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Mind bending UK influenced Rave meets Electro ep by scottish producer Crossover Network who makes his second appearing on the dutch label.

Romanian producer and DJ Andrew Red Hand has carved a unique niche in the world of underground electronic music.
His work stands as a tribute to the raw energy of Detroit techno and electro, yet it retains a deeply personal, emotional tone that gives it timeless depth.
Over the years, Andrew has released a steady stream of high-impact records across some of the most respected labels in the scene. His catalog includes standout EPs on Detroit Underground, Matrix Records Detroit, Twilight 76, and others —each showcasing his mastery of analog-driven textures, sharp 808 rhythms, and melodic melancholia. His work with Diffuse Reality, Subsonic Release, and Shipwrec further solidifies his reputation for pushing boundaries while staying true to the roots of electro.
This EP “For My Father EP” marks his second appearance on Time Passages. He first contributed to the label’s V.A. compilation with the track D2 – “In the Cemetery”, remixed by the legendary Hardfloor. Now, he returns with a full four-track EP, offering his most focused and expansive vision yet. Notably, the B1 “Gritty Bass” is a remix from another icon of the scene—DJ Hell— .

An 11-minute Gnostic rite from the outer fringe of the demiurge's data farm. Manuel Gottsching meets Megadog. A tranced-out deep cut of driving apocrypha assembled by mystic duo SB&C with B-side emanation and mutations from Ann Arbor's JTC aka Tadd Mullinix--for the initiated and confused. A limited 100 edition, hand screen printed release with no repress and no streaming. Download code included with physical record only.

Written and produced in 2014, Gianluca Caiati brings back the unique, elegant and timeless sound of dub-techno. Pressed on a striking blueberry-colored 10'' vinyl, this record effortlessly blends depth and freshness into a sound that feels as relevant today as it did over a decade ago. A true collector's piece, crafted for those who appreciate sophisticated grooves, immersive atmospheres, and the warm touch of analog.

Interactions is a new vinyl imprint based in Mallorca, emerging from an event series dedicated to connection, collaboration, and the exchange of sound. What began as intimate gatherings with handpicked artists now evolves into a label, extending its ethos from the booth to the studio. With a focus on minimal house aesthetics and a detailed approach, Interactions aims to highlight the subtle edges of groove-driven electronic music through artist exchange and collaboration.

The debut release comes from Veruh, an artist whose refined productions strike a balance between rhythmic detail and emotional restraint. The EP’s title track, Eurivor, is an atmospheric roller built on intricate FX and fleeting vocal snippets — minimal but with character, playful yet anchored by a persistent groove made for the club.

On the remix front, Sepp delivers a peak-time tech-house rework. A defining force in the minimal-tech scene, his version is a tight, rolling burner packed with late-night tension and summer-floor energy.

The B-side shifts into broken-beat territory: Abil Revis & Olab bring emotion to the surface, pushing the vocals forward in a remix made for after-hours sessions, where subtlety, mood, and movement take over. Finally, For·at craft a stomping reinterpretation — minimalist yet forceful, teeming with fractured rhythms and deep pressure.

Eurivor marks a confident first step for Interactions — a label grounded in collaboration, rooted in minimalism, and dedicated to the quiet magic that happens when artists connect.

180g
Repress

Supported by Deepbass, Svreca, Pris, A Sacred Geometry, Amandra, Etapp Kyle, Takaaki Itoh and Abstract Division to name a few.

The Hypnus clergy is proud to present the 6th solo record by Feral. 'Ultraviolet Radiation' throws us head first into a sound that's been brooding for a time and now finally started to blossom, revealing the massive potential of this gifted producer. Those who heard his contribution to our latest Various Adepts record or have managed to catch one of his mind-bending live performances will recognize his uniquely psychedelic deep techno sound.

Marked by an awakened sense of depth, Feral consistently carries a thread of spirituality throughout his work. Embodying the sound of deep techno through his passion for audio engineering, hardware experimentation and fascination for percussive instruments, as well as an affinity for the shamanic becomes apparent when we swirl in tribal timbres and rhythms.

Finding comfort in the solitude of his studio; the sounds of Feral unearth the path of his multidimensional world, transporting the listener to a haunting, yet grounding refuge within.

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth.

This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

“Mi Pez Murió Anoche” is the first full-length album by Brayan Valenzuela, marking a definitive shift in his sound from the raw, hard-edged techno of his early work toward a more intimate, textured, and emotionally charged form of electronic music. Released on the Detroit Underground label, the album is a deeply personal sonic exploration, inspired by the mutable and emotional energy of Pisces, shaped by fractured rhythms, ethereal melodies, and a sensibility that blends the introspective with the physical.

Throughout the album, Brayan weaves in elements of jungle, breakbeat, and ambient, maintaining an underground aesthetic while embracing a freer, more narrative approach to composition. The intention is clear: to craft a sonic experience that flows from beginning to end, but also includes moments built for the club. “Rav,” for example, stands out with its driving rhythmic structure and raw energy, designed for the dancefloor, while tracks like “All I Need Is Peace” and “Nancy, She Become a Groupie” explore more contemplative and emotional territory.

“Mi Pez Murió Anoche” is a statement of identity. A work where the visceral meets the cerebral, where nostalgia intertwines with rhythm, and where personal reflection opens into collective experience. It’s an album that resists categorization, aimed at discerning listeners and DJs seeking depth without compromising impact. For anyone following the evolution of forward-thinking electronic music, this is a vital release.

Tal Fussman returns to Rekids with the ‘I Feel’ EP. Rekids welcomes back Tal Fussman with the ‘I Feel’ EP, following up his 2024 ‘Definition’ EP on Radio Slave’s label, which won support from the likes of Honey Dijon, Orlando Voorn, Yu Su, Saoirse, Dave Clarke, and more. The Innvervisions, COD3QR artist and Survival Tactics label boss starts ‘I Feel’ with the title track and, in true Fussman fashion, infuses drummy club cuts with plenty of feeling via soulful synths and apt vocal sampling. The rolling organic percussion of ‘MAD’ continues, locking us in the groove while hard-hitting stabs fly above before ‘Bongo Man’ channels the lush sounds of the rainforest alongside more expert drum work. Closing out the ‘I Feel’ EP, Tal Fussman works with fellow producer 8-AN to drop the dream-like strings of ‘Life Itself’, another deep track that is as club-ready as it is introspective.

Shlomi Aber returns with a four-track EP on his vinyl-only imprint Lost Episodes, delivering another potent dose of raw, dark techno. Known for his analog-heavy production style, Aber explores deep, driving rhythms and shadowy atmospheres across the release, staying true to the label's underground ethos.

Episode 7 is a stripped-back yet powerful statement, reaffirming Lost Episodes as a vital outlet for uncompromising techno purism.

Official Movie Soundtrack of the future cult "RAVE ON".
Produced and Edited by Inland (Ed Davenport).
Tracklist curated by Ed Davenport, Freddy K & Viktor Jakovleski.
RAVE ON is a brave, captivating feature film that portrays the subculture of techno like rarely before. Made by real club culture lifers and ravers, it stars Aaron Altaras with appearances by Hieroglyphic Being and Lucia Lu.
A movie by Berlin based filmmakers Viktor Jakovleski & Nikias Chryssos.

Berlin's Scheermann debuts on Mutual Rytm with deeply personal EP, 'Viciosa'.

Scheermann is at the heart of the Berlin underground as a DJ/producer, but also working behind the scenes at the Intakt Berlin vinyl pressing plant, where he first met Mutual Rytm founder SHDW. As a resident of the Lorem Ipsum party series, he delivers cultured and compelling grooves, and is also an active member of the Wesertekk collective - supporting and pushing club culture to the forefront in more rural areas. His music comes from a deeply personal place, never chasing hype or headlines, and is usually found at home on his own imprint, SAMMLER. This new EP marks his first appearance away from the label as he unveils a collection of records crafted over five years, with each track representing different moments in his life.

'Viciosa' kicks off with paranoid vocals panning about as swinging, warehouse-ready drums pound heavily below. The gritty synth craft adds plenty of texture as filters build the vibe. 'Placid Sin' is even more intense with unresolved synths tripping you in a loopy state while coarse percussion and cantering drums march on. 'Don't Care' is a rave-ready cut that injects your soul with urgent synth energy over more minimal and moody drums. 'Kano' brings a more elastic rhythm with dubby undercurrents and sleek sonar pulses infusing it with mystery, while 'Reika' is a nimble cut with icy hi hats and curious synth notes layering in late night suspense. First digital bonus 'Resoclap' is a heavyweight swinger with dark, groaning voices, before the second digital bonus 'Mizu' provides a speedy and supple workout for body and mind.

Scheermann 'Viciosa' lands on Mutual Rytm on 22nd August 2025.

A little background info….



Miss Aranivah was previously released (in 2021) on the Ska Fever vol.1 EP (OGR806). It’s had a slight re-mix / re-master and it’s proved very popular in the live set that I’ve been playing with Junior Dell at Ska and Reggae festivals in Europe.



Likewise, the B-Side has gone down very well live and we re-recorded it with Junior Dell on vocals (he did not appear on the original version which appeared on Reggae Dynamite vol.1 back in 2020).

Lucy Duncombe and Feronia Wennborg compose a modern symphony for virtual choir on 'Joy, Oh I Missed You', muddling sound poetry with Nuno Canavarro and ‘Systemische'-style machine-damaged surrealism. Like a mashup of Lee Gamble's 'Models', Akira Rabelais' 'Spellewauerynsherde' and Robert Ashley's timeless 'Automatic Writing’ screwed to perfection.

Duncombe and Wennborg have been chewing over ‘Joy, Oh I Missed You’ for four long years, working their process until they were "queasily intimate" with their arsenal of artificial voice tools. Tracing the history of the technology, from voice synthesisers and chatbots to AI voice analysis tools, the duo experiment relentlessly to develop a digital-age response to IRL extended vocal technique - think François Dufrêne, Yoko Ono or Phew. Less interested in replicating human sounds exactly, they instead test how various tools might cough up their own idiosyncratic tics as they stretch and stutter through attempts to mimic their "fleshware" counterparts.

Duncombe's got prior form here, most recently re-synthesising her voice on the brilliantly oily 'Sunset, She Exclaims' 45 for Modern Love, following a stunner for 12th Isle in 2021. Wennborg brings along experience from her tenure as one half of microsound duo soft tissue, whose 2022 LP 'hi leaves' (Students of Decay) was a haptic treasure. These approaches mesh remarkably well on their first collaborative full-length, with Duncombe's eerie bio-electronic incantations providing the ideal foil for Wennborg's carbonated hardware processes. It's not completely clear where the human voice ends and the zeroes and ones begin on 'Your Lips, Covering Your Teeth', as rolling cyborg syllables tumble over OS-startup womps and surprisingly svelte outcroppings of glassy, synthetic glitches. The music is surprisingly mannered, a sonic reflection of the cover, where a mouth is pixellated until only colour swatches remain. Duncombe and Wennborg trace the gradual erosion of their voices, leaning into the chaos as their various tools veer off into unique patterns of failure.

What sounds like a far-off, ghosted folk rendition (we're reminded of the Icelandic laments that Rabelais chewed up on 'Spellewauerynsherde') is offset by gnarled, bitcrushed machine faults and pneumatic lip smacks on the brilliant 'Residue', and on 'Brushed My Hair', the duo massage the voice until it sounds like a flute. Assembling stutters and barks and sighs into a celestial chorus alongside time-stretched moans, they create a levitational atmosphere on 'Smell It', freezing the energy from bizarre pitch steps to configure a zonked vocal ensemble.

'Joy, Oh I Missed You’ is an album that, like its source material, constantly morphs, testing the boundaries of its concept repeatedly without bubbling over into conceptual goo. In fact, it's remarkably euphonious, even at its most theoretically abrasive; Duncombe and Wennborg wring out uniquely angelic formations through a process of trial and error that packs a surprising, hefty emotional punch.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Soul Flip is back with the 18th chapter of this apparently never-ending story! And this time, Mr Soul Flip himself Del Gazeebo welcomes the return of super-producer Wonderlove for backup.

First up, Del gives his full attention to the Pointers Sisters' "Send Him Back" - a firm favourite with the Northern Soul crowd back in the day, and respectfully freshened up for 2025.

As you probably know by now, we love a "version", so on the flip, Wonderlove breathes new life into Johnny Mathis' cover of Willy Bobo's "Evil Ways" in devastating fashion.

Early support from Craig Charles Funk and Soul Show on BBC6 Music.

“O(c)tavio’s EP brings together a global crew of producers who all share the same name and a passion for high-quality techno. The A1 kicks off with “Fadeface” by NY based producer Otavio aka Fadeface, a rolling, driving cut that balances weight with groove. A2 follows with a no-nonsense loopy techno heater by Octavio, 1/3 of the Paraguayan group LPZ — pure dancefloor pressure, stripped and effective. On the flip, Argentinian artist Octavio Octavio brings a bit more swing with a groovier B1, still rooted in the floor but with a fluid touch.

Closing things out is a collaborative B2, combining all their styles into one cohesive, heavy-hitting statement. Pressed to vinyl and wrapped in stunning artwork by the talented Brazilian graphic designer Otavio Santiago. Turns out, putting a bunch of O(c)tavios in the studio results in one hell of a techno record.”

TRSN hits release number 36 with a statement from one of the Netherlands' most promising new names. Groef steps up for his full solo debut on the label, delivering four meticulously crafted originals that twist and stretch the parameters of hypnotic, high-impact techno. Fresh off the back of appearances on Delirium Vol. II and a breakout debut EP on Bipolar Disorder, Groef showcases his signature blend of raw textures, tightly-wound percussion, and heads-down momentum. Rounding out the EP are two heavyweight remixes from French powerhouses Bours? and Ferdinger, adding their own flavour while keeping the energy locked firmly to the floor. A bold and confident six-tracker that marks Groef as one to watch.

This 15-track album features the original score composed by Nicolas Godin (of AIR) for Fire of Love, the Oscar-nominated documentary directed by Sara Dosa in 2022 (available for streaming on Disney+), as well as original music inspired by the film.



Fire of Love tells the extraordinary love story of fearless French volcanologists Katia and Maurice Krafft, who died as spectacularly as they lived, capturing some of the most breathtaking footage ever recorded of their greatest passion: volcanoes.

The writer Max Sebald often pondered over the nature of human memory, specifically, how our thoughts and desires - and their results - overlap and mutate over time. In A Place in the Country, he writes of the significance of what see as “similarities, overlaps and coincidences”. Are they the “delusions” of the self and senses, or manifestations of “an order underlying the chaos of human relationships, ... which lies beyond our comprehension”?

Song of the Night Mists, the new album by post-classical composer Stefan Wesołowski, often feels it draws on Sebald’s premise.

On a simpler plane, the one where the market dictates the neatly ordered information we consume, Song of the Night Mists can be described thus: recorded in the main by Stefan Wesołowski in Gdańsk, both in his studio and in Saint Nicholas' Basilica, the album incorporates acoustic instruments - piano, violin, double bass - and classic synthesizers such as the Roland Jupiter-8, the Soviet Polivoks. A Roland Space Echo RE-150 tape delay was also pressed into service as an instrument. We also hear the basillica’s organ and field recordings from the Tatra Mountains. Other musicians were Maja Miro, who played the flute parts on ‘Glacial Troughs’ and brother Piotr Wesołowski, who played the organ on ‘Wilhelm Tombeau’. Sound engineer was Marcin Nenko, who was also on hand to record the basilica organ parts. The album was mixed in New York by Al Carlson (Oneohtrix Point Never, Jessica Pratt, Zola Jesus, Lady Gaga, and Liturgy) and Rafael Anton Irisarri handled the mastering.

Ostensibly, Song of the Night Mists is the last in a trilogy, following on from albums Liebestod (2013) and Rite of the End (2017). All three deal with existential matters such as love, death, decay and “an ultimate end”; apocalyptic and Promethean in spirit, and betraying very human conceits. The Sebaldian nature of the new record starts to make itself felt when Wesołowski talks of how he used sampling. One element is unexpected, that of sampling himself: “I go back to dozens of my own unused sketches and recordings, treating them as raw material to cut, slow down, reverse, and transform in every possible way.” Memory as sound, to be reemployed by the listener through their own imaginings.

Another set of samples made by Wesołowski plays another role. These are field recordings, originally created for an audio illustration of the formation of the Tatra Mountains, and used in a film by sound designer Michał Fojcik. Wesołowski: “You can hear cracking ice, streams, footsteps in the snow and the wind, and a real avalanche, recorded from the inside.” The “Tatra connection” on the album is also found in samples referencing composer Karol Szymanowski. The album’s title alludes to a poem about the mountains by Polish poet, Kazimierz Przerwa-Tetmajer.

Wesołowski’s Tatra recordings are “about a world without humans - about the fact that the world existed, was beautiful, and had meaning long before people arrived, and for the vast majority of its history, it was a place without us.” Wesołowski, using one iteration of the natural world, plays out in sound Sebald’s idea of another order, underlying the chaos of human relationships lying beyond human comprehension.

These feelings play themselves out on the five album tracks. Sonorous and rich, they illustrate tectonic shifts we have no control over. Wesołowski hints that the overall sound is a “meditation on the metaphysics of the non-human set against the spirituality that human presence has brought into it.” In that light, the opening number, ‘Core’, with its slow build, and crackling and straining sound effects, create an effect of the earth groaning into life in a creation myth. Once the piano part raps out a simple melody and modulated tonguing trumpet samples add to the overall atmosphere, the listener can certainly find a cue in the “spiritual”, or “human” side of the story. Human versus nature: from the strains and harmonic muscle stretches of the second number, ‘Glacial Troughs’, through to the powerful and filmic ‘Stalagmite’ and heart-on-sleeve romance expressed in closer, ‘Wilhelm Tombeau’, we listeners are cast as Friedrich’s wanderer, looking out over a landscape that will appear only if we engage with it.

Formations of melody appear incrementally, almost appearing by chance - like hidden footings in the rock shelves to give us something to grasp onto. Rhythms are used sparsely: the prolonged percussive taps on ‘Glacial Troughs’ are an anomaly and maybe there to give pace to the album to come; essentially to keep the listener strapped in. Elsewhere, percussion is used as an aid to mood, the two thudding, timpani-style passages on ‘Peak’ there to offset the short, beautiful, kosmische passage that splits them.

Elements of the borderline religious spirit that drove German electronic music in the late 1960s and 1970s also find a place on Song of the Night Mists. The swells and recessions of the organ find their emotional climax on ‘Wilhelm Tombeau’, a track which summons up echoes of the “mountain magic” vistas created by Popol Vuh or Tangerine Dream, especially with the slightly atonal wobble of the Mellotron that counters it.

This is a dramatic album, but it does feel a strangely short, or curtailed listen on ending, evoking the feeling one gets when waking from a dream, and, for all its incipient grandeur, a track like ‘Stalagmite’, for instance, ends on a minor note. Wesołowski admits that Song of the Night Mists is born of the all too human process of temptation, doubt and recalibration - Sebaldian overlaps and coincidences forming something that must live another life, away from its creator. In Wesołowski’s words, the album is “a newborn foal must stand up and walk right after birth.” Now it is yours to ponder.

The labels catalogue is welcoming a third full feature album by no other than the young and promising producer from the UK – Phase ‘O Matic. This body of work marks the second LP by the artist in five years therefore to say the excitement levels can be measured by the excitement meter and these levels would be scientifically speaking - through the roof. From the opening track “Welcome to the Night” to the closing “The Weapon” which is named after the title of the album, the artist has demonstrated his impeccable production skills and knowledge of the 90’s sound with the modern twist applied. Over the years of hard work, he has developed his own sound and from what can be heard here safely could be said that this release is most definitely the weapon of mass destruction which has been added to the artist’s collection of releases. Straight from the mind onto this 12” canvas for you to enjoy.

The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

A record woven deep into the tapestry of South African electronic music, ask any SA selector about Blackwhole’s ‘1000 Seconds’ and its certain to evoke a reaction. Alongside the first ever global release of the record. A “stone cold classic” that has never had a release beyond South Africa, Stay True Sounds has also commissioned a remix from label mainstay Atmos Blaq. Also, adding a fresh new perspective to this track is Jullian Gomes who is making his first appearance on the Stay True Sounds imprint.

Repress!

For the upcoming release on KNTXT, label boss Charlotte de Witte announces a dual EP release. “The Selected EP and Pressure EP, to me, are the perfect reflection of the music I have been playing over the years.” says Charlotte de Witte. “On the Selected EP people will find the straightforward Techno sound with the Acid twist, that I love to bring to the floor when I’m touring.”
“It’s counterpart, the Pressure Ep, is an extension of the mixes that I assemble for my BBC Residency.

A more ambient approach, that’s rougher around the edges.”“Both releases can be seen as an ode to the techno I love and cherish.” concludes de Witte. On the subject of the dual release Charlotte says “For me this duality is essential to explore my interests both as a producer and DJ. Therefore it also made sense to me to release them simultaneously, as we also combine our label releases with events and our weekly radio show.”

Ode To Native Tongues” attempts to capture the feeling of coming of age between the years of 1989 -1993 (and beyond) while listening and witnessing the legendary Native Tongues crew releasing timeless classic albums and singles. Told through the experience of seeing the early episodes of “Yo! MTV Raps”, a friend sharing De La Soul’s first album, sharing that album with my cousin who in exchange shared Queen Latifah’s music or finding out about “Bonita Applebum” by Tribe at my high school’s homecoming dance. Evoking nostalgia as well as tell a story of how this music served as the soundtrack woven into the fabric of my youth, my coming of age, was the aim.

Everything’s For Sale” was inspired partly by a story of an elderly couple who went brokhaving to pay for their medicine.“Everything’s For Sale” speaks to how the value of money permeates all facets of this modern life, and as such it seemed only natural for it to reach into my creative world. This time however I wanted to make a song that cross examined how this super ficiality has affected music culture, let alone how it has rendered some in our society invisible -- a clear sign of a society void of compassion. The Platurn beat with a moving guitar riff pushed this song further, providing me the cover of a funky beat to dive into a topic that might not normally move an audience. Part cheat code for slipping in a conscious message to the audience without raising the alarm of the listener who may not be expecting anything more than entertainment.

Mr. Face, a four-song EP that's a terrific showcase for Segall's artfully ragged style. He plays everything on these recordings with the exception of one drum part on one song. - NPR Fresh Air / Segall appears decidedly more at ease, or even at peace, on the four tracks, but while they build upon acoustic foundations, the tracks quickly take different shapes filled with sublime guitar (and piccolo!) solos that are utterly transfixing."- Exclaim / The real testament to Segall's growing maturity as an artist, however, comes with closing track 'The Picture', one of the most subtle and moving songs in his entire catalog. Segall's guitar sounds like it's scoring a dazed carnival ride as he lays out a tale of learning to say goodbye. - Consequence of Sound

LTD SPLIT COLOUR TRANSLUCENT RED/BLUE VINYL W/ 3-D GLASSES** Back in 2015, Ty Segall released Mr. Face EP, the fantastic gatefold 2x7" was not only packed with four killer jams but was also quite possibly the world's first playable pair of 3D glasses. Now Famous Class Records is thrilled to release a 10th anniversary 12” vinyl edition. All copies are pressed on split color translucent red and blue-colored vinyl and come with special Mr. Face 3-D glasses to activate the supercharged 3D artwork.

Five sisters Jacqueline, Lyn, Pat, Rae and Gennie Jackson were from Compton, California. “I Believe In Miracles” was written and originally recorded by Mark Capanni. The musical tracks were the work of the late Gene Page (string arranger for Barry White). The vocals were produced by Pete Moore of the famous Smokey Robinson & The Miracles along with Bobby Taylor, who also had a group called Bobby Taylor & The Vancouvers. “When I Believe In Miracles was first released in 1973 the sisters were nominated for best new vocal group for the Black Image Awards and best new female artist by Record World Magazine in 1974-1975 which was announced on Soul Train an aired Feb. 22, 1975. However the song did not take off until the UK ‘rare groove’ scene of the 80s, after which an extended version was created which appears for the first here time on 7”

To mark a decade as one of Ibiza's most iconic musical sanctuaries, Hostal La Torre announces 'La Torre Ibiza Volumen Cinco', a new compilation curated by long-standing residents Pete Gooding and Mark Barrott. Released June 27 on CD and double vinyl, the 15-track collection captures the spirit of the venue that has come to define the golden-hour soundtrack ofthe island's west coast.

Since opening in 2015, La Torre has established itself as a bastion of Balearic culture-set high on the cliffs overlooking the sea, where music flows with the sun rather than the clock. The fifth volume in the celebrated La Torre series is a journey through Brazilian soul, ambient electronica, classic deep house, orchestral minimalism, and dusk-lit Detroit techno-an emotional arc designed to mirror the progression of an evening at the venue.

From timeless icons like Nina Simone, Mazzy Star, Talk Talk (with their Spirit of Eden closer "Wealth"), and Boards of Canada, to boundary-pushers like Auntie Flo, Eden Burns, and µ-Ziq (aka Mike Paradinas), Volumen Cinco weaves together deep-rooted classics and leftfield discoveries. Mark Barrott contributes a brand-new exclusive, 'When Devils Become Gods', while the compilation closes on a rare gem from Yellow Magic Orchestra's Yukihiro Takahashi. Also includedis Software's 'Present Voice', a quietly powerful tribute to the late José Padilla, the spiritual architect of Ibiza's sunset sound.

Volumen Cinco is more than just a listening experience-it's a tribute to La Torre's ethos: open-hearted, genre-fluid, rooted in place and time. Each track is carefully sequenced to evoke a feeling, a shift in light, or a shared memory beneath the fading sun.

Over the years, La Torre has welcomed some of the most influential names in Balearic and electronic music, from José Padilla, Alfredo, and Jon Sa Trinxa to DJ Harvey, David Holmes, Lovefingers, Heidi Lawden, Wolf Müller, Don Carlos, and Phil Mison. With each summer season and each release, the venue continues to build a musical legacy that has earned critical acclaim from Resident Advisor, Phonica Records, Juno, and Piccadilly Records, regularly featuring in their year-end lists.

As Test Pressing once wrote, "La Torre is not a party, it's a place of pilgrimage. It feels almost sacred." That spirit resonates deeply in this anniversary compilation-a celebration of music, community, and connection that spans a decade.

La Torre Ibiza Volumen Cinco is dedicated to the artists, friends, collaborators, and guests who've shaped its story so far-and to everyone who continues to gather, listen, and lose track of time as the sun slips beneath the horizon.

Repress!

Sophomore release from the acclaimed trio of Inspectah Deck (Wu-Tang Clan) And 7L & Esoteric. Features MF Doom, GZA, Method Man, Large Professor, Juju Of The Beatnuts, Ra The Rugged Man, & Meyhem Lauren. Packaged in a 70+ Page Hardcover CD Casebook / 2LP on Clear vinyl with Lyrics & Cover Art From L'amour Supreme (Mishka NYC). Includes a comic, written by Esoteric with artwork by Gilberto Aguirre Mata (El Ultimo Codice) & L'Amour Supreme. CZARFACE - Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric - isn't concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group's fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the '90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it's fair to say that all three men have stepped up their game. We knew how we felt about the last album, but weren't sure how it would be received by listeners,' explains MC Esoteric. But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.' Inspectah Deck adds, Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I'm in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I'm here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit...I love that. I love when i can just spit freely and just be an MC.' The fighting analogy - whether drawn from pugilism or '80s wrestling, both which figure into Every Hero Needs A Villain - is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.' On the production side, 7L shows yet again - as he did with the group's debut - that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths. If that wasn't enough, it's all iced with a ridiculously intricate and beefy 70-plus page, hardcover CD casebook with lyrics and extensive artwork by Gilberto Aguirre Mata (El Ultimo Codice) and L'amour Supreme, and with Death & Abduction,' a comic written by Esoteric, and an explosive, comic-book-inspired cover by L'amour Supreme (Mishka NYC).

01. Don The Armor
02. Czartacus
03. Lumberjack Match
04. Nightcrawler (Feat. Method Man)
05. World Premier (Feat. Large Professor)
06. The Great (Czar Guitar)
07. Red Alert
08. Junkyard Dogs (Feat. Juju Of The Beatnuts)
09. Sgt. Slaughter
10. When Gods Go Mad (Feat. Gza)
11. Ka-Bang! (Feat. Mf Doom)
12. Deadly Class (Feat. Meyhem Lauren)
13. Escape From Czarkham Asylum
14. Sinister
15. Good Villains Go Last (Feat. Ra The Rugged Man)

Another all-time classic from the extensive back catalog of the legendary Miami songstress Gwen McCrae.

"90% Of Me Is You" is instantly recognizable, it's been sampled countless of times by some of the most seminal Hip Hop artists ever (Large Professor, Jaylib, Mobb Deep & more) & is a bonafide "Rare Groove" sure-shot that never loses it's appeal & is always in demand with DJ's & producers. Perhaps it's the pairing of the languid guitar & strings, or Gwen's sultry vocals & that steady breakbeat that keeps people hooked some 40 years after it's original release Whatever it is, it's classic material from start to finish!

Backed here with it's original b-side slow jam "It's Worth The Hurt" this super-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

Efficient Space honours trailblazing Australian imprint Volition Records with Volition Cuts Vol. 1. Evolving from Andrew Penhallow’s time at GAP Records, which smuggled Cabaret Voltaire, The Fall and the Factory catalogue into the region, Volition shifted focus to homegrown talent over imported sounds. Echoing its precursor’s blend of indie friction and electronic curiosity, the label wired itself into the pulse of club and rave culture, linking city scenes and amplifying them for the mainstream. With retina-scorching design, uncompromising packaging and top-tier remixes, Volition consistently bent the major label machine to its will.

No Volition retrospective would be complete without Sisters Underground’s intergenerational anthem ‘In the Neighbourhood’. Otara teenagers Brenda Makamoeafi and Hassanah Iroegbu brought their Pasifika perspective to Proud (An Urban-Pacific Streetsoul Compilation), a commercial success that platformed NZ rap and R&B with a clarity that outshone its overseas counterparts. The quiet architect of Volition’s sound, producer prodigy Robert Racic flipped the classic as a hip-house dub before his untimely passing in 1996.

Its A-side companion comes from Brisbane synth-pop unit Boxcar, who signed to Volition after frontman Dave Smith handed a cassette to Tom Ellard of Severed Heads during a school newspaper interview. That unlikely handoff led to their 1990 debut Vertigo. Here, their ritual-laced, body-jacking industrial is retooled by Miami freestyle maverick Tony Garcia.

Further cherry-picking from the VOLT vaults, Sexing The Cherry unleash a bleep-addled meltdown from Brisbane’s Edwin Morrow and Cherryn Lomas. ‘This Is A Dream’ was recorded exclusively for High (A Dance Compilation), the first all-Australian V/A to top the ARIA charts, propelling the local movement into national consciousness.

Closing the sampler, Sydney’s Single Gun Theory joined Volition as they moved from post-punk abstraction and electronic collage toward downtempo, sample-based mysticism. Their 1994 ambient-pop reverie ‘Fall’ is reimagined by Stuart Crichton and Apollo 440’s Norman Fisher-Jones as full-throttle Goa trance, a final surge that channels the label’s relentless push into new terrain.

Volition Cuts Vol. 1 is dedicated to the loving memory of Volition’s visionary founder Andrew Penhallow, and key contributors Robert Racic and Edwin Morrow.1

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

Planet Harvest is not just a vinyl—it’s an encrypted artifact from the outer fringes of the galaxy. Limited to 200 vinyl only copies, this analog drop is both a musical release and an in-game item from the Kizi 404 universe, our post-apocalyptic, sci-fi infused, sonic rebellion.

Each track on the record is a fragment of the original soundtrack to our retro video game Planet Harvest, a terraforming simulator and galactic resistance adventure. The game puts players aboard the DIY spaceship Kizi 404 as they navigate hostile planets, fight off Darth Bezos’ neoliberal fleet, and gather rare materials to power an interstellar radar built to chase the elusive Signal—a frequency that might just save humanity.

Journeys are never just about distance. They stretch time, reshape perception, and demand transformation. With its latest vinyl split EP, Standard Deviation presents four tracks by Nastya Vogan and Phase Fatale that serves as a vessel for tracing displacement, memory, and the liminality of return. These melancholic yet powerful techno cuts serve both the concrete dance floor and moments of intimate self-reflection. Two artists--Nastya Vogan and Phase Fatale--approach Kyiv from different trajectories, but they both keep returning to the city. Vogan, a Ukrainian musician and resident DJ of Kyiv, and Phase Fatale (Hayden Payne), Berlin-based producer, Berghain and Khidi resident and founder of BITE Records, share a longstanding musical friendship. They've played B2B sets at K41 and Vogan, appeared on BITE's ''Shedding Skin'' compilation in 2023, and they share a vision for music selection, from aesthetics to philosophy. Vogan's 'Transitioning Territory' and 'This Is Not a Love Song' unravel the psycho-geography of transition. The first track captures the 24-hour journey to Kyiv as a rite of passage where 'time seems to fold; you are profoundly present yet paradoxically far from the world you left.' In this suspended state, memories surface and ordinary life recedes as the train's rhythm becomes its own meditation. Her second track explores Lacanian limerence--consciously falling for something not fully known, filling absences with personal projections as a way to discover what lies within oneself. Phase Fatale's contributions capture movement and distance with mechanical precision. 'Kekkai,' takes its name from the Japanese word for boundary, echoing 'respect my borders' ethos while reflecting on crossing into wartime Ukraine. The term also suggests a protective force field in Buddhist thought--much like Kyiv's current aura of resistance. 'Neosyazhna Rosa' (Unreachable Rose) honors Payne's Ukrainian grandmother Rose, weaving family history into his present connection with Ukraine. Both pieces balance melancholy with light, their sound palette of lush pads and rhythmic breaks crafted with K41's dance floor in mind.

"90s digital BOMB delivered by the one-of-a-kind voice that is Daweh Congo. Daweh’s haunting delivery and spiritual fire set him apart in the roots revival movement. “Fi Years” is one of the first tunes he released, dating back to 1996. An anthem of struggle and resilience, still hitting hard decades later."

Multi-instrumentalist, visual artist, and scene creator, Jonathan Uliel Saldanha, has been releasing music under various guises for two decades. With the successes of his moniker HHY (Nyege Nyege Tapes) whether in symbiosis with The Kampala Unit or the syncopationophilic big band of The Macumbas, Jonathan Uliel Saldanha's sonic signature continues to grow more and more singular. Ever synthetic and digital, Uliel Saldanha's work-ethic never eases—having recently started a label of his own, Horror Vector.

Surface Disorder sees the release of the music from Jonathan Uliel Saldanha's large-scale exhibition of the same name that occurred in Porto & Lisbon, (2024-25). As with much of his work, there is a Ballardian sense of a near-future in dystopia. And since we're already living the apocalypse, there's never a hidden moral to veer away from the torment. Instead, Uliel Saldanha dives into it and catalyzes it further.

Information from Angels feels like a cunty John Dee AI (credited as The Mouth) becoming an oracle of information overload, accompanied by an instrumental bidirectionally that splits into a lush harmonic layer of blissful punctuated pads and another that is a speedy but subdued melodic bassline. The Mouth intones a 15-minute fever dream that flows through themes that have occupied Uliel Saldanha for quite some time.

On Swarming the Pit, the intricacy of Jonathan Uliel Saldanha sonic wizardry is on full display. A constantly moving swarm of granulated particulates of sonic material morph into a variety of textures: coins or gunshell casings hit the floor, engines rev their monstrosity, rubber-like pulses are splayed into spectral blurs and pops. This is clearly an update on music conrète's obsessions.

The Mouth on the closing track, Wolf & Virus Dialogues, has a completely different texture from the first, alerting the listener to the uncanny nature of its genesis. Here the instrumental sounds are all triggered by the articulations of the voice: a weird unison, it serves as its own artificial accompaniment. The reiteration of a self-model (a rabid 'my') creates a greater tension between computational self-certainty and the terror of its inevitable actualization.

London-based producer, vocalist, and DJ System Olympia is set to unveil her latest project, M3 Opera,
a five-track EP that fuses her signature sensual synth soundscapes with a bold conceptual twist.

Dropping on April 25th 2025 via her own Okay Nature Records, the EP features a unique collaboration with five distinct female vocalists, each lending their voice to a standalone "act" in this sonic drama.

Inspired by the sleek power of the BMW M3 and the theatrical grandeur of opera, M3 Opera reimagines the EP format as a multi-act narrative.
Each song accelerates through a different emotional gear—romance, tension, liberation—while the lush pads, gritty drums, and dreamy melodies System Olympia is known for provide the horsepower. "This is about motion and drama," System Olympia explains. "The M3 is that late-night drive, the pulse of the road. The opera is the story unfolding with every voice, every act."

The EP showcases an all-female lineup of vocalists, each bringing their own flavour to the journey. From sultry confessions to soaring crescendos, the tracks weave together a tapestry of feminine energy that’s both intimate and expansive—think *Delta of Venus* meets horsepower under green neon lights.

Following the success of 2024’s *Sanctified* EP with Working Men’s Club and her acclaimed NTS Radio residency, M3 Opera solidifies System Olympia’s reputation as a visionary who blends retro-futuristic
sounds with raw emotion. The EP promises to be a ride worth taking, whether cruising the streets or losing yourself on the dance floor.

Brooklyn Sway's 7th drop might best be described as the black market edition, but as always we leave the gumshoe work to those heads out there savvy enough to figure it out themselves. Thugfucker alum Acid Tourist and BKS stalwart DeWinter remix celebrated West Coast sideman ROC's cover of a tune that needs no intro, transforming a torch song into an acid belter while keeping its quality intact. Charles Levine, best known as Charlie from Soul Clap, steers close to his usual antics with 'Ocean Waves & Ashtrays', his ashtrays obviously full of blunt ends as he runs the voodoo down on a sultry funk number laced with fat lead keys and ideal for beach party afterhours or smoky late-night sessions. Returning for a second BKS appearance, Ohm Hourani's 'SupaDupaFly' fetches the funk again with rap vocal samples sliding just inside the industry 10% rule set amidst seesawing synths for a woozy, extended effort sure to influence sobriety decisions. On 'Hearts & Diamonds,' label honcho Jay Prouty and mainstay David Paglia join forces jailbreaking two legendary NYC freestyle anthems into a combination that rocks more like high period New Order, so when you catch Fumero's psychedelic painting winking at you off the plate after a few spins, you'll understand exactly why the sway resides in Bucktown.