quête:as one sphere ep

On the label's latest, Oath are proud to present 'Times', the latest morphological masterclass from Ukrainian producer extrodinaire Vakula, on which his boundless and intuitively captivating sound remains as absorbing as ever.

Drawing deeply from a rich palette of genres such as deep house, ambient, dub techno, and jazz, and feeding in inspirations from natural and philosophical spheres, Vakula's musical ethos has allowed him to continuously explore the inner and outer reaches of his universal soundscape. By feeling things out through hardware, he allows his music to grow organically, blending humanistic tendencies with technological outputs that always bring harmonious musical riches to the surface.
'Times' represents another seismic chapter in his story, one which contains a series of genre-defying blends that twist, turn, and enthrall with their ever-evolving beauty. 'Atmos Time' plays out as the EP opens up, and draws the listener close with a textured melodic chime and spaced out groove.

Floating along on a bed of cosmic ambience, the groove and melodic features cascade as one, drifting further through the layers of time and thought. 'Break Time' ups the urgency ever so slightly, with a similar atmosphere unraveling above an energised broken beat.
'Drum Time' brings in side B, and this one shifts perspective once more. The melodic sways up above merge and blend with the poly-rhythmic undertones, with the jungle-lite broken beat creating an enchanting energy. 'Soul Time' wraps things up, which moves into a distinctly ambient techno sort of realm. Dreamy pads and looping key lines intertwine amongst a captivating sea of mood and tone, as a laid-back beat shimmers underneath with poise and elegance. . A fitting end to a record filled with moments of tonal excellence, ever-shifting melodic feeling and rhythmic sequencing - an experience that forever drifts through the memory, always capturing the imagination….

WRWTFWW Records presents an ultra limited (100 copies !) vinyl edition of Meemo Comma’s Decimation Of I album, originally released digitally in 2024 on Mike Paradinas' Planet Mu label. The collector’s pressing is housed in a heavyweight sleeve.
Decimation Of I is the fifth album by Brighton-based electronic musician Meemo Comma. It's a work based on the Strugatsky brothers‘ 1971 novel Roadside Picnic, a book that was also turned into the Russian cult classic Stalker by Andrei Tarkovsky. The inspiration came from reading the book alongside the backdrop of global climate disasters where an environment is rapidly becoming less habitable, all while powerful nations occupy and commit genocide.

The rough story of both film and novel is about a select group of characters exploring a land that has been transformed by alien visitors. We never meet the extraterrestrials, nor is it important to, we only have the artefacts left behind. The environment itself becomes the character, neither wholly Earth-like nor alien, but a surreal blend of both, inviting introspection on our insignificance amidst profound change. Within this land’s rebirth, our characters confront ego death, a necessary step towards the profound revelation, the discovery of one's true desire in the absence of ego.

The album opens with the innocent flutes of ’They, spoke,‘ and the disorienting electronica of ‘The Soldier‘ building towards the Terry Riley like undulating clarinets of ‘The Poet’, whose intertwining synth organ drones set the scene. Nods to the seventies electronica of Wendy Carlos and Eduard Artemyev can be heard with the use of Bach melodies in ‘P3Alpha Exotoxin‘ and ‘Area X,‘ however each of these songs draw the listener to primal noise undercurrents, their disintegrating melodies hinting at humanity's gradual dissolution, unveiling profound revelations beyond our comprehension.

As the album reaches its midpoint, ‘Spectral Alignment‘ paints a hazy morning prairie scene with Aaron Copland style French horn, restful woodwinds, spatial arpeggios and a warm drone culminating in an emotional pitstop as the soldiers wake in the dewy morning of this alien landscape, unaware the last of their humanity remains.

The last sentence in Roadside Picnic “HAPPINESS FOR EVERYBODY, FREE, AND MAY NO ONE BE LEFT BEHIND!” is the inspiration for ‘As It Is Written.’ We can either take from this the total annihilation of self has been filled with propaganda from their homeland, or the epiphany of their own autonomy in the war against a land and its inhabitants.

NEIL ARDLEY – KALEIDOSCOPE OF RAINBOWS The Definitive 2LP Reissue of a Landmark in British Jazz Fusion
Analogue October Records proudly presents the long-awaited reissue of Kaleidoscope of Rainbows, Neil Ardley’s 1976 masterpiece, originally released on Gull Records. Produced by Neil Ardley and recorded at London’s famed Morgan Studios, the sessions were engineered and mixed by Martin Levan, capturing one of the most ambitious and beloved works in British jazz. Following the acclaimed reissues of Courtney Pine’s Journey to the Urge Within (AOR-001-ST) and Neil Ardley’s Harmony of the Spheres (AOR-002-ST)—both praised by the audiophile press including The Tracking Angle—this third release confirms Analogue October as one of today’s most meticulous and exciting reissue labels.
A Suite of Sound and Colour
Commissioned for the 1975 Camden Jazz Festival, Kaleidoscope of Rainbows is structured as a seven-part suite, each movement reflecting a colour of the spectrum. Ardley’s composition weaves together jazz improvisation, progressive rock energy, and orchestral elegance in one of the most imaginative British jazz recordings of the era. Featuring Ian Carr, Barbara Thompson, Tony Coe, Trevor Tomkins, and Geoff Castle, the album is a who’s who of the UK’s vibrant 1970s jazz scene.
Cut at Abbey Road, Pressed at Record Industry
For this definitive edition, Analogue October worked directly from the original Gull master tapes. Mastering was entrusted to Miles Showell at Abbey Road Studios, using his renowned half-speed process to extract every detail and dynamic from Ardley’s score. To give the music the headroom it deserves, the reissue has been expanded to a deluxe 2LP set, pressed on the highest-quality vinyl at Record Industry in Haarlem, Netherlands. The result is a presentation that finally does justice to the scope and brilliance of Ardley’s vision.
Deluxe Package – Restored from the Source
The artwork has been meticulously restored from the original film elements, ensuring a sleeve of unmatched vibrancy and fidelity. Inside, a 12-page booklet printed on heavyweight card features an in-depth essay on Neil Ardley and the making of Kaleidoscope of Rainbows, written by Jazzwise magazine editor Mike Flynn, alongside rare photographs from the period.
Curated and Produced by Craig Crane
As with every Analogue October release, Kaleidoscope of Rainbows has been curated and produced by label founder Craig Crane with a collector’s eye for detail and a deep respect for the music’s legacy. This reissue is not only the definitive vinyl edition of one of the great British jazz fusion albums—it also continues the label’s mission to restore and celebrate the most vital recordings of the era.
Neil Ardley’s Kaleidoscope of Rainbows—vivid, expansive, and timeless—returns as the essential edition for audiophiles and jazz lovers alike.
Retail-ready product description (short form):
Produced by Neil Ardley and recorded in 1976 at London’s Morgan Studios, engineered and mixed by Martin Levan, Kaleidoscope of Rainbows is a cornerstone of British jazz fusion. This definitive 2LP reissue, mastered at Abbey Road by Miles Showell from the original Gull master tapes and pressed at Record Industry (NL), finally gives the music the dynamic headroom it deserves. The deluxe edition includes restored artwork and a 12-page booklet featuring an in-depth essay by Jazzwise editor Mike Flynn.

In a world currently defined by unrest, uncertainty, and cultural fracture, acclaimed saxophonist, composer, and bandleader Isaiah Collier returns with Joy, a 5-track EP that reframes one of humanity’s most nuanced emotions both as a devotional grounding and political act.

Collier’s deeply personal compositions present joy as an act that isn’t rooted in escapism or abstraction, but rather, as something hard-won rooted in lived experience, shaped by transformation, and sustained through connection. Throughout the album’s five compositions, Collier positions joy as a guiding light during challenging times, an expression of challenging yourself to utilize your gifts, an affirmation of love and discovery, and as an affirmative source of reassurance.

“We are in a paradoxical time, where so much is being revealed to us,” Collier shares. “Everything feels political from every scope… our collective hearts feel the heaviness in the air. Yet I say to you all—don’t despair. For right now, the most political thing we can do is share joy.”

That ethos is made clear in the opening title track and lead single “Joy.” A pulsing rhythmic motif anchors the melody with a sense of both searching and certainty. Collier conceived the piece around 3 years ago reflecting on a time where many people in his life were experiencing loss of family and friends and experiencing profound life transitions. “Everything just felt like it was falling apart with no aim in sight,” he reflects. “Yet, there is a light at the end of it all.”

As he played the chords with a sense of urgency, he could feel the vibration of yellow in the piece. That initial triplet motif serves as the guiding light on the piano and the only word Collier could hear was Joy. In addition to Collier at the helm singing and playing piano and tenor sax on the track, it features an expansive 11-piece ensemble with a full horn and string section allowing Collier’s propensity for composition and arrangement to shine with an eclectic sonic palette.

“Landscape of Dreams” finds Collier serendipitously leaning into utilizing his gifts as a multi-instrumentalist. While he had a sketch of the piece going into the studio, a traffic delay caused musicians to be late arriving at the studio. Never one to waste time in the studio environment, Collier stepped into new creative territory and took up the challenge of executing playing all instruments himself as an act of trust and experimentation. “I’ve never done this before, and so it was a leap of faith for me,” he asserts. “I always dream of doing stuff like this, and being part of the small percentage of people who can do it like Prince, Steve Lacy, Frank Zappa, and Stevie Wonder. The end result finds Collier immersed in a hypnotic soundscape playing layered flutes, drums, Metatron, Wurlitzer, and auxiliary percussion.

Another layer of joy is revealed in “Where I’m Loved” that serves as a love letter and leaning into the process of stepping into the willingness to explore life and love with a partner. On the intimate meditation of vulnerability and connection, Collier's vocal prowess is on full display, exerting effortless falsetto reminiscent of D’Angelo over soulful Wurlitzer and guitar as he crosses over into more R&B-inspired realms. “I believe everyone deserves this feeling or to honor the memories of it. Furthermore, I believe you should also go where you’re celebrated and not tolerated.”

“When the Dust Settles” captures the electricity of live collaboration and Collier further steps out of being confined to any specific genre. He had just gotten a microKORG keyboard from co-producer Sonny Daze and was exploring the vast array of sounds on the instrument. Collier plays synth bass on the microKORG joined by the electrifying improvisation of Cole Runge on guitar and the combustible rhythm of his brother Jeremiah Collier on drums with additional post-production work from Sonny Daze.

The album’s final track “God’s By Your Side” reflects on perseverance and artistic legacy, directly inspired from the passing of D’Angelo, whose life’s work was a huge part of Collier’s childhood growing up in the late 90s and early 00s. With gospel flavor and direct influence both from D’Angelo’s vocal and instrumental arrangements, the track speaks to resilience and persistence in the face of obstacles—an affirmation of source and reassurance. “And what’s better than having God by your side, right?” asserts Collier.

Joy is a through-and-through expression of the arc of joy in its truest form. Joy transcends fleeting happiness and is conscious gratitude shaped by taking chances, leaning into your gifts, fostering community, and lived experiences.

“Joy is partially happiness,” Collier explains. “But to me it means happily being grateful for family, friends, lovers, teachers, and good times. These are the things that anchor us.”

The release of Joy comes off the heels of significant momentum for Collier, whose work continues to garner accolades and resonate across cultural spheres. He was featured on the cover of DownBeat’s April 2025 issue, where he was named “The Next Sax Giant,” and profiled on NPR’s Jazz Night in America for his ambitious 13-movement interdisciplinary suite The Story of 400 Years, that traces 400 years of Black American History. He released two full-length albums in 2024 with The World Is on Fire highlighted in The New York Times’ Fall Arts Preview and The Almighty named among the publication’s Best Jazz Albums of the year.

Beyond performance and recoding, Collier’s influence is recognized in broader cultural and intellectual spaces as he was the recipient of the Jazz Journalists Association’s 2025 Up and Coming Artist of the Year Award, the 2024 Chicagoan of the Year in Jazz, and was named a Steve Jobs Archive Fellow joining an elite cohort of the next generation of artistic visionaries through a yearlong program.

In addition to the release of Joy, Collier is touring his “Collier Plays Coltrane” program throughout 2026 in honor of John Coltrane’s centennial. Rather than presenting Coltrane’s expansive catalog as repertory, Collier approaches this music as something living, reshaping it in real-time with a sense of space and improvisational dialog reflecting both reverence to the past and present times.

Melodize is bringing the world back on the dance floor with Lauer and his 4-track “K1m Fantasy” EP. Behind the label is Brooklyn-based DJ and musician Beartrax, who is known for his groovy yet moody compositions. Philipp Lauer, known as Lauer, is a true veteran in the electronic music sphere, with over 20 years of experience, yet his sound remains novel and fresh.

This time, Melodize and Lauer shape the world of a fantasy dance floor where everything is possible. “K1m Fantasy” starts with Lauer letting his confidence shine through as an experienced professional with a signature sound in the first track “Boss Electro”, which will inevitably showcase why he’s the boss.

The playful tune of “Rabbits” takes the listener on a journey through electro-induced synths much like the image of curious rabbits playing on a grass field. The eponymous B-side “K1m Fantasy,” with its steadily unfolding mellow soundscape, is an introspective piece exploring the fantastical world of the techno dance floor where all becomes one.

Lauer’s last treat is “Choirs,” where brassy exclamations take turns with a haunting choir of electronic voices, reminding us that unity is key to pleasure and existence.

2026 Repress

since his first ep tips' on luciano's label cadenza in 2007 producer and dj petre inspirescu emerged into one of the key figures of the romanian electronic music scene.

so far he released music on labels such as vinyl club, lick my deck or amphia. together with his buddies rhadoo and raresh he also launched in 2007 the label (a:rpia:r) -  a platform where he, his two friends and many producers from romania and abroad released detailed grooving house and techno, that stands out with delicate structures and one-of-a-kind grooves.

both of his more dance floor oriented solo albums intr-o seara organica...' and gradina onirica for (a:rpia:r) are enlarged with melodies, sounds and harmonies that go beyond the usual characteristics of a dance album.

furthermore his love for classic musicians like mily alexejewitsch balakirev, alexander porfiryevich borodin or or nicolai andrejewitsch rimsky-korsakow can be felt in the album padurea de aur (opus 2 in re major) and two more eps that he released under the alias pensemble on the romanian label yojik concon in order to unite classical spheres with analogue electronic music production.

in february 2013 he also released his highly acclaimed fabric mix cd that only features dance floor leaning music produced by himself. with talking waters' he published in late 2014 his first 12inch on mule musiq that is now followed by the full-length album vin ploile' which he produced without the intention to entertain with easy to hook up rhythms, melodies and harmonies.

even tough he established himself as a internationally playing house dj that regularly performs at all major clubs, festivals and other party destinations around the globe: as a musician petre inspirescu always tries to enter new territories to explore with a heartfelt human touch the infinite space of sound.

for his latest album the man that originally comes from the eastern romanian town braila stepped away from his former experiments of melting classical spheres with electronic music. instead the 36-years old man from bucharest only used some piano, string and wind instrument elements and analogue electronics to arrange a gracefully deep ocean of sound.

all slow grooving tracks spread the atmosphere of live improvised sessions that are edited, tweaked and mixed to perfection. in-the-moment moods of strange and unusual analogue synth sounds groove in a fluid quality with subliminal bass shapes, latinate percussions, jazz rhythms and acoustic melodies.

together they create a gaseous kinetic atmosphere full of tangible rhythm patterns, delicate chords and ghostly modular synth pads - all mixed subtle to create space for the tones between the tones.

you can call it a hypnotic after hour album for after hours that are dedicated to a deep listening experience. you can tag his arrangements as brilliantly textured and musically super-charged ambient, which goes beyond the usual definition of the genre.

all nine suspenseful compositions seduce with a deep melodic sensibility, harmonic adventures and an overall rhythmic ambiance of freshness and laidback enthusiasm. together they represent a challenging auditory experience that will resonate in your mind long after the music has finished. 

Lilya Mandre makes her Crosstown Rebels debut with her emotive three-tracker, ‘Exi(s)t’. Out on 10th October 2025, the Casablancan artist unveils two originals, including a collaboration with Zac Martel and Jono McCleery, backed by a remix from Haitian star Francis Mercier. Marking her first appearance on Damian Lazarus’ iconic Crosstown Rebels imprint, Moroccan-born artist Lilya Mandre steps into the spotlight with ‘Exi(s)t’. Landing on 10th October, the EP pairs her expressive, melodic style with a striking vocal feature from UK-based singer-songwriter Jono McCleery and a collaboration with Montreal’s Zac Martel, completed by a stellar remix from Haitian heavyweight Francis Mercier.An ascending name in the global electronic sphere, Lilya Mandre channels her Casablanca roots into a sound that balances deep, minimal-leaning grooves with raw emotional weight. Her magnetic presence has already taken her to stages such as Hï Ibiza, where she joined Crosstown head honcho Lazarus for his summer residency, plus the likes of Moga Festival, La Clairière Paris, and Picnik Electronik, while recent releases on Mind of A Genius, IN/ROTATION and Madorasindahouse continue to position her as one of the scene’s most exciting breakthrough candidates. With ‘Exi(s)t’, she brings this same captivating energy into the studio, weaving powerful collaborations and evocative solo work into a release that captures her artistry in full.

Opening track ‘A Part Of Your Soul’, crafted alongside. Canadian producer Zac Martel (Madorasindahouse), sees Lilya also link up with acclaimed English singer-songwriter Jono McCleery (Ninja Tune), whose delicate and soulful vocals glide over rich synth work and fluid percussion to deliver a stirring and cinematic cut. Deep Roots founder Francis Mercier then steps in on remix duties, injecting his signature blend of worldly percussion and driving energy to transform the original into a hypnotic, club-ready anthem. Closing the package, ‘Malou’ takes things deeper as Lilya steps out solo, layering subtle melodies and textural flourishes for a track that’s both restrained and emotionally resonant. With its balance of expressive collaborations and immersive solo work, ‘Exi(s)t’ sets a compelling tone and brings an impressive debut to Crosstown Rebels, showcasing her ability to craft moments that resonate both on the dance floor and beyond.

This plate is about to welcome back one of the unsung heroes from the 45 Seven lands of dub, meditating with us from day one. Weather it may be about 4578's foundations of the rolling Dub Over Distance along the shuffly Dub Pacifico or the later forward lurking tribal jungles of Black Lake flipped by Lack Blake on 45719: Dub Across Borders always knows to amaze with both a contemplating deep inner focus of well laid-out hand-made instrumentation and vintage dubbing as well as refreshing ear-opening sounds and soul-pleasing vibes collected from all over the world, creating a very own sphere of what feels like some kind of ancient sci-fi riddim, rooting upwards to the phuture.

When sweating over a hot mixing desk and hoping for a fresh breeze, the roots of Come Rain were laid in a form of bassdrums knocking at the sky's gates, stabby infra subs foreseeing well-wished thunders and moist dark skank works are calling for storm. An inner shout for the elements, incarnating in a certainly minimal yet pretty heavy 160 stepper, rolling over all the dry hot air out there.

Yeh Sih Dub comes after the rain: new branches grow, fresh leaves spread, foggy clouds reach up for a mountain-high rainforest. Awakening the world bass side of Dub Across Borders, it gives you ceremonial Bhuddist horns as well as houting sounds of the tantric Khamak, a poundy stab bass and the shimmering spring-splashing ride sitting on top as its crown. Only rarely 80 bpm bass has been as easily touching and moving at the same time.

Take a deep breath and dive into this piece of both mindful and reflective space bass, launching sub-heavy Jungle onto imaginery moons of spacial perception. We are actually just about to start this journey, feel free to get aboard!

"Absolute gold, thanks a bunch" Will be supporting lots" Pugilist
"Epic Dub pressure, big fan of Dub Across Borders" Sun People
"Sounding great as usual, will play for sure!" Tracy & E3 of Zamzam

DJ Support: DJ Support by Spiller, Alex from Tokyo, Coyote, Fango, Pete Gooding, Ally Tropical, Steve Cobby, Gold Suite, Luca Averna, Will Nicol, Danilo Braca, La Guardia De La Luz

Federico Costantini aka Luminodisco is back on Hell Yeah having long since assured his legacy with the label. Over the years, the Italian has dropped many cult and still widely played cuts here from across the disco-sphere ('Ragazzini,' 'Diavolo di un Disco,' 'Oh Mary' and more all still bang) and now he is back with a newly moved sound. A compulsion to produce something with "a more adult approach" is what defines this latest era, and a fine one it is too. Opener 'Solero' will surely become as revered as those classics above with its irresistible grooves guaranteed to bring ultimate dance floor satisfaction. The punchy drums are peppered with percussion and drum fills while gloriously sugary chords add the heat and wispy pads take things into cosmic realms. 'Jazzclub' is an unhinged rhythmic interlude that chops up vocal stabs, screwy synths and whirring machines into stomping brilliance then 'Bigfoot' slows things to a dubbed out crawl that has you gazing at the twinkling star-like synths. Things then get wonderfully wild on closer 'Soko', a jumble of percussion and tribal vocals over swaggering drum loops. Playful leads bring the sun as the dumpy bass plods on, pixel thin pads squirm all around and a celestial carnival in the sky plays out with irresistible charm.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

Repress.

One of Stockholm’s finest exports, Elfenberg arrive at Bordello with four slices of synthesizer goodness. The duo open with “Forever Alone”. A cruising arpeggiator steers its way through glistening snares, rolling kicks and classic italo vocals. Night falls in the jungle “Conga Coronation”. The treetops bristle with birdsong, thickets of bongos, toms and rain sticks lead a path to dawning melodies. A wonderfully textured percussive piece, the track is intricately carved and demonstrates the diversity and depth of Elfenberg. The disco dipped futurism of “Sphere Of Missing Out” follows. Echoes of “Conga Coronation” rhythms are countered by beaming synth bars and vocoder lyrics with the Swedish pair pushing for the floor. “Cosmic Tribune” is the curtain close. Astral chords, spiralling key shifts and incising drums coalesce in this space inspired finale. A truly stunning debut from this talented partnership.

At the helm of a collective immersed in London’s underground house landscape, Bizarre Traxx co-founder Jhobei is keeping things moving in his own unique way, shaping and crafting a sound to call his own. Releasing on labels like Mindhelment, Picnic and Mood Waves while stepping out as 1/3 of trio Felon5, he marries warping and heady territories with loose, spacey spheres, creating immersive trips for all hours of the night. Here he delves deeper once more, landing on Up The Stuss for the first time with his playfully titled ‘Slink ‘N Slide’ EP.

The title cut launches straight into the action and showcases his sound perfectly, harnessing squiggly synths, driving low-end grooves and sweeping astral sonics to unveil a cosmic ride through rich textures. Expect the same depth and unpredictable twists and turns across the EP as he draws for influences spanning those early golden years of tech house through to minimal and hazy late-night electronic realms. As debuts go, this one is stacked with treats and musical goodness from top to bottom - no surprise they’ve been go-to cuts for those deeper moments from the label boss!

Rhythm Section International’s 12th release comes from another Mancunian called Tom, this time going by the name of Hidden Spheres. We are issuing a * FEEL-GOOD HIT OF THE SUMMER* alert for the title track, ‘Well, Well’, - a certified, yet sophisticated banger, ready to send that festival crowd one step closer to transcendence.

A versatile EP spanning over 5 tracks, Well Well is a house-tinged, jazzy affair - rich in soulful vocals, summery chords and live percussion. Hidden Spheres is a seasoned dj and producer, having released on the likes of Moods & Grooves alongside Theo Parrish, Andrés, MR. G and Moodymann as well as producing the inaugural release for Lobster Theremin imprint Distant Hawaii.

With a wealth of records ready to go, constrained only by pressing plant schedules, RS012 marks the first in a flurry of summer releases on Rhythm Section International.

Superlux Records continues its release schedule this December with a debut EP from Taymor Zadeh. The four-track Life Goes On EP includes three originals from the UK-based artist, as well as a special remix from One Records co-founder, Subb-an. Speaking on the production process behind the EP, Taymor describes how “ Life Goes On was made using a tb303, roland mc505, a 909 which I borrowed from a good friend, some vocal samples from old tape recordings and a load of imagination.”

The A Side gets underway with Bubbleworks , and Taymor’s “imagination” is plain to see. It’s a no-nonsense club-ready cut, with thick hats and an up-tempo lead bassline residing next to an array of bubble-sounding pops throughout. That same late-night feel continues into Life Goes On , as eerie vocals flitter between pulses of acid and punchy, whip-like drums. On the B Side, Gekula takes the lead. Fast-paced with clear minimal influences, we’re graced with eight minutes of dancefloor-geared delight as distorted voices reside atop a driving kick-hat backbone, before Subb-an’s remix continues in the same vein, taking us deep into 5 AM territory with glitchy synths and plenty of dark, low-slung percussion.

With an ethos of quality over quantity at his core, Taymor Zadeh has carved out a bespoke sound within the electronic music sphere. In recent times his releases have been welcomed by Stephane Genacia’s Highpath Records as well as Luca C’s See Double imprint, a testament to his keen ear for production. Berlin-based Subb-an is a leading figure in the UK minimal scene. As co-founder of One Records, 2020 has seen the label celebrate ten years of releases with a two-part vinyl sampler, including tracks from the likes of Anna Wall, Matthew Johnson and more besides.

with his third album 'vin ploile' the bucharest, romania based producer, musician and dj petre in-spirescu captured a whole new audience in 2015 and reached out with minimal leftfield ambient sounds to music loving folks, that are not part of the world-wide dance music universe.
well known as one of the key figures of the romanian electronic dance music scene since his first ep 'tips' on luciano's label cadenza, inspirescu stepped away from club sounds that made him famous due to releases on labels like vinyl club, lick my deck or amphia.
also his two solo albums 'intr-o seara organica...' and 'gradina onirica', both released on (a:rpia:r), the record label he initiated with his buddies rhadoo and raresh in 2007, do not have much in common with the sound of 'vin ploile' - a mesmerizing deeply musical album that he only tuned in with some elements of piano, string and wind instruments as well as analogue electronics.
at the end of 2015 his nine slow swinging arrangements where celebrated in many polls and now, just a bit more than one year after the release of 'vin ploile' petre inspirescu delivers 'vîntul prin salcii' - another longplayer enlarged with seven, up to epic twelve minutes long arrangements, that continue where 'vin ploile' ceased.
they all listen to the name 'miroslav' and only differ numerically in their title. you can call them ambi-ent. you can call them minimal music in the sense of classic compositions by steve reich or terry riley. they groove - sometimes more, sometimes less. and they spread the sounds of flutes or saxophones, delicate piano figures, organic jazz drumming, arpeggiated analogue synth-lines, mesmerizing strings, choral singing, alienated looped vocals and spaced out new aged spheres.
what unites them all is the way, the melodies dance upon and in each single tune. their beautiful tex-tures ensnare and they are continuously engaged with experimentation. a mystical album full of evolu-tionary music to which each listener is able to paint his very own emotional picture. moody, dark and at the same time light-flooded shape-shifting compositions - made for those who love to surrender them-selves to a gentle dance between experimentation and attractiveness.
the cover artwork for petre inspirescu's album was made again by the illustrator and photographer julian vassallo, who's artistic works fascinate with a touching spirit of distance, that captures the truth in each single motif. just like petre inspirescu's music, only that his art grooves with notes that tell somehow: there is no truth. there is only perception.

Exactly one year after Developer's 5 year anniversary release on Modularz which also was also celebrated in a special label night at Berlin's premiere techno club Berghain back in November 2015. He returns for is next ep named "Dispatches from LA" Developer went to his home city of LA over the summer 2016 to play a calendar of shows in the US and to record this ep from his 2nd studio in Los Angeles. Its more of his trademark sequenced based yet hypnotic sound with a bit more of analog gear used for this one.

2025 Repress

Chris Stussy makes his long-awaited FUSE debut as he drops the heavily-requested ‘Midtown Playground’, with Huerta joining on remix duties.

It’s rare for an artist to command such intrigue and interest across every single release they line up. Yet, the captivating global gaze around Chris Stussy seems to be snowballing with every unreleased production teased in his ever-impressing sets. Now undeniably one of the scene’s most in-demand names, the humble and hardworking Dutchman has been letting the music do the talking over recent years, with his Up The Stuss project welcoming a new musical focus and providing a platform for him to grow and evolve into an artist at the very top of his game. Not letting up, the surging DJ/producer and label boss now adds another label debut to his catalogue as Enzo Siragusa invites him to his iconic FUSE imprint for the very first time, bringing the release of one of his most requested tracks to date, ‘Midtown Playground’ - with LA-born, Berlin-based DJ, producer and Leisure boss Huerta also making his first appearance on the remix.

From the instantly recognisable synths and lead melody to the skipping percussion and rumbling core bassline, ‘Midtown Playground’ perfectly showcases the sound that Stussy is quickly making his own. The same can be said for ‘From The Delicate Mist Of Morning’, a more subtle but hypnotic offering, while ‘Blueprint’, another unreleased stand-out, offers that commanding yet playful groove he’s become so known and loved for. Delivering his flip of ‘From The Delicate Mist Of Morning’, Huerta dives into a deep, colourful and breezy journey through cosmic spheres, while digital purchasers can enjoy a bonus cut in ‘Mythical Power’ - a warping, jacking and menacing effort built for bustling late hours dancefloors.

Once regarded as an up-and-comer to watch, it’s fair to say that the past eighteen months have seen Dutch DJ/producer and live artist Locklead establish himself as one of the most in-demand artists emerging onto the global house stage. From his collaborative ‘Across Boundaries’ with close friend Chris Stussy to music via Dungeon Meat, Pilot, and Up The Stuss, the Utrecht-based talent has set his stall and is showing no signs of slowing. Adding to a first outing on sister label LOCUS two years ago, April welcomes a big debut appearance on FUSE as head honcho Enzo Siragusa invites him to the label for the first time to release his latest EP, ‘Kemickal Affairs’.
Opening the record, A1 ‘Zero’s Delight’ is a funk-fulled and spacey ride armed with resonant chords and swirling leads, while ‘State of Peace’ is a blissful ride through rich yet driving house spheres and showcases the second of two heavily requested anthems that have been go-to records for the likes of Stussy and Siragusa over recent months. The flip sees title cut ‘Kemickal Affairs’ open the b-side with authority, as bumping kicks and slinking grooves go to work beneath swirling synth lines and hazy tones, before wrapping things up with more modulated goodness and off-kilter vocal snippets on the chunky and trippy ‘Morning Krew’ - expect this to come out to play in those weird and wonky early-hours afters!

DJ Feedback:

Laurent Garnier - Very cool Ep

Jamie Jones (Hot Creations / Paradise) - Feeling this.

Joseph Capriati (REDIMENSION) - nice, will try soon. thanks !

Seth Troxler (Circoloco / Lost Souls Of Saturn) - lov

Paul Woolford / Special Request - State Of Peace is a killer house record, lovely chords and groove, thanks!!

Stacey Pullen (Blackflag Recordings / Transmat) - COOL THANKS!

Chris Stussy (Up The Stuss) - already on heavy rotation for the last couple of months, absolute heat!!

Rossi. (HOMEGROWN. / NO ART / LOCUS) - Immense music :)