

4 printed sleeves with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.


3CD Boxset

3 printed CDs with “Bloodbath” design, alternating between Yakumo and Ryu execution animations.

Handpicked curation of the game music, mastered for this specific CD edition. Includes 4 DLC tracks and 4 instrumental versions.

Crystal Jewelbox 3CD Boxset vintage packaging.

4-pages booklet featuring tracklist, credits and concept art from PlatinumGames Sound Team.


Kid Katana Record produced this album with supervision from NINJA GAIDEN4 Sound Team, who composed the original game music.

Eric Cloutier's career has always been defined by a certain kind of relentless, monastic discipline. With My Friend The Abyss (PALINOIALP01), Cloutier continues to bridge the gap between the selector and the creator. The album title itself suggests a reckoning with the internal-a realization that time is the only distance between an artist and their masterpiece-resulting in a body of work that feels less like a collection of tracks and more like a hard-won transmission from the deep.

Forged in a crucible of stress, chaos, and loss, the LP eschews the easy loops of his earlier output for a far more complex architecture. While Cloutier's signature hypnotic pulse remains the bedrock, the record expands into a startlingly broad lexicon: the dub-wise weight of "Havittaa" and the tribal intensity of "Desassossego" sit alongside moments of fragile ambient beauty. Perhaps most surprising is the inclusion of "Ligrothism," where Cloutier explores the broken rhythms of drum and bass, proving that his obsession with "Palinoia"-the Greek term for perfecting an act through obsessive repetition-has led him to a place of total creative fluidity. This isn't just club music; it's a masterclass in atmospheric tension.

Huge classic techno history! Echoes originally appeared in 2001 on Kanzleramt, and from the moment it landed, it was clear this was something different. Eleven techno-dub-house tracks, rich in texture and depth, that mapped out a singular vision of Berlin's dancefloor aesthetic at the turn of the millennium. Not a collection of club tools, but a fully realised album statement, one that understood the dancefloor and the living room in equal measure.
Twenty-five years on, Alexander Kowalski reissues Echoes on his own label Cycles Music - remastered, on double vinyl, and presented as it always deserved to be heard. The ten tracks across four sides move through deep, rolling grooves, melodic undertow and the kind of emotional precision that made Kowalski's name in the first place. Echoes are fragments from the past which follow us into the future, the album's original motto reads like it was written for this moment.

Returning to Samurai Music following last year's Between Veils, Sciama opens up a new portal of exacting sonic exploration with Wave Interaction. Moving through dense drone shrouds, steely sound design and tense, taut rhythms, Michael Watters lays out a manifesto for waveform resonance within the half-time D&B tempo range. Wave Interaction is the precursor to a forthcoming album that will lay out a purposeful study of the interaction between machine-made sound waves and human perception, inspired by the teachings of early electronic music pioneer Daphne Oram. As an opening statement, 'Cele' maximises on a patient, spacious arrangement that allows the carefully sculpted layers of waveforms to resonate with minimal distractions. Far from minimal, it's a dense and evocative sound world Watters builds up. 'Excitation' brings more detailed percussive sequencing into the mix, teasing pin-prick snatches of breakbeats and designer ripples that dart around the psychoactive tonal elements in the mix. 'Intermodulaton I' opens the second half of Wave Interaction on a crisp, stepping beat more than ready for the club. As ever, functionality is only one part of the picture as further uncanny sheets of ambiguously tuned synth work unfurl across the austere framework. 'Shifting Formants' has a knottier, tunnelling quality that joins the dots with techno hypnotism, made all the more immersive by the harmonic overtones radiating off the vibrant lead lines that give the track its distinctive character. Guided by a clear intention and a finely honed studio practice, the return of Sciama hails an impactful addition to his considerable catalogue and tees up further compelling exploration on the impending long player.

Nach der Veröffentlichung von „idea 1“, kündigt Kelela ihr neues, drittes Album an, das am 10. Juli bei Warp Records erscheint – und veröffentlicht die zweite Single „linknb“, produziert von Oscar Scheller.

Der Track entstand in einer Phase der Schreibblockade und begann als Mantra, das Kelela schrieb, um sich wieder an die Arbeit zu bringen. Angeführt von einem labyrinthischen Gitarrenriff über treibenden Metal-Drums ist „linknb“ ein Song über Selbstvertrauen, das man sich durch Schwierigkeiten erarbeitet hat, darüber, sich nicht klein machen zu lassen. „Es ist nicht schwer, mutig zu sein / Es ist leichter, zu viel preiszugeben / Ich weiß nur, dass ich den Weg geebnet habe, unterbezahlt.“

Das von Mischa Notcutt inszenierte Video versetzt Kelela in die Mitte einer urbanen Traumlandschaft. Als enger Freund und Kelelas ehemaliger Kreativdirektor war Notcutt die naheliegende Wahl. Das Video lässt Realismus und Abstraktion ineinanderfließen und verwandelt eine einsame Reise in eine Meditation über Selbstfindung und Erneuerung.

Mit „new avatar“ rückt alles, worauf Kelela hingearbeitet hat, in den Fokus. Sie begann ihre ersten Songs in der Indie-Szene von Washington, D.C. zu schreiben, bevor die Clubmusik und die elektronische Produktion, die ihre frühe Karriere prägten, die Oberhand gewannen. Mit „new avatar“ schließt sie den Kreis: R&B, unterlegt mit verzerrten Gitarrenklängen, trifft auf neue Schnittstellen in der Tanzmusik und gipfelt in einem Sound, der aus all den musikalischen Einflüssen schöpft, die sie je geprägt haben. Das Album enthält zudem Kollaborationen mit PinkPantheress, A. K. Paul und Fousheé.

„Dieses Album findet Trost in der Konfrontation“, sagt Kelela. „Ich möchte nicht, dass die Musik von dem ablenkt, was wirklich in der Welt vor sich geht; ich möchte, dass sie in dieser verrückten Zeit Sinn ergibt und den Menschen gleichzeitig hilft, mit der Schönheit und Freude in Kontakt zu kommen, die sie ebenfalls erleben.“

Das Album setzt sich mit einer Welt auseinander, die aus allen Nähten auseinanderfällt, und mit der Klarheit, die das Überleben erfordert.

„Die Leute sollten auch wissen, dass meine Freunde und ich ständig lachen und dass Humor kein Abwehrmechanismus ist; er ist Ausdruck dafür, wie scharfsinnig wir die Dinge einschätzen und wie klar wir die Welt sehen.“

Im Kern schildert „new avatar“ eine vielschichtige Erfahrung, und obwohl die Außenwelt präsent ist, schwächt sie Kelelas Entschlossenheit zu keinem Zeitpunkt.

About Kelela: Throughout her globally revered, boundary-pushing career, Kelela has established a lane of her own in R&B and electronic music. On her long-awaited third album, new avatar, the singer/songwriter (through the versatility of the guitar) challenges perceptions of these genres, while weaving together fragments of lived experiences to shape a world of connection and resilience during times of unrest.

The songs journey through Black femme rage, joy as resistance, Gotham City-esque dystopia, misogynoir, romantic tension, and more. It’s anchored by production that demands a broader rethink about alternative, rock and indie music.

Kelela’s defiant nature has propelled her so far already — from her hometown of Washington, D.C to world stages. In 2013, she released her debut mixtape, Cut 4 Me. She continued solidifying her revolutionary R&B sound with 2015’s Hallucinogen EP, with The New York Times naming its single, “Rewind,” one of the “25 Songs That Tell Us Where Music Is Going”. By 2017, she released her electric debut album Take Me Apart (which was followed by 2018’s TAKE ME A_PART, THE REMIXES), building upon her intimate storytelling.

After a nearly five-year hiatus, she returned in 2023 with her groundbreaking second album, Raven, and its critically-acclaimed counterpart, RAVE:N, The Remixes in 2024. Raven has been hailed as one of the ‘Best Albums of 2023’ by Pitchfork, Billboard, Vulture, Variety, and more, while the remixes solidified her as a leader in the dance music space.

In 2025, Kelela showcased yet another innovative side of her artistry with her live album In The Blue Light, which hit #5 on the Contemporary Jazz chart and #20 on the Jazz Albums chart. Now, with new avatar, Kelela displays the masterful intention she puts into forming new sonic cityscapes. But don’t confuse it with escapism: “I don't want the music to be a distraction from what's really going on in the world; I want it to help you get into it.”

Arpy Brown & Kapote Announce Collaborative Album Memento Ludi via Toy Tonics

A sun-drenched fusion of yacht rock, house and modern indie dance energy – out June 26, 2026
BERLIN, GERMANY — Toy Tonics is proud to announce Memento Ludi, the first collaborative album by label founder Kapote and multi-instrumentalist producer Arpy Brown, arriving June 26, 2026.
The album is a funk-driven journey that bridges the warmth of 1970s analog recordings with the pulse of contemporary dance music. Blending neo-soul grooves, yacht rock harmonies and modern house rhythms, Memento Ludi captures the spirit of classic musicianship within a forward-looking club context.

But Memento Ludi is more than a typical house record. The album moves fluidly between dancefloor tracks and fully developed songs. Every instrument was performed live by the artists themselves: guitars, bass, keyboards and percussion recorded in the studio by Arpy and Kapote. After jamming and recording the basis of every song in a live procedure they carefully resample the parts to create the organic, human touch that defines the Toy Tonics sound.

The title Memento Ludi — Latin for “remember to play” — reflects the album’s philosophy: bringing joy, spontaneity and musicality back into dance music at a time when many club tracks feel increasingly mechanical and formulaic.

The collaboration arrives during a particularly busy moment for both artists. While spending countless hours in the studio, Kapote and Arpy Brown have also maintained intensive international touring schedules with the Toy Tonics crew, road-testing many of the tracks as “secret weapons” in their DJ sets from Melbourne to Los Angeles via their homebase Berlin.

“We wanted to make a record that felt like a lost studio session from 1978 — resampled and synthesised in 2026,” says Kapote.

Featuring Sarathy Korwar, Dudú Kouate, Marysia Osu and more

French-born, London-based composer and musician Pascal Bideau aka Akusmi announces his second full-length Terra Incognita, an album of intrepid sonic exploration that delights in the sensation of being somewhere you've never been before. The listener is invited to experience seven faraway sonic imaginariums, as global and spiritual jazz are fused with modern electronics and life affirming minimalism into a hypnotic, polyrhythmic odyssey.

The album's rich multilayered sound world features contributions from tabla virtuoso Sarathy Korwar, Senegalese musician Dudú Kouate adds an array of percussions, ngoni and flutes and Levitation Orchesta's Marysia Osu brings harp and flutes. Following Akusmi's widely acclaimed debut album Fleeting Future (2022) which was supported by The Guardian, The Quietus, MOJO , Gilles Peterson, Mary Anne Hobbs etc, this time, the sound palette for Terra Incognita is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations

2026 Repress
The ocean- the infinity, the beauty, the colour, the sound: a truly seductive place. With the sound of ocean waves Smallville's beloved artist Moomin invites us to enter his second full length album A Minor Thought". A selection of wonderful tracks initiate some exciting house music moments at our favorite clubs, improved at Panorama Bar, Robert Johnson and of course the Golden Pudel among many others.. Engaged with a fantastic collection of analogue synths and drum machines, Moomin is always on a hunt of the most delicate samples. After his big first album The Story About You' and a number of beautiful works on his own imprint Closer", he was already back on Smallville's new little baby Fuck Reality' to deliver a 12 for the 2015 summertime. Of course Moomin was also part of the Smallville 10 years Compilation Smallville Ways' and delivered again for Smallville 46. Now he appears with another string of beauty- A Minor Thought. There will be a lovely fullcover artwork package with printed Inlays for the vinyl version by Smallville's one and only Stefan Marx.

2026 Repress
The ocean- the infinity, the beauty, the colour, the sound: a truly seductive place. With the sound of ocean waves Smallville's beloved artist Moomin invites us to enter his second full length album A Minor Thought". A selection of wonderful tracks initiate some exciting house music moments at our favorite clubs, improved at Panorama Bar, Robert Johnson and of course the Golden Pudel among many others.. Engaged with a fantastic collection of analogue synths and drum machines, Moomin is always on a hunt of the most delicate samples. After his big first album The Story About You' and a number of beautiful works on his own imprint Closer", he was already back on Smallville's new little baby Fuck Reality' to deliver a 12 for the 2015 summertime. Of course Moomin was also part of the Smallville 10 years Compilation Smallville Ways' and delivered again for Smallville 46. Now he appears with another string of beauty- A Minor Thought. There will be a lovely fullcover artwork package with printed Inlays for the vinyl version by Smallville's one and only Stefan Marx.

“Dancing is immediate. It happens in infinitely small blips of the present, strung together one into the next, direct and spontaneous. And as each moment fades out of the present and into the past, these blips coalesce and ferment and refract into memory.

Play is the first album from Sam Hall’s new project, Spinbeat. Sam has previously released glitch-inflected bedroom pop under the name Ghost Orchard, putting out albums on Orchid Tapes and Winspear. Spinbeat comes with a turn towards rawer sounds and something like the dancefloor.

The tracks on Play linger in the space between music for dancing and music for listening. They are the memory of a dancefloor- sounds, feelings, moments of darkness and color. In contrast with other recent music to come out of the dubby post-club zone, Play is marked by its lightness and warmth. Fragile, intimate moments come bubbling up from underneath the surface, glimmering in plain view for a moment before sinking back into the fog. These pockets of earnestness lend depth and substance to the mystique of the murkier stretches.

Dance music for post-rave romance, for August haze, for the frogs in the pond out behind the warehouse party.

Mastered by The Bastard.”

Applying the solid structures of floor-focused Berlin techno to the expressive space of introspective electronica, Answer Code Request returns to Delsin with his first album in eight years. Halo finds Patrick Gr?ser broadening his sound palette more than ever before, matching atmospheric synthesis with dynamic beat constructions true to his impressive legacy while breaking new ground. Across Halo, smoky clouds of pads and chords lend the album an introspective quality in the grand tradition of ambient techno. In front of these haunting melodic forms, Gr?ser is free to explore all manner of rhythmic directions. There are fractured, downtempo micro beats and angular fractals on the likes of 'Fading Shadows' and 'Refraction' that take their cues from breakbeat -- finely detailed drum sequences constantly evolving into new arrangements. A pointed nod to D&B rears its head on the aptly named, hard-edged 'Fracture' and you might hear a firmly submerged hint of ravey acid coursing under 'Sublith'. Elsewhere, the firmer kick-anchored pulse of the classic Answer Code Request sound manifests for more forthright techno excursions such as 'Halo' and 'Bliphar'. In the context of the album, though, these tougher tropes are channeled into mesmerising soundscapes that soften the attack without diminishing the potential for club impact. In this era of his craft, Gr?ser moves instinctively through the sounds and approaches that inspire him, and the end result is an album that feels natural and open, all the while steadily progressing the ongoing evolution of Answer Code Request.

Odlazak – the third full-length from multidisciplinary artist and musician Ivan Masic as Ex Ponto – takes its name from the Serbian word for departure. It’s a theme that reverberates throughout the release as the motifs of departure, arrival and the journey between the two are woven into an intimate personal narrative from 1980s Yugoslavia to contemporary suburban Coburg and back. Odzalak feels like a bookend to a decade of concerted, illuminating visits to the place of his birth and a countenance to the departure that long defined his youth.

Alongside Ex Ponto’s signature mix of electronic and organic textures, Masic has interspersed moments of exchange from his homeland. The haunting sound of the gusle — a traditional Serbian instrument played by his ancestors — opens the album, alongside 40-year-old VHS recordings of family members reflecting on life and death. The cover was designed by long-time friend Rick Milovanovic (TRiC), whilst photographs from Masic’s visits to Serbia and Bosnia-Herzegovina by his wife, photographer Sarah Pannell, are featured on the inner sleeve. The release was mastered and partially mixed by Belgrade-based Goran Simonoski (La Plant), a collaboration rooted in shared lineage and a mutual love of the darker edges of the sonic spectrum.

Taking cues from ambient to kosmiche, dub to post punk and everything in between, this is a sonic journey as much as it’s a personal one. Part Balkan Bladerunner soundtrack, part Vini Reilly in wonderland, Odzalak is Ex Ponto’s most pointed and heady release to date, equally at ease in the club and at home.

Gold Panda returns with TON UP, a brilliantly stubborn new album for Studio Barnhus: eight rough-hewn dance tracks and two cozy little service-station interludes, all crafted with the robust determination of a producer who knows that 140 bpm is not so much a tempo as a way of life.
Made with Derwin Dicker’s unmistakable sampler-bashing touch, the tracks on Ton Up carry the raw knock of old-school hip-hop instrumentals, pushed through pumping house-music machinery and ready to cause absolute trouble on any half-decent sound system.
Here you’ll find zero of that dreaded, over-explained “maturity” usually demanded of beloved electronic artists several albums deep into the game. Instead, Gold Panda just sounds as happily locked in as ever, carelessly chasing the physical joys of pressure, swing and repetition.
TON UP is functional, funny and oddly tender club music, arriving just when the world needed it the most (June 26 that is.)

Mit "Tourist History" veröffentlicht die britisch-irische Indieband Two Door Cinema Club eines der einflussreichsten Debütalben der 2010er Jahre in einer besonderen 15th Anniversary Edition. Das Album, das 2010 erschien, gewann den Choice Music Prize als Irish Album of the Year und markierte den Start einer Weltkarriere, die von Festival-Headliner-Shows bis zu über 1 Milliarde Streams von "What You Know" führte.

Zur Feier des Jubiläums erscheint Tourist History in drei liebevoll gestalteten Formaten - inklusive bisher unveröffentlichter Remixe und Raritäten.

Seit dem Garageprojekt in Bangor haben Alex Trimble, Sam Halliday und Kevin Baird eine beeindruckende Karriere hingelegt - mit Top-10-Alben wie Beacon, Gameshow, False Alarm und Keep On Smiling und ausverkauften Touren weltweit. Diese Jubiläumsausgabe ist ein Muss für Indie-Fans und Sammler - ein Meilenstein moderner Gitarrenmusik.

Collecting Orders For 2025 Repress

The gift that keeps on giving, Purple Disco Machines’ ‘Exotica (Deluxe Album)’ is being treated to some epic remixes of your favourite songs now available on vinyl.

First up a Club Dub version of ‘In The Dark’ and Monte Remix of ‘Can’t Get Enough’ which are both guaranteed to get you on your feet.

2026 REPRESS + DOWNLOAD

Years Of Denial is back on Veyl with their second LP 'Suicide Disco Vol. 2'. The follow up to 2019’s 'Suicide Disco', the duo makes a triumphant return, elevating their distinct sound which fuses dark wave, goth, newbeat, post-punk, EBM, and techno. The LP features 12 tracks all written and produced at Ark of Noise studio, located miles away from the polluted noise of social turbulences, immersed in isolation, creative indulgence, and poetic writing.
From the start, 'Art Break' provides the perfect warm-up, gently cleansing the palette and re-introducing us to Barkosina’s lustful vocals with a slow-burning pace that only marks the beginning. 'Wrong' picks things up, injecting a dose of body music for an infectious piece that bleeds into 'La Pendue' which keeps the energy rising. Next up, 'Mr. Guillotine' delivers a razor sharp edge, carving out a fresh post-punk feel which then brings us to the brooding, 'Never Satisfied'.
'Lover’s Crime' marks the halfway point of the record and one of the album’s standout tracks. Undeniably seductive with an ominous feel, the pair keep this mood going with 'City Lights' and then smash things open with 'Dancing With Demons'. After the devious message sent with 'The Letter', we are submerged in the romantic melancholia of 'Death Of A Lover' and 'Regarding the Pain of Others' before closing things out with 'Social Anxiety' which features vocals by longtime collaborator Broken English Club. The result is an immersive journey through the pair’s self described, Suicide Disco sound, and further builds on the Years of Denial form and legacy.

In a landslide of writhing textures and hypnotic rhythm, prolific techno explorer DOLTZ. returns to DJ Nobu's Bitta imprint for an expansive album that foregrounds his skill creating living, breathing soundscapes out of pure synthesis. Since debuting in 2020, Shun Watanabe has issued a steady stream of LPs and EPs that quickly established him at the forefront of techno innovation in the Japanese scene. It was natural then for him to forge a connection with DJ Nobu's celebrated Bitta label via 2024 release Inception EP, a forthright club-focused statement to balance out his more experimental output on Muzan Editions and other labels. Elsewhere, Watanabe has also been developing a fruitful collaboration with German techno veteran Tobias Freund, resulting in two bold yet elegant albums on Dutch label Delsin. On Final Trace, the DOLTZ. sound is steered with purpose towards tactile sonic terrain where microscopic detail rewards the patient listener. He explains a core inspiration for the album was Kobo Abe's avant-garde 1960s novel Woman In The Dunes, which drew on repetition and the quiet madness of an inescapable environment. That manifests as a forbidding demeanour that courses throughout Final Trace, detectable in every slithering trail of static interference and mind-warping tonal loop. This is expertly sculpted wormhole techno of the highest calibre, delivered by an artist with the creative spark to make something visceral and thrilling out of a technically advanced approach. The power of Final Trace lies in the subtlety of its progression as a seemingly incessant refrain slowly morphs before your ears, but this is far from a static album. From the mesmerising throb and thrilling crescendo of 'Faz' to the sprightly ripples and pulses darting across 'Resonance', there is a constant sense of movement and the bright-eyed wonder of new ground being broken at every turn. It's the perfect summation of everything exciting about Watanabe's rich expression as DOLTZ. -- stunning sonics driven by brilliant ideas.

Isometric is an upcoming hardgroove album by Slovenian DJ and producer UMEK and his hardgroove alter-ego Polyvinyl, released on his own imprint 1605 GROOVESECTOR.

The album features a blend of groove-infused tracks, including originals like Isometric, Unlockable Formations, Mechanically Intensive, and Da Flute.

UMEK, born Uros Umek in Ljubljana, Slovenia, is a techno pioneer who kickstarted Slovenia's electronic music scene with illegal raves in the early '90s. With over three decades of influence, he's released on labels like Drumcode, Filth on Acid and Tronic. As the founder of 1605, UMEK has shaped the genre with hits like "Lanicor" and "Gatex," consistently topping Beatport charts. His relentless production and 100+ annual gigs-from Berlin's underground clubs to festivals like EDC, Ultra and Creamfields-cement his status as a global techno ambassador.

Founded by UMEK in 2007, 1605 Music Therapy boasts over 300 releases, featuring artists like Sam
Wolfe, Maddix, and Space 92. The hardgroove sublabel 1605 GROOVESECTOR was founded in 2024 to give home to UMEK's groovier creations and his alter-ego Polyvinyl, as well as other artists, such as the legendary Hertz and a fast-rising Khabiar.

Available in both vinyl and digital formats, the project continues UMEK's long-standing contribution to the techno scene through rhythmic grooves and club-ready energy.

Produced after a period spent alone, surrounded by the elements of nature, this record brought Katatonic Silentio back to her essence and her roots. The result is a dedication to the dancefloor through the genre she first became involved with, and to the music itself as the conductor of her whole life; an ever-changing entity of the essence of the soul; a bridge to the unknown and the depth of existence. A luminous voyage in the profound lightness of sound. Far from being an intellectual exercise, the album - the first club-oriented release by Krisis Publishing - is a physical and spiritual journey. This one is for the body, mind and soul, so that there may be harmony between the parties, between the inside and the outside, between the self and the other.

The Reloved series – Four Flies Records’ ongoing project where today’s producers reimagine select gems from the golden age of Italian library music and soundtracks – welcomes a new chapter from the formidable pairing of Nicola Conte and Nico Lahs.

The tracks reworked in this vinyl EP all originate from the first half of the 1970s, a period when a fascination with African imagery and sounds was so pervasive among Italian composers that it became a prominent cultural and aesthetic trend. Applying their refined touch, Conte and Lahs have expanded the rhythmic and atmospheric potential of the original recordings without the need for invasive overwriting. Instead, they have emphasized the unique identity of each piece, adding a contemporary club energy that remains entirely respectful of the original spirit, structure, and essence.

The EP opens with Piero Umiliani’s “Nel Villaggio” (originally found on the 1975 library album Continente Nero), which Conte and Lahs have filtered through a hypnotic, sensual tribal-house lens. Side A continues with “Orgiastic Ritual”, a reimagining of Gianfranco Reverberi’s main theme for Black Magic Rites (Renato Polselli’s 1973 erotic-horror film), which elevates the original percussive groove, amplifying its ritualistic dimension and drawing the listener into a mesmeric sonic spiral.

On side B, “Oasi nella Giungla” – from Giuliano Sorgini’s Africa Oscura (recorded in 1974) – takes a more minimalist, electronic approach: the original material remains front and centre, enveloped in delays and subtle rhythmic touches. Closing the EP is Romolo Grano and Gianni Oddi’s “Kilimangiaro”, originally composed for the 1974 documentary Le Montagne della Luce; through the use of sampling and loops, Conte and Lahs transform it into an elegant afro-house cut, at once sleekly restrained and irresistibly magnetic.

This is undoubtedly the most club-oriented instalment of the Reloved series to date, propelling Italy’s library music heritage from the flickering screens and analogue airwaves of the past onto the dancefloors of the present.

Anthoney J Hart continues to leave an indelible impression on the underground with his latest album as Basic Rhythm, returning to Sneaker Social Club after a string of incendiary EPs to deliver his definitive statement on 8 Bar Techno. The clue's in the name — a deadly fusion of grime sonics strapped to the pummelling locomotion of peak-time techno.

Hart's roots in pirate radio reach back to the 90s, forming a bedrock of uncompromising attitude that has permeated his work ever since. Between his work as Basic Rhythm, East Man and Imaginary Forces he's split the difference between incisive UK club sounds and experimental intention, applying artistic thinking to the physical impulses of grime, techno, D&B, drill and more. It's no wonder his work has been held aloft by labels as respected as Planet Mu, Metalheadz, Future Retro and The Trilogy Tapes.

On 8 Bar Grime Hart stretches out with a potent statement on his vision for club music in 2026. The thrust of the title track's opening 4/4 stomp is quickly interrupted by a none-grimier gun lock and load — an unambiguous thesis for the direction the album is heading in. The pressure stays high for the duration, barrelling through the distorted kicks and rabid wobble breakdowns of 'Weed Killer' before bringing the flawless flow of NyNy into the mix for half step sheller 'Vibez'. Elsewhere Lyrical Strally brings savage bars to 'Clutch' and Eklipse takes it deep and moody on 'Who, You'

In between the vocal spots, Hart maintains the flexibility to bend between styles with poise, edging a touch of UK funky's staggered groove to 'Teutonic' and wreaking havoc with a Drexcyian sound palette on 'More Pricks Than Kicks'. 12 tracks deep and without a moment of respite among them, the first Basic Rhythm album in five years finds Hart operating a peak strength, firing off neck-snapping payloads of ferociously infectious club gear for the more advanced kind of dance.

First Word Records proudly present ‘One 4 Detroit’; the third single from Above The Clouds (aka kidkanevil & Magic Manfred), complete with a remix by 14KT.

This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff, and their recent cover of ‘Change’ which was originally by Shadez of Brooklyn, most notably appearing on DJ Premier's 1997 mix album 'New York Reality Check 101.

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite Primo beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains that “after we made a bunch of piano joints it felt like time for a switch up, I had these raw drums looped and Manfred started playing this simple synth line on the Prophet - it kind of happened in an instant. This one was really a case of capture a moment and let it be. It had this cold, industrial bounce to it that really felt ‘Detroit’ somehow, so it became something of a tribute to that sound. Obviously there’s a rich musical history there that’s beyond anything we could encapsulate, but I hope the respect comes across. From Berlin to the D with love!


We felt pretty strongly that if we’re gonna nod to Detroit, we needed a remix from someone who reps there directly. I’ve been a fan of 14KT since the early 2000s beat scene, and as he’d previously released music on First Word, it made perfect sense to approach him. We asked and did he oblige!! I’m very comfortable saying we got schooled! He really blessed us with an amazing remix that brought a life and soul to what was originally a pretty stark beat, we’re super honoured to have this as our first ever remix.


‘U3P1’ (named after a synth preset so we didn’t forget!) is on the flip - this also came about pretty fast. I was thinking Ummah-era Tribe with the drums, and Manfred once again put down this super nice riff and it grew from there. It kinda felt like it needed some trumpet and it's always nice to highlight some of the amazing musicianship lurking beyond the club systems here in Berlin, so we called up Berlin based trumpeter and composer Paolo de Jesus, who blessed us with a beautiful performance and arrangement. And that was that; we hope you enjoy!”

‘One 4 Detroit / U3P1’ is released on limited 7" vinyl & digital platforms, June 12th 2026.


b 02: One For Detroit (14KT Remix) feat. 14KT


b 02: One For Detroit (14KT Remix) feat. 14KT


[b] 02: One For Detroit (14KT Remix) [feat. 14KT]


[b] 02: One For Detroit (14KT Remix) [feat. 14KT]


[b] A2 | One For Detroit (14KT Remix) [feat 14KT]

Seit der Veröffentlichung seines von Kritikern hochgelobten Debütalbums 'Come Around and Love Me' im Jahr 2023 hat Jalen Ngonda eine kometenhafte Karriere hingelegt. Der Song 'If You Don’t Want My Love' wurde zum viralen Hit und wurde bis heute 253 Millionen Mal gestreamt. Jalen war in einer Reihe von großen Fernsehsendungen zu Gast, darunter 'The Graham Norton Show', 'The Late Show with Stephen Colbert' und 'Later with Jools Holland'. Er war Support-Act für Thee Sacred Souls auf ihrer US-Tournee und hat als Headliner unzählige Clubkonzerte auf der ganzen Welt ausverkauft. Jetzt, im Jahr 2026, während die Glut seines Debüts noch hell lodert, bereitet sich Jalen Ngonda auf die Veröffentlichung seines mit Spannung erwarteten zweiten Albums 'Doctrine Of Love' vor.
Die harte Arbeit und die unermüdlichen Tourneen nach seinem Debüt haben sein Handwerk gestärkt. Seine Botschaft: 'Die Lehre der Liebe besagt, dass jeder Gedanke und jede Handlung in erster Linie von Mitgefühl für andere geleitet sein sollte, denn Liebe ist der höchste Maßstab für den Wert eines Menschen.' Die Titel des neuen Albums sind aus diesem Credo entstanden. Mit seinem tiefen Wissen und seiner Liebe zum klassischen Soul vermittelt Jalen Ngonda Authentizität in Hülle und Fülle. 'Doctrine Of Love' verbindet Pop-Sensibilität und soulige Melodien mit roher Kraft und Groove und erweitert die orchestralen Arrangements von 'Come Around And Love Me' um bläserreiche und gospelartige Backing Vocals, wodurch ein äußerst stilvolles Beispiel für moderne Soul-Kunst entsteht. Tipp!

Yaka slips into the APPX catalogue a hi-def 8 part narrative. Coated in silky sonic camouflage the Philadelphian sound designer, producer, and apparent amphibophile, conjures an aquatic instrument-rack straight out the estuary, and re-engineers it into a kind of amphibient-bass eco-system: part poolside bio-luminescence, part Severn-side subsidence. Welling with emotion ‘Dream Big’ is a joyride with your favourite frog-sage homies. It’s devotional, yes, but with a wink. Orchestrated by a bayou-mystic who’s just as likely to kiss the ring-modulator as they is to throw a shaka from his boogie board as they carves a line down stream.

The opening track “chrysalis of peace” builds like a choral summoning, beckoning you outward. “blubstep” shakes itself off and stretches into scattered breaks, sprinkles of underworld energy flickering beneath the surface. On “la pari,” the daemons find their stride in a huge leap into bass, punctuated by vocal satire, kitschy melodic fun, and an Amazonian sweat capable of humidifying any dancefloor. “miss that beach” slows the A-side into a thoughtful drift on a lilo, the distant sounds of cousins playing while wind lifts leaves overhead.

Flipping the disc, “buggged” arrives as a beat you can imagine bounding out of a Timbaland studio, tiptoeing in and out of 4/4 club jack. “back at the pad” breaks stride with a halftime depth that keeps you poised, like the surface tension of a water droplet in zero gravity. “weavin’ web” threads ascending melodic patterns over raised nodules of rhythm. Closing the album, “secret dream” dissolves into a private horizon — something half-remembered, half-invented — left for the listener to discover on their own.

About Yaka
A sound designer and musician based in Philadelphia, Pennsylvania. Their work blends emotive aquatic ambience, thick bass layering, and playful rhythmic structures, with an essence that sits somewhere between spiritual and satirical. Their earlier releases Somewhere In That Water introduced a practice rooted in the melancholic and bitter-sweet cuteness dipped in a deep affinity for wet environments.
Beyond their solo work, Yaka co-operates Inner Most, a label run between Philadelphia and Reykjavík alongside Echinacea. The imprint has become a home for boundary-blurring electronic music and features a number of Appendix.files favourites, including a release by our own secret getii, reinforcing a shared ethos of porous scenes and cross-continental collaboration.

Following the exploratory framework of Closer Now, Everlasting Flame sees Bartosz Kruczyński aka Earth Trax moving further into introspection, embracing a more experimental language that drifts between ambient abstraction and rhythm-driven forms.

The album unfolds through cold, shimmering atmospheres and submerged low-end structures, navigating a subtle tension between melancholy and propulsion. Its sonic palette remains fluid, shifting between hazy ambient passages, dub-inflected textures and more fractured, bass-driven moments, while maintaining a strong sense of cohesion throughout.

A defining element of the record lies in its contrasts: low, brooding pads and diffused beats are set against piercing high-end details, distant vocal fragments and flashes of raw, distorted intensity. This interplay creates a sound world that feels at once fragile and forceful, intimate yet expansive, with a persistent sense of longing running beneath the surface.

With Everlasting Flame, Earth Trax continues to move beyond strictly club-oriented structures, shaping a body of work that exists in a liminal space between functionality and free-form expression — immersive, textural and emotionally resonant. A record that lingers in the in-between, where rhythm dissolves into atmosphere and emotion takes the lead.

In the creative Bologna of the 1980s and 1990s, Kinki was the first gay (LGBTQ+) Club in Italy: a visionary space where House music exploded
and the night became a symbol of freedom, identity, and cultural revolution. Through the DJs and charismatic figures who shaped it’s future,
the documentary tells how this small club beneath the Two Towers forever changed the way music and clubbing were experienced.
The documentary, produced by RCO Europe and directed by Lorenzo Miglioli, is available on Amazon Prime and Google Play platforms throughout Europe, the UK, the US, Australia, and South Africa.
The soundtrack, curated by Luca Trevisi (LTJ Xperience), features a selection of 1990s and more recent tracks, ranging from Italo House to
Nu Disco. Most of the tracks are re-edited by LTJ himself.
A double vinyl album packaged in a gatefold sleeve, also containing a 16-page color booklet featuring images of the Kinki crowd.

Globally adored Spanish techno protagonist Indira Paganotto releases her debut album 'Arte Como Amante' via ARTCORE / PIAS Électronique. It brings together thirteen fearless tracks that stretch way beyond any one genre. It's high-pressure, high-energy, and deeply personal. A full-spectrum dive into the world of one of electronic music's most dynamic artists.

It follows a huge 2025. She debuted at Coachella. Played her first ever b2bs with Armin van Buuren at Sonar and Sara Landry at EXIT. She became the first woman to close Monegros. She held down her first Club Room residency at Hï Ibiza for 14 weeks, and even launched her own creative studio space, ARTOPIA, in Santa Eulalia. Her label ARTCORE the home of this special album also took their presence in the dance world to the next level with their own curated stages at Tomorrowland, Mysteryland and Dreambeach.

Now, she's telling her story. The title 'Arte Como Amante' means 'art as a lover'. For Indira, that's not just a phrase. It's her life. This album has been 14 years in the making. It began in Madrid in 2012, when she was 19, and was completed in 2024. She waited for the right moment. She lived life. She collected experiences. She built the sound. "I know to take 14 years to make an album seems crazy," she says, "but without living those experiences, how could I have made the music about them?"

The result is a diverse, adrenaline-fuelled body of work that hits hard and moves deep.

A decade has now passed since French-Algerian collective Acid Arab (a studio and live outfit helmed by producers Guido Minisky and Hervo Calvalho) wowed the world with their debut album Musique De France. Since, they've delivered two more albums, both of which take different approaches to fusing electronic beats and instrumentation with North African and Middle Eastern sounds and vocals. Resonance, their fourth full-length, sees them return to the raw, analogue-rich and bass-heavy club sounds that marked out their formative years at the turn of the 2010s - all heady Arabic vocals, traditional instrumentation, moody grooves, twisted acid lines and knowing nods to everything from acid house, new beat and EDM to industrial funk, dark new-wave throbbers, and the mid-tempo psychedelic pulse of new beat.

Amsterdam-based collective Mèraque presents Paradiso, a hypnotic blend of Balkan and Middle Eastern folk with psychedelic club music. Traditional instruments such as oud, clarinet, guitar, and darbuka are interwoven with experimental downtempo electronics and subtle drum & bass influences.

Rooted in Balkan and Roma traditions, the band translates centuries-old melodies into a contemporary electronic landscape. In their interpretation of the traditional song Ederlezi, the emotional core remains intact, while modern production and deep grooves bring it to the dancefloor. Tracks like Space Ohm, inspired by Turkish Çifte Telli rhythms, move between ritualistic folk energy and hypnotic club structures.

The album features remixes by Anatolian Sessions, unders, and Dan Bay, further translating the material into an international club context.

he all-time house music legend Roger Sanchez drops his brand new studio album ‘Spectrum’ - his first in twenty years. Previewed by three high-energy bangers - ‘Grinnin’ (with Fedde LeGrand), ‘Come My Way’ and ‘Temptation’ (with Low Steppa, featuring Ragdoll) - the record features the new focus track ‘How Do We Say Goodbye’, a collab with Karen Harding.

The globally celebrated and Grammy-winning DJ, producer and label head has been working on the album for years, much of it during his time in Shoreditch which has informed its euphoric UK summer sonic influences. But its diverse tracks reflect a spectrum of sounds, from pulsating club tracks to dancefloor fillers, through to more emotional moments and atmospheric elements. Lyrically it’s also the result of translating his personal experiences into song.

Roger says, “I’ve been working on this for the past six years, so it’s definitely a labour of love. During that time I got the chance to travel around the world and work with some amazing vocalists and songwriters to help me bring this project to life. I’ve got flavours from the UK, Spain, the US - all of this is part of the spectrum for. This project is about music and frequencies and light: so everything from the light to the soulful to the club-ready infrared, the emotionally-weighted ultraviolet. That’s what ‘Spectrum’ is all about for me.”

The new focus track ‘How Do We Say Goodbye’ was created with the topline extraordinaire and always in-demand collaborator Karen Harding, whose all-star credits include work with MNEK, Armand Van Helden, Rudimental, Wilkinson and many more. It’s a massive highlight of the album, with Karen’s soaring vocal class bringing both an irresistible hook and a touching sense of nostalgia, while Roger’s dynamic production ascends from a trance-like ambience into an electrifying drop.

Beyond the singles, ‘Spectrum’ also features a diverse array of other talents spanning multiple genres and nationalities. These include Melanic C, Kele Le Roc, Chico Castillo, Kelli-Leigh, Carnao Beats, Donae’O and more. It’s a guestlist which lives up to the anticipation for the record.

‘SPECTRUM’ is available as a special 3LP limited-edition pressed on red transparent vinyl.

(180gr) The album recorded in 1981 by internationally acclaimed jazz bassist Isao Suzuki together with his longtime musical partner Tsuyoshi Yamamoto is set to be repressed in a new heavyweight pure clear vinyl edition! Featuring Brazilian rhythms throughout, the album captures a festive and vibrant session with outstanding musicians including Takayuki Kato, Ichiro Doi, and Donald Bailey.

Another haul of hard hitting house gems from Duster Valentine’s debut album pressed to vinyl for the first time.

A love note to formative years in the ‘80s and early ‘90s, off his chops at The Haçienda and other legendary Manchester clubs, it’s a masterclass in demonstrating the flavours-within-a-theme that emerged from the Chi, 313, and NYC during that pivotal era, and would light the touch paper of a UK club revolution.

In Duster Valentine’s hands the sound is presented stripped to salient fundamentals, prizing the sound before it went commercial, ranging from sampler-knuckling garage-house stabbers thru haughty canter and plushest, pendulous grooves. He homes in hard on that point when hip hop and electro gave way to house in the Todd Terry-via-Pal Joey style jam »Getting’ Dub«, and gives a big salute to Chez N Trent’s rugged, chord-riding haughtiness via Levon Vincent in »Hit Me From Behind«.

»Strobelight Honnies« leans into the sound’s deepest ends with perfectly weighted bassline, cold drums and sublime string tension dubbed with hypnotic elegance, where »The KatG Chord« follows with shimmers of Anthony Shakir via Michael J Blood. Suffice it to say they’re all perlers and bang on the £ if you know what’s good.

Welcome to THE VAULT for 1985. A collection that digs deeper into the year’s musical landscape – uncovering singles that may not have always reached the highest chart positions but remain essential to the rich and diverse pop story of 1985. Some were overshadowed at the time, some were highlights from albums that had already sold huge amounts, some found greater success internationally – but all deserve their place in this continued celebration of 80s pop.

45 tracks across 3-LPs – pressed in gorgeous green vinyl – NOW Yearbook – The Vault: 1985.

LP1 opens with a trio of tracks from huge-selling albums:- Bruce Springsteen’s ‘My Hometown’, the sixth single in the UK from ‘Born in the U.S.A’ - one of the best-selling albums of the decade, followed by Bryan Ferry with the stunning ‘Windswept’ from ‘Boys And Girls’ and Sting’s ‘Love Is The Seventh Wave’, taken from his solo debut ‘The Dream Of The Blue Turtles’. Next up, Go West with a U.S single release ‘Eye To Eye’, Scritti Politti with ‘Perfect Way’ – their biggest hit in America, and ABC with ‘Be Near Me’. The first side closes with two established bands; Heaven 17 and Orchestral Manoeuvres In The Dark… Flip the LP over for Adam Ant with ‘Vive Le Rock’, Midge Ure, Blancmange and the second collaboration between Philip Oakey & Giorgio Moroder with ‘Good-Bye Bad Times’. The Style Council’s ‘Welcome To Milton Keynes’ leads to LP1’s closer’s from Simply Red and Fine Young Cannibals who followed their debut ‘Johnny Come Home’ with ‘Blue’.

LP2 opens with Cocteau Twins and the dream-pop atmospherics of ‘Aikea-Guinea’, ahead of The Jesus And Mary Chain with ‘Just Like Honey’, and The Dream Academy with ‘The Love Parade’.

Brilliant with their cover of James Brown’s ‘It’s A Man’s Man’s Man’s World’ and jazz-influenced pop from Matt Bianco are up next ahead of the sublime ‘Castles In The Air’ from The Colourfield and Elvis Costello & The Attractions, who released the 1979 track ‘Green Shirt’ to promote their ‘Best Of’ collection … and the side closes with The Clash’s ‘This Is England’ which would become their last originally released hit…whilst on the other side…celebrate the dancefloor, with a vibrant mix of Hi-NRG, soul, electro and club-influenced pop:- Opening with Sheryl Lee Ralph’s ‘In The Evening’ and Barbara Pennington’s equally superb ‘On A Crowded Street’, the hi-energy continues with Miquel Brown and Hazell Dean ahead of a US hit from Laura Branigan (‘Spanish Eddie’) and Divine’s cover of ‘Twistin’ The Night Away’. LP2 finishes with a massive U.S. dancefloor smash for Eddie Murphy with ‘Party All The Time’.

The final LP kicks off with a bunch of singles that achieved bigger hit status in the US than here and opens with Billy Joel’s ‘You’re Only Human (Second Wind)’, a track written exclusively for his ‘Greatest Hits – Volume I & II’ compilation, ahead of pop-rock from John Mellencamp plus an anthemic smash from Bon Jovi. Pat Benatar’s ‘Invincible’ features ahead of The Power Station’s third US Top 40 hit…whilst back in the UK Chris Rea enjoyed his biggest chart hit to date with ‘Stainsby Girls’ and the side is completed by Marillion with ‘Heart Of Lothian’ the third hit from their huge ‘Misplaced Childhood’ album… Flip to the final side for the stellar vocals on ‘Act Of War’, the huge collaboration between Elton John & Millie Jackson ahead of dancefloor smash ‘New Attitude’ from Patti Labelle and ‘Show Some Respect’ a U.S. single from Tina Turner. Sophisticated pop-R&B from Michael McDonald and Daryl Hall & John Oates come ahead of the collection’s closers- and two outstanding vocal performances: Chaka Khan’s ‘Through The Fire’ and the U.S. breakthrough hit from Whitney Houston with ‘You Give Good Love’ – signalling the arrival of one of the decade’s brightest new stars.

NOW Yearbook – The Vault: 1985 – A deeper dive into an unforgettable year in pop.

Cristi Cons returns to Amphia with Out of Cycle Part 2, expanding the narrative beyond fixed frameworks.

Cristi Cons continues his exploration of fluid musical identity with Out of Cycle Part 2, released via Amphia, the label which he co-founded and runs alongside Vlad Caia.

Conceived as a continuation of Out of Cycle Part 1 released back in 2021, the new installment deepens the concept of operating outside predefined structures, both in form and in sonic direction. Rather than adhering to a single aesthetic, the album reflects a wide spectrum of influences, capturing an evolving artistic language shaped by intuition, experimentation, and long-term musical curiosity.

The title Out of Cycle acts as both a statement and a method: stepping outside familiar loops, resisting categorization, and allowing the music to exist beyond rigid expectations. This philosophy extends into the production itself, where subtle variations in structure, tone, and pacing reveal a process driven less by formula and more by exploration.

Across the album, rhythmic frameworks shift between hypnotic, club-oriented patterns and more introspective passages, while textures unfold with a focus on depth, movement, and spatial detail. Each track functions as part of a broader continuum, yet maintains its own identity, highlighting a deliberate departure from cyclical repetition in favor of a more open-ended approach.

Released on vinyl and digital formats, Out of Cycle Part 2 marks another chapter in Cristi Cons’ ongoing dialogue between club functionality and deeper listening contexts. While rooted in stereo composition, the project also opens the possibility for further reinterpretation, reflecting an interest in how the same material can evolve across different listening environments.

With this record, Cristi Cons continues to trace a distinct artistic trajectory, one that prioritizes depth, individuality, and an ongoing expansion of his musical language as it evolves beyond established forms.

Dedicated to my dear friend Laurentiu Gavrila (Funk-e).

Another Taste is back with their follow up album: Another Taste II delivers eight new cuts of boogie, funk, and obscure disco influenced productions, recorded live to tape. Comes with Download code.

After lighting up renowned clubs like KOKO London, Jazz Café London,Tresor Berlin, New Morning Paris, and festivals like Love Supreme (UK), Lost Village (UK), Nuits Sonores (FR), Hamburg Jazz (DE), Lowlands (NL), ADE Amsterdam - the band has surfaced from the studio anew, mixing myth with music.

If their debut record in 2024 was an introduction to their musical range, Another Taste II is the full immersion. The two-sided album plays like a neon-lit cab ride where the radio is set to groove. Expanding their palette with sharper songwriting, denser arrangements, and a fictional universe.

The album showcases Another Taste’s collective at full strength: Barend Lippens, Bobby van Putten, Bob Roche, Teun van Zoggel, Sarina Voorn, Diogo Carvalho, and Florian Verhagen. Together they summon a sound that is electrifying, communal, and unmistakably theirs, joined on “Peace Call” by Arp Frique and the Perpetual Singers, and bolstered throughout by a dedicated brass section.

Another Taste II is engineered and mixed by Bobby van Putten, mastered at The Carvery by Frank Merritt, with artwork and design by Timo ter Braak, Walt van der Veen and Robert Reinartz.

The new album presents a collaborative creation that’s both timeless and unpredictable, pulling listeners deeper into the band’s universe with every spin.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

ALERT: BIG 90s ITALIAN RAVE COMP - a lot of very in demand tunes on here.

Navigators

Franco Falsini and the Interactive Test Universe

There are musicians who follow their time.

And then there are those who seem to move along a different trajectory—like navigators crossing sonic eras without ever truly belonging to any one of them. The story of Franco Falsini belongs to the latter. It is a story that begins long before raves, before techno, before the word “electronic” had even become a recognizable musical genre. A story that moves across continents, technologies, and sonic visions, eventually arriving at a small creative laboratory born in Italy in the early 1990s: Interactive Test. This compilation is a fragment of that universe. But as often happens with the hidden histories of music, understanding it requires going back. Far back.

The Beginning: Machines, Tape and Space

In the late 1960s Franco Falsini leaves Italy and moves to the United States. It is not merely a geographical journey—it is also a journey into a new idea of music. At the time, synthesizers are only just emerging from research laboratories. Multitrack tape recorders allow musicians to build entire sonic worlds on their own. Technology is still far from standardized: every studio is almost an experimental workshop. In Virginia, Falsini builds one of his own. Among cables, oscillators, electric guitars and reels of magnetic tape, a kind of music begins to take shape that resembles nothing else being made at the time. It is not simply rock, and it is not yet truly electronic. It moves somewhere in the space between the two. Out of these explorations emerges Sensations' Fix, the project through which Falsini releases a series of albums during the 1970s. Records that seem to come from a parallel dimension: cosmic landscapes, electronically treated guitars, synthesizers drifting like satellites. Many years later those albums would be rediscovered as visionary works. But at the time they were simply the result of relentless curiosity. A curiosity that would never fade.

The City That Never Sleeps

In the 1980s Falsini’s trajectory leads him to New York. The city is a sonic organism in constant transformation. In its clubs and recording studios something entirely new is beginning to take shape: music built from drum machines, sequencers, and samplers, created for the body before the living room. It is the dawn of modern dance culture. Falsini works as a sound engineer, producer and experimenter. From close range he observes electronic music transforming into a global language. Machines become more accessible, computers begin entering studios, and rhythm takes on an increasingly central role. Yet even in this phase Falsini does not simply follow what is happening. He absorbs. Observes. Reimagines. When he eventually returns to Italy, he brings back not only technical experience but also a clear vision: the conviction that electronic music is an open space, a territory still waiting to be explored.

Tuscany, Early 1990s

At the beginning of the 1990s something is happening in Italy as well. In clubs, abandoned industrial warehouses and clandestine parties, a new scene is beginning to form. It is rave culture: a spontaneous movement bringing together DJs, producers and listeners in a collective experience driven by rhythm, technology, and creative freedom. It is within this context that Franco Falsini, together with his brother Riccardo, creates Interactive Test.

The name almost sounds like a scientific experiment. In many ways, it is. Interactive Test does not emerge as a traditional record label. It begins as a laboratory—a place where ideas, sounds and musical identities can be tested and explored. Around the Falsini studio in Tuscany a small constellation of artists and DJs begins to gather, helping to shape the sound of Italy’s emerging electronic scene. Among them are Andrea Giuditta, Francesco Farfa, Gabry Fasano, Roby Mastelloni, Roby J and many others. Each brings a different musical sensibility. But they all share the same intuition: electronic music is not a genre. It is a language.

The Laboratory of Identities

One of the most fascinating aspects of the Interactive Test universe is its constant play with identity. Franco Falsini releases music under several different names: Open Space, Youth Wave, Agent Fylfoyt, Man Myth Magic. These are not simply pseudonyms.

They are different sonic perspectives, as if each project were a window opening onto a parallel musical universe. Open Space, for example, explores more atmospheric and visionary territories. Youth Wave moves between electronic groove and club-oriented rhythms. Other projects experiment with digital psychedelia or hypnotic techno textures. Interactive Test becomes something more than a label. it becomes an ecosystem.

Domestic Machines, Infinite Worlds

Looking back today at the technology used in those productions, one might almost smile. Many tracks were created on Amiga computers, MIDI sequencers and analog synthesizers wired together in home studios—tools that appear modest when compared to today’s digital possibilities.

Yet precisely these limitations became a creative force. Every sound had to be built, shaped and reinvented. Sequences developed slowly, almost like living organisms. The tracks did not always follow traditional dance music structures; often they felt like genuine sonic journeys. Music built from space.

A Hidden Constellation

Many of the records released by Interactive Test in the 1990s remained for years almost invisible objects, circulating quietly among DJs, collectors, and devoted listeners. Yet it is precisely this underground existence that helped preserve them. Listening again today, one perceives something rare: the feeling of music that does not fully belong to its own time. Music suspended between different eras. Perhaps because it comes from a vision that both precedes and transcends trends.

Continuing the Journey

Looking at Franco Falsini’s entire path—from the electronic psychedelia of Sensations’ Fix to the rave culture of the 1990s—a surprisingly coherent line emerges.

A line defined by exploration.

Each project, each pseudonym, each record appears as a new route within the same great sonic voyage.

Interactive Test was one of its stations.

A laboratory.
A community.
A creative platform.

This compilation gathers some of its traces.

Not as a simple archive of the past, but as a map of a musical territory that continues to expand even today.

Like all true sonic explorations.

Following the release of Chris Liebing's 'Evolver' album this spring, German duo FJAAK rework 'Higher Things' which appeared on the full-length, releasing via CLR on 29th May 2026. Long established as a formidable force within Techno, FJAAK are known for crafting high-impact, floor-focused tracks, often via their self-titled imprint, with the Berlin artists now joining a star-studded cast on Chris Liebing's latest full-length, including photographer and film director Anton Corbijn on photography, and collaborations with Charlotte de Witte, Luke Slater, The Advent, Speedy J, Terence Fixmer, Pascal Gabriel, and
Daniel Miller.

Their remix reshapes 'Higher Things' around a rattling dub techno framework, where molten chords soften the weight of mechanical kicks while resonant stabs and swelling textures steadily intensify. The result is a hypnotic yet forceful reimagining, balancing atmospheric depth with anthemic, warehouse-ready pressure.

The original version of Chris Liebing's 'Higher Things' appears on his debut solo LP, 'Evolver', released 27th March 2026 on CLR. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision, channeling the raw, industrial energy of classic club spaces into a refined, forward-facing long player.

Some records feel like they should have existed. This is one of them.Originally buried as an album cut in the catalog of C. C. Catch, ‘Stop – Draggin’ My Heart Around’ never received the maxi single treatment it always deserved. For decades, fans of Dieter Bohlen’s signature sound have been left wondering what could have been… no extended mix, no dub, no proper club version… Until now.

Julie Chrome steps in with a strikingly faithful reinterpretation, capturing the emotional tone and melodic essence of the original, while Ryan Benson carefully reconstructs the sonic blueprint, staying true to that unmistakable mid-80s German disco aesthetic of Luis Rodriguez. Think shimmering synths, tight Linn-style drums and that bittersweet, dramatic tension Bohlen/Rodriguez and Co. perfected. But this release goes further than nostalgia. On this maxi, the track finally unfolds the way it always should have. Fully extended, club-ready, and built for the dancefloor. The Long Version delivers that essential 80s arc: slow build, emotional lift, and extended instrumental passages made for mixing. The Dub Version strips it back into a hypnotic tool, pure drums, synth stabs and atmosphere, tailored for late-night transitions and deeper sets. The Radio Version and Alternative Radio Version complete the package, offering two concise takes that still retain all the charm, drama and melodic punch of the original composition. This is more than a tribute, it’s a carefully crafted time capsule. From the production to the artwork and label aesthetics, everything here is designed to transport you straight back to 1986. For fans of classic German disco, collectors of lost Italo-adjacent gems, and DJs who know the power of a well-placed nostalgic moment – this one hits deep. A record that finally corrects history.