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2026 Repress

Nørbak is back on HAYES with Passo Lento, five sparse, Orwellian exercises with concrete percussion and a soul-stirring, atonal approach to melody.

Vinyl Only!

Tenampa kicks off 2026 with a release from one of the most respected minds in electronic music, equally renowned for his work as an audio engineer and producer. Known under several aliases including Freestyle Man or Sasse, Klas Lindblad uses the latter for this special outing on the Mexican imprint.

Under his Sasse moniker, Lindblad delivers a refined selection of dubby house cuts, infused with warm, spring/summer energy.Effortlessly groovy with a subtle, hypnotic flow, this is music designed for the dancefloor yet built to stand the test of time, showcasing the depth and sonic excellence that define his work.

This release is strictly limited to 300 copies worldwide and available exclusively on vinyl, reinforcing its status as a true collector's item.

The artwork comes once again from the always outstanding Manuel Cetina, aka El_Stitch, whose visual approach adds an extra layer of character and value to this timeless release, earning it a well-deserved place in any serious record collection.

Art-work by renowned Mexican artist: Manuel Cetina aka el_stitch's.

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.

San Francisco duo Vin Sol and Johnny Five, aka Triple Five Sol, unveil their Puppy Cuts imprint with the ‘Sounds From The Pound Vol.1’ EP. It follows their debut EP release on Dark Entries in 2025 and their appearance on a Nervous Records compilation in 2024.


“Puppy Cuts is my new label with Five. After our last record on Dark Entries we decided to start our new label. Deep house and acid steeped in New York Chicago and Detroit vibes” - Vin Sol Triple Five Sol’s ‘Sounds From The Pound Vol. 1’ kicks off with ‘Blocked’, a stripped-back groover with an understated 303 offset by chopped-up gospel samples, before culminating in a jacking vibe. ‘Come Over Mackin’ is next, deep and soulful chords weave through tough drums marked by rimshots saturated in reverb, before the crushed up pads and grainy rhythm of ‘Grocery Bag’ continues. ‘Roll Models’ then closes primed for the dancefloor with an irresistible organ bassline doused in a sustained, dub-like chord, along with more vocals full of feeling.

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.”

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

The two sides of 1973's Big Business / Wind of Change are mainly the work of thegreat Keith Mansfeld but there's a killer cameo each from Alan Hawkshaw and David Snell to help deliver a thematic suite, diverse in mood, applicable to dramatic and environmental situations'. A Be With favourite and truly one for the heads.
The Big Business of side A is all the work of Keith Mansfeld. It's heavy on the suspense and features the vital Hot Property', an insistent groove so good that Madlib sampled it to lace the ace Long Awaited' by Lootpack with Dilated Peoples.
Sleeping Giant 1' is a more feshed out version of the equally-dazzling Fatal Error', evoking the orchestral magic of David Axelrod. Indeed, it conjures images of Diamond D falling over himself in the early-to-mid 90s to loop its intoxicatingly
eerie soundscape. Complete with guitar flls that recall Paris, Texas-era Ry Cooder, you need this record for this piece alone.
The horn-and-fute-led "Tycoon" is a head-nodder and "Power Complex" has some fantastic percussion. Other highlights include the breezy glide of Whistle Stop Tour' and its sister groove Clean Air.'
Over on Side B is the more expansive Wind Of Change, which includes the David Snell and the Alan Hawkshaw contributions. But these ain't no fller. Snell's shufing International Flight' sounds like a smooth Dorothy Ashby track tossed from the heavens. Hawkshaw's Road And Rail' is about as luxurious and strung-
out as the great man gets and it might just be the highlight of this whole set.
Not to be outdone, if Mansfeld's Balance Of Power' doesn't make you feel like king of the world then you must be playing it wrong. Oh, and did we mention World In Action'!
As with all ten re-issues, the audio for Big Business / Wind of Change comes from the original analogue tapes and has been remastered for vinyl by Be With regularSimon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's
brand identity.

Kercha’s debut album ‘Open The Door’ arrives this April via DNO Records. The Black Sea artist’s mystical, disorienting style has set the tone for the label since he dropped the inaugural release six years ago. Now, across 16 tracks — including collabs with Mystic State, Congi, NST, Khromi and Finnoh — his smoky sampledelic dubstep is tighter, heavier, and more curious than ever, with a new sense of danger and bubbling rage that feels fit for our chaotic times.

Themes of movement and change course through the LP. On the opening gambit ‘A Path Into The Unknown’, twinkling arpeggios emerge from the gloom like stars lighting the way. Tracks like the eponymous ‘Open The Door’ and ‘Mind Extraction’ deliver that classic Kercha sound, where left-field samples dart in at right angles. ‘Dangerous Road’ weaves between the call and response action of grotty stabs and devilish subs. ‘Take A Break’, featuring Mystic State, goes on the attack with searing acid. ‘Can’t Wait For Today’, though lethargic in its pace, sees San Francisco-based rapper Finnoh deliver stream-of-consciousness bars that skewer our present and nudge us to revolution.

Work took place over the course of several years, during which Kercha relocated with his family from Russia to Georgia, where he now resides in the capital, Tbilisi. “Sometimes I wrote music while travelling on a bus, sometimes late at night while my family was asleep, sometimes just sitting on the grass in a park, and of course in my home studio as well,” he says. “By the time the album was finished, it included music from different periods, and it may vary in sound and concept.”

Any major upheaval in life will result in moments of hardship, but also hope. Both can be found throughout ‘Open The Door’. There’s times when the darkness threatens to envelope everything: during the cold, crackling ‘Disclosed’ and the eerie, dystopian ‘Infection Of Lies’; on ‘Trigger Activation’, with its grunting lows and broken glass hook, and ‘Ballistics’, where a wall of sub-bass is pierced by shrapnel stabs.

The balancing light comes on ‘4 AM’, featuring Nottingham duo Congi, when clashing swords and cinematic strings, meet a soft Rhodes piano — the juxtaposition between heavy low-end and floaty keys and vox reflecting those moments of transcendence often found in the early hours. From the injection of garage energy on ‘Bubs’, with Edinburgh’s Khromi. And on with ‘My Feeling’, featuring South Russian vocalist NST, which closes the album on a deep but expansive note, bookending the experience with more starlight synth tones.

“It’s a reflection of my life journey and the changes connected with emigration and overcoming various difficulties,” explains Kercha. “This period means a lot to me, which is why the album includes tracks from the time of preparing to leave up to adapting to a new country.”

Still, he wants listeners to be able to derive their own understanding. “I think the essence lies in the ability to contemplate, not in any predetermined meaning,” he says. “I can only say one thing: thank you for appreciating what I do and for your support. I hope it inspires you to make the same firm decisions to change for the better as it did for me.”

Out via 4 x 12” vinyl, ‘Open The Door’ is a captivating artistic statement, showcasing the journey of an artist with a truly original signature sound — a rarity that should be treasured and celebrated.

Rhythms of postmodern realism at the very bottom of the DNO.

A little over a year ago Tim Reaper made his first appearance in the town LoDubs is based in, Portland, Oregon, at the always forward thinking westside venue Barn Radio. The bill was rounded out by yours truly, Jon AD, who set the standard for the night, which was a boggy, thick warehouse vibe, even though the venue was more of a tightly packed repurposed storefront with an overactive fog machine.

This stop turned into a bit of a several day stopover for the TR, who saw the town, met up with other Portland people, and after that was left with a bit of a aural vision of the whole experience, the DIY ethos of the Portland, and the desire to document these impressions on the label of his bill mate for the aforementioned night, LoDubs.

Shortly thereafter "Triumphant March" arrived at the LoDubs mailbox, and reverb heavy, oozing slab of Jungle funkiness.

Upon realizing this would be good material for a dubby remix, the next step was reaching out for people to do so, and Beatrice M was at that time really getting noticed with their take on Dub. This year has seen them really move up the ranks, needless to say.

The "TRACK TRAX EP" is the new vinyl of the "Computer Controlled Minds"
The yellow vinyl clearly indicates the direction – ACID!
As the name suggests, it will be a fast-paced race.
On the A side, our track days start with a driving track, it quickly becomes clear that this will not be a leisurely Sunday ride. It's going to be a tough race. When approaching the apex, it is always important to remain seated and open the tap slowly.
The second track is a confession of love to Kerb, he wants to be loved and touched. But this love also harbors great dangers. If you drive too hard over the limit, the Kerb will pay back mercilessly.
With B1, the DOWNSIDER brings ecstatic acid acceleration to the slopes. If the braking point is exceeded, it can fall massively to the ground. The experienced technoracer has everything under control and brings the necessary momentum to the next straight.
As the race goes on, the strength dwindles and a clean line becomes more and more difficult, but at the same time it is the key to the thrill. The struggle with body and machine becomes clear, every action makes the body burn. Giving up is out of the question, the race is only over with the chequered flag. But now off to the bar!
Last but not least on the B-side, two short bonus sounds for all mix DJs

The Computer Controlled Minds show their clear roots, ACID and hard RACE.
TCCM can be booked as a live act via insta: __NEXT_DOOR__. You will never forget the race!

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Hot Wax is an assured KPM masterclass from a dream team line-up of Brian Bennett, Alan Hawkshaw and John Fiddy. Here we're treated to what happens when all three decide to explore the latest trends in production music'. The latest as of 1976, of course.John Fiddy's numbers are sumptuous, string-led and light. Floaty soft-psych underpinned by a solid groove, particularly on Taste For Living' and "Fresh Start". If you're into Koushik and those early Manitoba/Caribou records - and you should be - you'll appreciate these.
For us, the Bennett and Bennett/Hawkshaw stuf is on another level. Capitol City' oscillates between driving funk and downbeat sentiment. Name Of The Game' is tough, smokin' funk, famously sampled in 2007 by Madlib for Percee P's Who With Me'. Bop On The Rocks' knocks hard and Full Throttle' features a guitar solo with some of the nastiest, about-to-explode fuzz you're ever likely to hear.
As with all ten re-issues, the audio for Hot Wax comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

2027 Repress

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

Equal parts brit-pop, glam rock and art-punk, Palaye Royale has amassed over half a billion streams throughout their career and earned a legion of cult-like fans with their adrenaline-fueled, Rock n’ Roll circus.

First landing in Los Angeles as teenagers, Las Vegas-bred brothers Remington Leith (vocals), Sebastian Danzig (guitar), and Emerson Barrett (drums), worked their way up through the ruthless L.A.rock scene to headlining arenas around the world and touring with the likes of Yungblud, Rob Zombie, Marilyn Manson, and more.

Across a series of increasingly bold records, the band have laid out their grand rock & roll vision inspired by everyone from The Libertines to The Rolling Stones, by way of My Chemical Romance. Those first four records were driven by a desire to prove just how much the band could actually do, nailing everything from epic heartbreak to snarling vengeance

Palaye Royale return with a bold new studio album built for longtime fans and new listeners alike. Featuring 12 tracks produced by Chris Greatti (YUNGBLUD), Amsterdamage delivers a refined, festival-ready rock sound with strong retail appeal and a dynamic new chapter from one of modern rock’s most distinctive acts.

Equal parts brit-pop, glam rock and art-punk, Palaye Royale has amassed over half a billion streams throughout their career and earned a legion of cult-like fans with their adrenaline-fueled, Rock n’ Roll circus.

First landing in Los Angeles as teenagers, Las Vegas-bred brothers Remington Leith (vocals), Sebastian Danzig (guitar), and Emerson Barrett (drums), worked their way up through the ruthless L.A.rock scene to headlining arenas around the world and touring with the likes of Yungblud, Rob Zombie, Marilyn Manson, and more.

Across a series of increasingly bold records, the band have laid out their grand rock & roll vision inspired by everyone from The Libertines to The Rolling Stones, by way of My Chemical Romance. Those first four records were driven by a desire to prove just how much the band could actually do, nailing everything from epic heartbreak to snarling vengeance

Palaye Royale return with a bold new studio album built for longtime fans and new listeners alike. Featuring 12 tracks produced by Chris Greatti (YUNGBLUD), Amsterdamage delivers a refined, festival-ready rock sound with strong retail appeal and a dynamic new chapter from one of modern rock’s most distinctive acts.

Fresh from a run of must-check EPs on Syncrophone Recordings, Black Jazz Consortium man Fred Peterkin inaugurates a new label, Base. The New York-based producer appears to be the man at the helm, since his next scheduled release also appears on the freshly minited imprint. He begins with 'There & Back (Long Player)', a languid, mid-tempo chunk of string-laden deep house classiness, before opting for a breezier, dreamier and sunnier sound on the impeccable 'Something For The Road'. Peterkin's ability to fuse looseness, heaviness and subtly soul-flecked instrumentation comes to the fore on EP highlight 'Rhythm & Movement', while 'BTA10711 (4am Mix)' tiptoes the fine line between dubby deep house and spacey, far-sighted futurism.

Five years ago, Curren$y proved once again that while the rest of the world might hit the brakes, the Jet Life never stalls. Released in the early months of 2021, Collection Agency arrived as a masterclass in "work-from-home" luxury—a smooth, ten-track victory lap that solidified Curren$y’s status as the most consistent architect in underground hip-hop.

Clocking in at just under 24 minutes, Collection Agency is the sonic equivalent of a pristine, low-mileage 911 Turbo. It’s lean, expensive-sounding, and devoid of filler. While the world was still grappling with a sense of stagnation, Spitta was in the garage, documenting the rewards of a decade-plus grind.

The 10-track release marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. Once again, Curren$y delivers another unforgettable round of smooth joints and cruising music.

FPTAM01 marks the 10th vinyl output on Futurepast and introduces a new subseries initiated by T.A.M.22.
Conceived as a time-based operation, the project moves between memory and projection, reactivating past structures in a forward, anticipatory mode. The tracklist is inscribed as time codes, each one indexing a separate temporal trajectory.
The core of the project relies on a reduced setup: Jomox Alphabase, a single synthesizer per track, and a one-take recording approach, capturing a specific moment in time. Post-editing is kept minimal to preserve its raw, live character.
Across the EP, transformation unfolds through shifts in perception, dissolving any stable sense of reality. Temporal drift replaces fixed structure. The sonic language focuses on raw drum architecture, low-end pressure, and submerged textures.

Real heads with good memories and a lifelong love of good grooves might remember that the original mixes of 'Disco Glory' first appeared on DJ Garth's Wicked imprint in 1996. Top DJ dogs like Danny Tenaglia, Francois K and Doc Martin all used to drop them on the regular and ensuing remixes even made their way onto Sony Pictures' 'Groove' soundtrack. The DJ Garth & ETI mixes have long been out of print, so fetch a pretty penny on the second-hand market, which means it's great news that the 30th anniversary is marked with a fresh return to wax. The Acid Rock mix is psychedelic and trippy, the Look To The Moon dub is a dark and dubby tech sound that could be brand new, and the Ye Olde Organ Grinder mix has a moody and retro house charm.

Celebrating a decade since its live debut, Detroit-based artist Rebecca Goldberg announces the first-ever vinyl release of her original score for A Trip to the Moon, the iconic 1902 silent film by Georges Méliès. Composed in 2016, Goldberg’s reimagining of the groundbreaking film—originally titled Le Voyage dans la Lune—translates early cinema fantasy into a minimalist electronic soundscape shaped by synthesis, texture, and composed foley.

Goldberg’s approach honors the wonder and theatricality of Méliès’ vision while grounding it in Detroit’s lineage of forward-thinking electronic music. The score premiered in Paris in 2016 with live performances at Silencio, the club founded by David Lynch, and at Bar à Bulles, located above the legendary Moulin Rouge. The Paris events were produced by Why So Serious Productions and marked a rare convergence of experimental electronic performance and historic cinematic space. Goldberg also presented the live score in her native Detroit, reinforcing the transatlantic bridge that has long shaped her conceptual record projects.

Now, ten years later, the score will be released for the first time on vinyl in a limited edition of 300 copies. The pressing captures the nuance of the original live compositions while offering listeners a new way to experience the interplay between silence, rhythm, and sonic illusion. As with Goldberg’s previous conceptual 12" releases, the vinyl format serves not only as a medium but as an artifact that preserves and reframes cultural memory.

HouseHeadz Records presents Various Headz Vol.001, the first installment of a new VA series that brings together different artists under the same vision. A selection of four cuts that represent the label’s underground identity and its focus on club-driven house music. A side features Giuseppe Fava - What is She (Looking For Mix) and Domgreek - Dom in Heaven. B side features V.I.C.A.R.I - On and On and On and Samuele De Santis - Baile De Verano. A various artists release built for selectors and dancefloors, staying true to the HouseHeadz approach: raw, focused and rooted in contemporary club culture.

Danish producer Kasper Bjørke returns with a new release on Tropical Animals, the “Veri/Gliss” EP a work that fully captures his signature blend of cinematic depth, refined production, and forward-thinking electronic aesthetics.

“Veri” opens the EP as a richly layered and immersive experience. Built around an evolving tapestry of textures, the track unfolds through pulsating synths, shifting sonic details, and a steady yet powerful rhythm. The result is a truly intergalactic journey, where each element seems to orbit around a constantly transforming emotional core. This is Bjørke at his most visionary-bridging club functionality with intricate sound design in a hypnotic and expansive narrative.

On remix duties, label head Ricardo Baez reinterprets “Veri” with a sharper, more direct approach. Stripping back the original’s layered atmospheres, he delivers a driving electro version that’s lean, tense, and fully focused on the dancefloor. With its tight groove and immediate impact, the remix is built for peak-time energy and club intensity.

On the flip side, “Gliss” reveals a more intimate and emotive dimension of Bjørke’s sound. A modern electronic ballad, the track blends sensual rhythms with delicate, suspended melodies. Its subtle yet captivating groove carries the listener to an unknown planet, where everything moves in sync, locked into the same pulse and flow. It’s a piece that radiates both mystery and warmth, showcasing Bjørke’s ability to craft deeply atmospheric yet rhythmically engaging compositions.

With the “Veri/Gliss” EP, Kasper Bjørke and Tropical Animals reinforce a shared artistic vision where sonic exploration meets club-ready precision, balancing introspection and dancefloor energy, cosmic textures and physical groove.

Over a decade has past since this was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters. This EP features two equally seductive cuts opening with "Fading Lights" which finds its pulse in the rhythmic elements while floating in a world of vaporous mist and resynthesized stardust. On the B side "Magenta" fills the space with ghostly apparitions and a rather hypnotic hook; pushing the boundaries of the spiritual principles found in the power of repetition. Close your eyes and drift into 14 minutes of endless flotation as modulating low frequencies massage your brain and mind, dive deep into a fathomless analogue world!

Introducing Sum Of Its Parts: A new collaborative music project led by Alex Nut. Featuring remixes by Boddhi Satva.
London, UK — A new musical project titled Sum Of Its Parts brings together a dynamic collective of musicians under the direction of DJ, curator and Eglo Records mainstay Alex Nut, who steps into a central creative role as the project’s musical director and producer.
Sum Of Its Parts is built on a fluid, collaborative model, featuring a rotating cast of musicians drawn from some of the UK’s most exciting contemporary music circles. Including Sam Crowe (Lianne La Havas) on Keys, Junior Ali-Balogun (Sault/Cleo Sol) on percussion and Duane Atherley (Kokoroko) on Bass.
Debut EP, The Message, introduces the project’s expansive sonic identity across two original compositions. The title track, The Message, is a 10-minute spiritual jazz odyssey—deep, meditative and expressive. In contrast, Hello High – which previously appeared on the Eglo Records Vol. 3 compilation – delivers a soulful, jazz-inflected house energy with dancefloor sensibility. Extending the release further, the B-side features two amazing remixes by revered House producer Boddhi Satva, who reinterprets the project’s sound through his unique Ancestral Soul lens.

Quinoa’s 8th reference goes off the beaten track, literally. Carola (f.k.a. Mägitee), comes at us with four stripped-back cuts that invite us into unexplored emotional realms. Consistent, throbbing, and rich in texture, it contains just enough of everything and not too much of anything.

The story starts on the A side with “Siouxsie”’s melee of drums and swells that instantly transport us to the smokey comfort of a dance floor, lost in the ecstasy of intertwining bodies.

It follows with “0863”, with a name that winks at his roots hailing from the Appenine mountain chain in central Italy. Its warm, intimate touch sets a suspended tone to the release.

On the flip side the energy shifts, with escapism-anthem “Getaway” whose strings and dreary vocals invoke a nostalgia of futures-to-be in places that may never exist.

Finally, the EP closes off with the title track “The Observatory”. Named after the Griffith Park Observatory, a place where he regularly used to wander at night in the company of deer, coyotes, and the Los Angeles lights. Its deep bassline and intense echoes aim to captivate the most avid stargazers.

We hope this music will touch you as much as it touched us.

Harry Romero, Brothers Macklovitch, and Austin Ato team up on Rekids.

Harry Romero and Austin Ato return to Rekids alongside the debuting Brothers Macklovitch, aka A-Trak and Dave 1, with the ‘The Corner’ EP, arriving 5th June 2026. Romero has more than two decades of house pedigree behind him, continuing to refi ne a signature sound rooted in expert drum work and undeniable attitude. With a catalogue spanning seminal imprints from Nu Groove to Classic Recordings and Defected, the Bambossa Records boss builds on his 2025 debut with ‘Nice To Meet You’, once again showcasing his knack for balancing functional, floor-ready grooves with rich musical character.

Joining Harry Romero are Brothers Maklovitch, consisting of legendary turntablist A-Trak alongside his brother, David “Dave 1” Maklovitch of Chromeo, bringing decades of experience across the electronic spectrum, alongside versatile Scottish producer Austin Ato, who previously contributed to Oliver Dollar’s 2025 album on Radio Slave’s Rekids imprint.

Harry Romero, Brothers Macklovitch, and Austin Ato’s ‘The Corner’ (Piano Mix) opens the release, a warm and energetic house cut driven by bold, bouncy drums and jazzy melodic touches, as lively guitar licks and rolling piano lines inject an uplifting, expressive feel primed for the dancefloor. The ‘Deep In Jersey Dub’ follows, maintaining the heat with a more stripped-back approach, where filters and breakdowns build tension before a punchy drop, with teased-out guitars adding to its dynamic impact.

Long-time house architect Louie Vega dropped his comprehensive last album, ‘Expansions In The NYC’, as another homage to New York City's 50-year history with dance music. It was full of vocal collaborations and spanned disco, boogie and all forms of house.

'Touch The Sky' feat Tony Momrelle is the latest track from it to get full remix treatment, following on from 'All My Love' late last year.

First to offer his own perspective is Japan's Masaki Morii, a regular on the likes of King Street and Shelter, as well as the founder of his own M2SOUL MUSIC & NU ONE. He bridges soul, deep and Afro house, always with plenty of emotion. His first remix is a lush layering of feathery drums and skyward melodies with the original vocal bringing plenty of heart-aching soul. It's a life-giving work for a moment of pure celebration and release, and shows how musical and artful house can be in the right hands. Extended dub and instrumental remixes all bring out subtly different facets of the original without losing its uplifting essence.

Brandon Weems and Craig Handfield are Musclecars, a duo with a community-first approach to music. From high-profile magazine front covers to gigs at Panoramabar and their residency at Nowadays in New York, they have a fresh and authentic sound that pulls from soul, jazz and disco on labels like BBE, Rhythm Section and their own Coloring Lessons. Their majestic, 10-minute remix is a soulful deep house odyssey designed to nourish and enrich. The soaring vocals come from a place of love, and there is freedom to the jazzy melodies and lavish percussion that warms the heart while pianos and synths are locked in a joyous tussle. The dub shifts things back to chunkier, more bouncy drums, with slightly pared-back, more late-night melodies, while the instrumental is all about giving everything room to breathe.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Infonabeat Records presents ISSR A004, a release focused on techno in its most essential and timeless form.
A limited vinyl edition of 300 collector copies, designed for both the dancefloor and the shelf, where functionality meets sonic depth.

The A-side opens with Tensal – 24:05, a solid, hypnotic track built on sustained tension and groove, followed by Netika – Albor, delivering raw atmospheres and a precise pulse rooted in the mental side of techno. On the B-side, Joton – Disrupted Patterns showcases his distinctive rhythmic and experimental approach, balancing energy and abstraction, while Ixbalanke – Spectros closes the record with a dark, immersive cut full of texture and analog depth. ISSR A004 is a tribute to traditional techno , direct & uncompromising

Stanz Amor delivers a five-track EP that blends crunchy sound design, tribal influences and driving grooves into a cohesive statement of energy, movement and atmosphere. Hailing from Blackpool UK, Stanz Amor emerged in 2023 with a distinctly old-school approach, channeling groove, rhythm and intensity into a modern context, which he showcases on his Backspin Records debut EP 'Mercurial'. ??Opening with 'Kong', the EP sets the tone with an old school spirit reimagined through a contemporary lens. Loopy structures, banging percussion and textured, gritty elements create a hypnotic flow designed for peak-time moments. 'Mercurial' raises the intensity, propelled by fast-paced hi-hats and shimmering rides that injectconstant motion, while a rolling low end gives the track serious weight. A striking Latin vocal lingers throughout, leaving a lasting impression long after the track fades. On the B-side 'Count' shifts the energy into a groove led by rolling bongos, underpinned by a heavy sub and catchy, repeating vocals that lock into a tight, circular rhythm. 'Yawhoo' follows with a punchy kick, rumbling foundation and driving percussion, elevated by a cheeky vocal and a whistle straight out of the 90s rave era, adding a playful, nostalgic edge. The closing track is a remix of 'Count' by Steve Redhead, who reinterprets the original with forceful yet hypnotic percussion and finely detailed vocal work. A Belgian techno mainstay since the early 2000s, Redhead is known for his uncompromising, groove-driven sound and lasting influence within the underground. ??With this release, Stanz Amor delivers a focused and effective collection built on groove, repetition and dancefloor functionality. Released on Regal's Backspin Records, a label rooted in the underground and dedicated to honoring techno's origins while pushing its future, the project balances nostalgia with modern clarity, designed to resonate in clubs and leave a lasting impact.

M-Plant's Perpetual Masters series continues throughout 2026 with Robert Hood's "Spectra" EP up next. Remastered once again by legendary German producer, Thomas Heckmann, the individual tracks have been dropping digitally through April and are now followed by a full vinyl release in June.

Robert Hood's "Spectra" EP, originally released in 2001, stands as a defining example of his stripped-back, conceptual approach to techno. It sees Robert Hood operating at his most stripped-down and hypnotic, built from tightly looped drum patterns and shadowy synth fragments that slowly evolve. Hood's precision is evident in every detail, as he balances repetition with crisp percussion and a tightly controlled groove.

More deep, immersive and hard-hitting minimal techno from the master.

Suburban Base Records welcomes Spinscott with his debut release on the label, Pure Magic / F2.

Hailing from the USA, Spinscott is a lifelong drummer, international performance DJ, and producer who has built a global following through his distinctive approach to Jungle and Drum & Bass. His 100% real-time live sets, performed on drum machines and samplers, have set him apart, combining technical precision with the energy of live musicianship.

Through a steady output of widely shared Live Jungle Drum Machine videos, DJ mixes, and original productions, he has carved out a unique space within the scene, earning recognition for both his skill and his commitment to pushing performance boundaries.

Pure Magic / F2 marks his first release on Suburban Base Records, bringing that same ethos into the label’s catalogue. The pairing reflects both his foundation as an artist and his forward-facing approach to the genre, aligning naturally with Suburban Base’s long-standing role in championing authentic Jungle and Drum & Bass.

With a growing international profile and a clear artistic identity, Spinscott’s arrival on the label adds another distinct voice to the roster, grounded in craft, driven by performance, and built for the culture.

Bailen Records presents “Planet Juno EP” by Rene Sandoval, a vinyl release where the swing and energy of tech house define the character of the record.

Raw drum machines and analogue sounds build a direct and functional sound designed for the dancefloor.

There is something cosmic in the momentum of the EP: mechanical rhythms moving with precision, bright sounds expanding into space, and a constant sense of motion. The result is tech house that feels elegant yet physical, deep yet direct.

The energy recalls certain golden moments of European 90s house: hypnotic grooves, warm harmonies and that perfect balance between club functionality and timeless musicality.

French producer Berzingue appears with a remix that pushes the material into a more modern club territory, reinforcing the harmonies of the original track and the overall dynamics of the EP.

Larionov lands on Tiger Weeds with 'No Way Back'. A direct, tension driven electro EP shaped by raw sequences, melancholic tones and steady forward motion. Throughout the release, Larionov balances stripped-back introspection with functional dancefloor energy. On remix duties, The Exaltics drags 'Celestial Ocean' into darker territory, applying his signature cinematic pressure to create a heavy, peak time version. No gimmicks. No fillers. No way back.

4th installment of Sound Synthesis techno approach is on the way! His Submersive Underground label has recently been gaining strong support amongst the techno community, and will without any doubt grow even stronger with this release. What Is Reality EP features 4 perfectly executed and driving atmospheric bangers, TIP!

Spaceships on the Blade is the 2022 solo album from San Francisco legend, entrepreneur and rapper, Larry June. The 20-track album features the singles, “Private Valet,” & “In My Pockets,” and sees production from a wide range of producers such as, The Alchemist, Jake One, DJ Khalil, Cardo, DJ.Fresh, Chuck Inglish, Turbo & more. Enlisting the help from fellow rap luminaries such as 2 Chainz, Babyface Ray, Curren$y and more, Spaceships on the Blade shows that Uncle Larry always has an eye on expanding and diversifying income steams and will continue to do numbers for a long time. Good Job, Larry. 2xLP, Black Vinyl, Widespine Jacket, Printed Sleeves.

To get with down roots of the label you have to get down with its people. For one of these key roots, you have to hear and understand what David Guriev has to say with the audio message that’s getting translated to us as listeners. Being one of allies of the label and the non-stop behind the scenes inspiration, David has created a 5-track extended play named after one of his favorite female boxers named Erica Cruz. From the side of the cinematic importance, Erica has appeared momentarily in our lives, with a brief timing that the world has provided her. However she has never left the idea that has given the birth to this EP, and more or less has started the discussion of what it is to be or not to be like Shakespeare himself used to talk about after a good soul-searching session.

2026 Repress

Berlin’s Beste Modus has been moving from strength to strength over the past five years, with the DJ and producer collective all making their mark on the local scene in the German capital and across the globe. Here we see two of the members stepping up to deliver two-tracks each for the labels ninth release.

Cinthie takes the a-side and leads with ‘Everything I Say’, employing choppy synth stabs, bumpy bass and heavily swung 909 drums alongside a hooky vocal before ‘Good For You And Me’ edges into Garage territory, fusing bright piano chords and a stab-led
bass hook with tension building strings and soulful vocals lines.
On the flip is two cuts from stevn.aint.leavn, the first of which, ‘Quins’, takes a more stripped-back approach via rumbling subs, metallic percussion and a stuttering synth line throughout. ‘Spiff’ then closes the package with an array of organic drum hits, soft chords, airy chimes and heady electronic synths all unfolding dynamically throughout.

Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.

The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.

In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.

MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.

With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.

Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.

Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.

Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.

Yore Records proudly welcomes Craig Alexander with a deep and timeless 12" straight out of the birthplace of House: Chicago.
Across four previously unreleased cuts, Craig Alexander delivers a refined blend of deep, jazz-inflected House music. Rooted in the classic traditions of the genre yet shaped by a distinctly musical and organic approach, these tracks unfold with warmth, depth, and subtle complexity.
Rich chord progressions, soulful textures, and fluid grooves come together to create a truly immersive listening experience. There’s a clear nod to the golden era of House, while the production maintains a fresh and contemporary edge — perfectly aligning with the ethos of Yore Records.
This 12" is both a DJ tool and a deep listening journey — versatile, emotional, and built for long nights and early mornings alike.
A genuine and heartfelt statement from an artist deeply connected to the roots of House music.Strictly limited to 250 copies worldwide / no repress.

MUSAR is proud to introduce Koloah, the newest voice in the family. Making his label debut with You Can Get Me EP, the Kyiv-born, Berlin-based artist arrives fully formed: three original tracks that move between restless grooves and expansive, immersive sound design, accompanied by a brain-melting remix from rising French star Binary Digit.

The EP opens with "You Can Get Me" - a UK-leaning groove anchored by a snaking acid line and fragmented vocal cuts that surface and dissolve, insistent and hypnotic, one of those tracks that lands fast and stays with you. "Get Me Close" follows, shifting the A-side into electro territory: harder edges, colder mechanics, but the atmosphere holds. Koloah keeps the tension tight and the space wide.
The B-side reaches further. The braindance producer Binary Digit takes "You Can Get Me" apart and rebuilds it in his own image - known for his deeply idiosyncratic approach to rhythm and texture, he turns the original into a real summer anthem, faster and focused, the same raw material carrying a completely different emotional weight
The EP closes with "Liminal Forest", a full IDM statement: intricate rhythmic programming, layered synthesis, and a sense of place that feels earned rather than constructed. Koloah signs off somewhere between the forest and the machine.
Recorded in Koloah's Berlin studio, the tracks were built in different periods - which is exactly why they breathe the way they do. Not a forced coherence, but a natural one.
"Atmosphere is the core of all my music and what I pay the most attention to."
- Koloah
This is the beginning of something. Welcome, Koloah.