After almost twenty years of releasing music, Sven Tasnadi finds himself circling back to some of the sounds that first drew him into house music. Explorer was written at home following a longer break from producing and after moving out of his studio, a change of setting that coincided with a shift in priorities. "The tracks on this EP came together at home after a longer break from music and after I moved out of my studio," he explains. "Musically they are very deep and minimal, at times almost meditative. They were inspired by a new chapter in my life as well as my never-ending love and connection to artists like Lawrence from Smallville and Frank & Tony from Scissor and Thread."
That sense of returning to something runs through the whole record. For much of Tasnadi's career, producing and DJing were closely connected, with many releases naturally shaped by the club. Things have changed. "DJing is no longer my main focus, so I can dedicate myself to these deep and minimal sounds again, free from pressure or expectations," he says. "In a way, after almost twenty years of releasing music, things have come full circle for me."
"Atlas (Chapter 1)" and "Atlas (Chapter 2)" grew from the same initial idea but followed separate paths during production. Chapter 2 came first, while Chapter 1 emerged later from a variation Tasnadi discovered while the track was still essentially a loop. "I was still looking for the right theme for the original idea when another version suddenly opened up," he recalls. He saved that variation for later so he could stay focused on the first version. When he returned to it, the two had developed distinct enough identities to stand independently. Their shared DNA is still audible in the restrained rhythms, slowly shifting details and the way small changes carry much of the movement.
The title track moves further into dub techno, another longstanding passion for Tasnadi. "Explorer is almost a classic dub techno track," he says. "Subtle movements within a constantly repeating pattern create a particular atmosphere. It feels like the track could just keep going forever." It is a patient approach to repetition that he connects to artists such as Moritz von Oswald and his friend Daniel Stefanik.
"Megasektor", one of the first tracks Tasnadi made at home with a new equipment setup, brings the EP into deep house territory. "To me it's almost classic deep house, or at least how I define deep house for myself." Warm, compact and gently propulsive, it provides a natural closing point for a record that is ultimately less about changing direction than reconnecting with an instinct that has always been there.
Explorer captures Tasnadi at a point where making music has become more personal again. The four tracks come from following ideas for their own sake and from rediscovering the deeper, more minimal sounds that have stayed with him throughout his career.
Thematically, the album revolves around movement - excursions, outings, journeys, and the various vehicles and vessels that make them possible. It is music for those who drive, sail, walk, and fly. For those already on the move, and for those who are about to set off.
Each track functions as a vehicle of its own, collectively built and designed for different conditions and purposes. You can travel solo or collectively. The album is introduced by the single "ULYSSE."
Tropical Soldiers In Paradise:
Lush as tropical forests inhabited by fruit bats, fluorescent frogs, and giant millipedes. Comforting as paradise beaches from a screensaver. Absurd and psychedelic as the mission of Lieutenant Colonel Channon and the First Earth Battalion, where the paranormal abilities of warrior monks revolutionize the armies of the world.
A structure without status, uniforms without uniformity, and unity powered by diversity.
Tropical Soldiers In Paradise play crooked lounge (if such a genre existed). Their music blends a generous dose of improvisation with hip-hop-rooted beats and a distinctly new-wave approach to jazz. Since 2018, TSiP have released three albums and performed countless concerts on both intimate and major stages, bringing joy and solace to audiences along the way.
FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.
FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.
Following the acclaimed Milano Undiscovered, Italia Undiscovered and Italia Synthetica series comes Italo International: a new collection celebrating the enduring legacy of Italo Disco. Eight exclusive tracks by established European artists reimagining one of Italy's most influential musical movements with originality, respect, and a contemporary vision.
Italo International is a journey through the many shades of elegant and visionary electronic music, moving between Italo Disco, Synth Pop and dancefloor-oriented sounds. The talented and steadily rising Polish producer Rafał Lachmirowicz, aka Also Playable Mono; Hungarian artist Gianni Durante, aka Electro Potato, who for years has been bringing back the sound of early-Eighties Italo Disco with passion and a contemporary sensibility; Norwegian Tommy Holsen, aka DJ TinTin, who together with the Eighties band Go explores the classic sounds of Nordic Synth Pop; British producer Mark Wilkinson, aka Kid Machine, who for over fifteen years has been creating productions made for the dancefloor; Tyrell Corporation, the alias of Dutch producer Alden Tyrell, who joins forces with Italian duo Italoconnection to rework a track destined to set the dancefloor on fire; Swedish multidisciplinary artist Tobias Bernstrup, who for three decades has been reinventing the more sophisticated side of Italo Disco with elegance and a distinctive vision; the Dutch project Sfera Celeste Project, which blends Moroder-inspired sounds with a hypnotic minimalism reminiscent of Jeff Mills; and, closing the journey, British artists Heartbreak, Ali Renault and Sebastian Muravchik, with a poignant and slow-burning excursion into the melancholic world of Synth Pop.
Kay Slice’s music is more than meets the ear. He channels a movement. His sound moves beyond borders, blending highlife rhythms and poetic verses into a sonic force that connects the soul of Africa with its scattered children across the globe. Slice is rooted in legacy but speaks to the now. Bold, layered, and deeply aware.
This isn’t fusion. It’s ancestral alignment with a futuristic edge.
From the electrifying grooves of West Africa to the sharp truths of hip-hop, Kay’s music isn’t merely entertainment; it’s a cultural awakening. His performances are highlights: Ghanaian drums, balafon chants, and rhythmic prophecy shaking stages to their core. His storytelling is vivid, raw, and intentional. The immigrant experience reimagined through sound and soul. And as Kay says about this new single, “Moving with purpose, driven by the will to put in the work. The time is now to raise Mother Africa.”
Following his powerful debut From Back To Back (2022), Kay is stepping into full artistic clarity. In 2026, it all comes to a head with Kay’s next album, scheduled for autumn 2026, forged across borders, driven by the spirit of his Ghanaian ensemble and a love letter to highlife, elevated with modern energy.
No longer bound by survival, Kay is moving like a general of sound. Leading with grace, grounded in legacy, but always forward-moving. His shows? Think rituals. Think liberation. Think sweat, spirit, and rhythm. Kay Slice isn’t finding his voice. He is the voice of diasporic pride, ancestral rhythm, and future Africa.
Stockholm-based duo Dött ljus are back with *Sjunka*, the follow-up to their acclaimed debut *Bottna* (supported by the BBC, KEXP and Headphone Commute). Released via Fauxpas Musik, *Sjunka* delivers immersive, rhythm-driven tracks built on flickering soundscapes, reflecting themes of movement, chaos and hope. Recorded in the catacombs of Södermalm, this long-awaited release is about letting go of control and allowing yourself to sink.Available digitally and on physical vinyl, including a strictly limited run on coloured vinyl.
Vinyl Tastes Better…
Soon after their 1978 debut on the Brian Eno-produced »No New York«, a compilation that defined the No Wave scene, James Chance's group Contortions had already evolved – getting sharper, tighter and just plain faster. Despite the loss of keyboardist Adele Bertei and bassist Geoge Scott (who refused to sign a new contract demanded by Chance and his then partner, band manager Anya Phillips) Contortions were firing on all cylinders, and their first full-length album, 1979's »Buy«, is a marvel of hot-wired energy.
Led by the brash yelps and free-sax squawks of Chance, Contortions spit out fiercely rhythmic tunes charged by the wiry guitar lines of Jody Harris and the dizzying slide guitar of Pat Place. With drummer Don Christensen slipping in pointillist beats and David Hofstra's infectious basslines, the songs on Buy crackle with both precision and abandon. Opener »Designed to Kill« shoots sparks of sound in all directions, while »Contort Yourself« is a nihilistic dance number wherein Chance instructs listeners to twist into knots, physically and mentally. "It's better than pleasure, it hurts more than pain," he snarls, later imploring, "You better try being stupid instead of smart."
Heavily influenced by the showman funk of James Brown (whose »I Can't Stand Myself« the band had covered on »No New York«), Contortions coined a downtown dance-punk sound that had immediate influence on subsequent No Wave bands – including Place's Bush Tetras and Bronx trio ESG – as well as the burgeoning disco movement. On »Buy«, Contortions' self-invented template is imprinted so hard into the grooves that it sounds like they're about to break, capturing a combustible band in all its fiery fury.
For some time I had hoped to release a full body of work from Tito. Ever since I heard him at Mr. Bean’s Music Club, and revisited records that started appearing around 2018, it felt clear that there was a
particular sensitivity behind the music — curious, rhythmic, spacious, unpredictable. Mostly in the sense that his references and musical background naturally pull from many places at once. When the idea of releasing Plane Of Existence on vinyl started becoming real, it immediately made sense for O Sótão Records.
Based in Porto, Tito Romão first built his path as a drummer, later expanding into composition andproduction through different instruments and collaborations. While drumsare his main instrument, he also studied cello and taught piano for a short period. Later he developed his Arctween project, DJing, and gradually shaping his own language under a new moniker. From Forbidden Cuts in 2018 to Dance Of The Spheres via Discotexas in 2020, his catalogue has slowly traced a path between groove-based experimentation and more immersive sound design.
The years that followed brought even more movement. Together with Gazpa, a longtime friend fromskateboarding days, he released Gaztween’s I through Jazzego Records in 2020, later followed by II in
2025. Around the same period he was also producing Ping Pong,eventually released in 2024 through
Jorge Caiado’s Mad Luv Records. For a couple of years he has held a Saturday residency at the iconic
Mr. Bean’s, still playing regularly with the house band and moving freely between instruments.A lot of that openness leaks into Plane Of Existence. Tito started producing the album during 2024, often late after work, without looking for a clear destination. By 2025 the concept slowly revealed itself. Therecord became an ode to Karlheinz Stockhausen, Manuel Göttsching, and to the modern ambient scene, while carrying traces of jazz, hip-hop and dub throughout its structure.
Repress 2026
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.
Natural Goofy makes his debut on Unearthed with a raw four-track vinyl cut shaped through analog machines, instinct, and lived moments across Europe and Asia. From late nights in Barcelona to concrete mornings in Berlin, Early Hours EP captures warmth, tension, and that fleeting energy between movement and memory.
Now based in Spain and running Planka Records, Nando delivers a sound that is dry, emotional, playful, and deeply human — no plug-ins, no edits, just hardware and moments recorded as they happened.
Experience the music of Hans Zimmer like never before with this limited collector’s edition 2× color laser-etched vinyl. Featuring highlights from the acclaimed “The World of Hans Zimmer” albums, this premium release combines Hans Zimmer’s iconic music with cutting-edge vinyl design—an essential for collectors and fans alike. The set includes 10 electrifying tracks across the A-sides of two vinyl records, housed in a high-quality gatefold sleeve. The B-sides feature stunning laser-etched artwork instead of audio: a detailed clockwork design on one disc and a cosmic landscape on the other. These unique engravings reflect light across the full spectrum of colors, creating a stunning rainbow-like effect that changes with every movement of the vinyl.
This exclusive edition presents concert suites for orchestra, choir, and the legendary soloists of Hans Zimmer’s band, specially arranged by Hans Zimmer. Each suite reimagines the original film scores in a powerful new symphonic form. The album features excerpts from concert suites based on: Man of Steel, Wonder Woman, The Dark Knight, The Rock, Pirates of the Caribbean, No Time To Die, The Lion King, Gladiator, Interstellar, and Inception.
Performed by world-class musicians, including long-time collaborators such as Lebo M, Lisa Gerrard, and Pedro Eustache, alongside the Odessa Orchestra & Friends (conducted by Gavin Greenaway), the Vienna Radio Symphony Orchestra (conducted by Martin Gellner), and the Nairobi Chamber Chorus. A visually stunning and sonically powerful collector’s vinyl release—perfect for fans of film music, audiophiles, and Hans Zimmer enthusiasts.
With Picture About You, Recut opens a new chapter, blending the heritage of house music, acid textures and underground electronic culture into a contemporary vision for today’s dancefloors. Rooted in the essence of club culture, the EP explores hypnotic grooves, evolving patterns and the timeless dialogue between the DJ, the sound system and the crowd, where emotion, movement and energy become a universal language. The title track, “Picture About You”, reflects Recut’s artistic identity through the lens of his personal history and family roots. An important part of this story comes from his uncle, known as Mr. Steve, who in 1975 founded one of the pioneering independent radio stations in Southern Italy during the early years of independent broadcasting. His connection with radio, disco culture and the first generation of Italian clubs embodied a spirit of discovery, sharing and musical exploration that continues to shape Recut’s approach to music.
Musically, “Picture About You” unfolds through a hypnotic and emotional groove, blending old-school character with a contemporary perspective. A timeless club track where past and present come together in Recut’s own musical language. “Hey Jack” is a powerful dancefloor weapon driven by unstoppable grooves, hypnotic acid lines and captivating arpeggios. Built for peak-time moments, it pushes the energy forward with a relentless rhythm designed to ignite the crowd.
“Subwave” takes the journey into a deeper and more massive dimension. Driven by powerful low-end pressure, evolving dynamics and explosivetransitions, the track builds tension throughout its progression before releasing its full impact on the dancefloor. Closing the EP, “Neon Flux” delivers the final impact: fierce, electric and uncompromising, a track designed to push intensity beyond the limit and leave a lasting impression. Recut Music — Fun for DJing!
LAKEJ returns to Eclectic Limited with Scan and Survey, his first solo EP for the label. Across the release, hypnotic rhythms, deep techno textures and finely tuned electronic atmospheres come together in a focused study of movement, space and sound. Following his previous appearance on Eclectic Limited, LAKEJ takes the project into a more personal direction, delivering a precise and immersive set built for both the dancefloor and deeper listening.
"After a couple of years shaping her sound in the studio, Budino lands the "Signal EP", a record that grew out of the desire to make music for her own sets. Citing the journey she aims to create in the club as a key inspiration, she certainly put in the mileage, with a booking schedule tirelessly spanning all points of the compass. Although this is her first label-released original record, it's no novice effort: ALT027 shows a confident artist, fully in control, with a distinct vision and the technical expertise to bring it to life. On opener "Stay More", a trippy trance rendition, the sturdy kick and distorted sines leave ample room for mid-bass acid lines to roam freely. In its company, a myriad of risers, gated white noises and delayed fills appear - signifiers within the artist's palette, as will become apparent. "Wireless" features similar crafty sub movement, but this time the drums are infused with conga patterns and other exotic slices of battery. Because of the zest these rhythms bring, the track can keep building for several minutes until a synthesised lead emerges. When that finally happens, the affair really takes off. On the other side, "Alpha 7" rides the call-and-response dynamics between different formant and deep-vibrating leads, its shimmering arpeggios and atmospheric pads adding colour. Closer "1031" provides an organic touch with its live guitar bass pulse and enigmatic, eerie vocals. Amidst ever-evolving micro-frills, a sturdy square lead thrusts it forward. The groove, again, is endlessly seductive. This characterizes Budino's skilled approach: it's often so hypnotic it feels unclear whether the themes materialise from the surrounding, seemingly fluid compositions - or dissolve into them. In any case, these are multi-dimensional cuts you will love getting lost in on a nearby dancefloor."
Palms Trax returns to production with his first release since 2019. The first single off his upcoming 2 track EP 'Soft Trance, Hard Gossip' is a journey through bold basslines, ear tingling acid lines and hopeful synth lines. It feels measured in its temperament for a listen on the bus home whilst punchy enough to earn its place across festival and club sets this summer. The title track Keys To A Printed Garden captures him at his best, moving deeper into a lush, melodic setting that stretches beyond the dancefloor while never fully leaving it behind. The track is built around warm deep house grooves, hazy nu groove textures and subtle IDM notes. The record unravels with a dreamlike smoothness. Swirling synth work, jazz-inspired saxophone lines and soft lo-fi textures give the record an immersive, almost weightless quality, while moments of glitch and ambient drift push it into more experimental territory. Even at its most reflective, steady percussion and rolling grooves maintain a subtle club-rooted pulse, balancing emotional depth, introspection and atmosphere with movement, rhythm and understated precision.
LOK Black welcomes Strack with Voices Within EP, a deep and hypnotic journey through refined minimal grooves, subtle textures and intricate rhythmic details.
Across the release, Strack delivers a sophisticated and immersive sound, balancing stripped-back percussion with atmospheric elements and a steady, rolling groove. The EP is joined by Crihan, who brings his own distinctive touch to the remix, adding another layer of depth and movement to the release.
A carefully crafted vinyl release for those who appreciate deep, hypnotic and timeless minimal sounds.
Rakete returns with its fourth release from Minneapolis-based producer and DJ, Baher.
The Cairo-raised artist has spent years carving out club-focused hardware-driven sounds that drift between different shades of techno, house, and the spaces in between, drawing inspiration from old school rhythms, underground culture and distant memories.
The artist’s debut EP on Rakete, Fragments, is a reflection of those moments. From the desert winds of Cairo to the intimate warehouse raves of Minneapolis, each track from the founder of Rakete carries an emotional imprint and raw energy onto the dancefloor, shaped by the artist’s diverse and wide-reaching influences that feel distant yet familiar.
Fragments EP is the founder's first complete body of work stitched together with precision through classic drum machines and old school synthesizers. Music full of soul, movement, and energy, made for the dance floor.
Dublin deep house fixture Glenn Davis returns with four tracks steeped in the smoked-out warmth of classic Chicago and New York house music, though there's enough personality here to stop things drifting into pure revivalism. 'The Journey' opens through supple drum movement and glowing Rhodes figures that unfurl lazily across the groove, as little chord flourishes flicker at the edges like light catching dust through half-drawn curtains. 'Love Is' softens the mood further through hazy vocal vapour and richly upholstered keys that melt gently into the rhythm. On the flip, 'Free Your Mind' introduces firmer rhythmic pressure without disturbing the record's low-lit sensuality. 'Da Jazz' closes things beautifully through brushed percussion and featherlight piano motifs with a rolling swing that feels most elegant in its looseness. Very classy deep house, this.
The mission is complete.
With the landing behind him, the astronaut begins spreading the sound of Planet Tapes across the planet.
What was once a distant destination is now alive with sound, light and movement. The music starts to travel, bringing different identities, energies and visions together on the same frequency.
Signals of Unity captures this exact moment: four artists, four different messages, one shared destination.
A1 – Mirko Felicioli – Sin City
Mirko Felicioli opens the record with a strong and distinctive statement, built around tension, groove and a sharp sense of movement.
A2 – Mathi – Starship
Mathis continues the transmission with Starship, a cut suspended between movement, imagination and futuristic drive.
B1 – Two Opposites – Tormento
The label captains return with Tormento, combining energy and emotion in a track built for movement, while keeping their unmistakable approach to electronic music.
B2 – Ginno – Void
Gianko closes the record with Void, a deep and evocative final passage that lets the signal drift beyond the dancefloor.
Four artists. Four signals. One planet.
The music has spread.
The people have gathered.
The party has begun.
Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.
DJ Feedbacks :
Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!
A new pandemic is making its way to you—from New York to Berlin. A bond destined to last for centuries, this release carries that same timeless energy.
Deep bass, hypnotic rhythms, and subtle percussion come together, pulling you deeper and deeper into the progression. A journey built on tension, movement, and atmosphere.
EPILOGUE is the culmination of more than four decades of music-making by Japanese composer, producer and multi-instrumentalist Ken-ichiro Isoda, an album in which environmental sound, electronics, contemporary classical composition and memory converge into a deeply personal late-career statement. Isoda moved through video-game music, film composition, classical production, Okinawan music, television and collaborative projects, continually developing an approach in which acoustic instrumentation, field recordings and electronics could coexist naturally.
His collaborative album Interwoven with aus, released through WRWTFWW, further demonstrated the openness of a musical philosophy Isoda describes as being rooted in fluctuation, imperfection and organic movement.
EPILOGUE brings those threads together while refusing to function simply as a retrospective. The album consists largely of older compositions that Isoda has returned to, reconstructed and reinterpreted from the perspective of the present.
Opening track “TANEKOMA” refers to the Izu Robin, a rare bird native to Hachijō-jima, the volcanic island where Isoda lives. Its song, recorded by Isoda in the mountains, becomes part of the composition itself. Placed at the beginning of the album, “TANEKOMA” becomes both document and prayer.
Elsewhere, “Circulation 2” develops from a work created around the relationship between forest, sea and the movement of water. Flutist Dogen Kinowaki replaces Isoda’s original piano melody with a performance that gives the piece a distinctly Japanese sense of place. Kinowaki also appears on a newly reimagined version of “Beach of the Pliocene”, one of Isoda’s most recognised compositions.“STEPS”, first composed for film in 2008, looks back toward the electronica of that period. For this definitive version, Tsutomu Sonoda of maya ongaku provides vocals, bringing new emotional and lyrical depth to a piece Isoda had wanted to properly complete for more than a decade.
The title track from Isoda’s 1991 New Age album “Yume no Sazanami” is similarly reconsidered. Originally recorded with a small chamber orchestra, the new arrangement replaces elements of the harp and cello with layers of nylon-string guitar performed by Tatsuro Murakami. Perhaps the album’s clearest meeting point between past and present is “WATERWAYS.”The mysterious European ambient artist Aiko Takahashi, transforming an abandoned demo into what is simultaneously the oldest and newest work on the album.
“A Flowering Tree,” written for film in 2013, is reconstructed around multi-tracked flute performances by Dogen Kinowaki. Isoda carries that association into his own arrangement, allowing the piece to function as another quiet meditation on memory, loss and hope.
The album closes with “EPILOGUE” —less a grand conclusion than a moment of acceptance. Isoda chose it as the album’s title piece to hold what he describes as the complex emotions that accompany the twilight of a life spent making music. EPILOGUE is not simply a look back. It is the sound of older music continuing to move, change and breathe in the present: a lifetime of ideas distilled into Isoda’s own form of pure music, shaped by memory, collaboration, nature and the world immediately outside his home on Hachijō-jima.
Soft Resonance is a 4-track EP focused on deep, driving techno with a strong sense of space and movement. The tracks are built to work on a system — controlled pressure, solid low end, and evolving atmospheres.
Each piece moves between elevation and grounding: moments of lift and openness contrast with dense, earth-bound grooves designed to lock the floor in place.
Rather than peak-time aggression, the EP relies on tension, resonance, and gradual progression. Rhythms are steady and hypnotic, allowing DJs to shape long blends and transitions. Soft Resonance functions both as a tool and a statement —
deep techno for late hours, focused rooms, and careful hands behind the decks.
Spain's celebrated deep house outlet Mate comes correct again here with an EP that deals in rich musicality and mature emotions. HITTO aka Alberto Alba is the Mallorcan producer behind the music and his childhood love of jazz really shines through. Opener 'Beyond Words' has singing synths that speak to the soul with lovely ambient chords. Then, 'Take Me Away' brings groovy percussion and cosmic synth transmissions that make it feel all the more profound. Glenn Underground is the perfect remixer to dial up the sunshine with his astral rework of 'Beyond Words' before 'Swish' shuts down with a mix of smeared chords that radiate sun over a grittier bassline. Four accomplished cuts.
Shadowy Detroit duo The Fantasy continue to offer up "secret mixes fixes" - high-grade, sonically spectacular re-rubs inspired by the original reel-to-reel re-edit era and the now iconic DJs behind the movement (Ron Hardy, Danny Krivit and Larry Levan included). The Motor City twosome kick off volume 5 in their ongoing series with 'Working Girl', a throbbing, San Francisco style electro disco workout peppered with spacey synth riffs, before turning a Bay Area drum machine workout into a breathless peak-time percussion-fest. Over on the reverse, 'On Fire Warp' is another percussion-laden revision of what sounds like a post-punk era industrial funk gem, while 'Lovefingers' is a break-driven translation of an ancient psychedelic rock workout.
As the thirteenth release on Guy J's Early Morning imprint, this three-track collection unfolds across 25 minutes and 9 seconds, exploring movement, emotion, and introspection through three distinct yet interconnected works.
The release opens with Secret Serv1ce, an uncompromising statement driven by a commanding beat, layered percussion, and psychedelic textures that blur the boundary between reality and abstraction. Its hypnotic momentum earns attention, reaffirming Guy J's command of both studio craftsmanship and musical skills.
At the centre of the release lies Placebo, the collection's longest work. Across nearly eleven minutes, it balances ethereal atmospheres with a meticulously engineered groove. Delicate electronic textures gradually give way to an irresistible melodicmotif that transforms the track's emotional landscape.
Closing the EP is My Existence, an intimate exploration of identity that reflects both the artist familiar to audiences around the world and the quieter dimensions hidden beneath the surface. Synthesizer interplay and forward-looking sound design converge into a navigation through unexplored emotional and sonic terrain while connecting memory, imagination, and rhythm into a unified whole.
With EARLY013, Guy J demonstrates how electronic music can remain both intellectually engaging and physically compelling, inviting listeners to lose themselves on the dance floor while discovering something deeper within the process.
Hanne Lippard and Renato Grieco's Today's Special is a suite of language works synthesising melody and diction that integrates the literary and the audible in a repertoire of songs that bask in the melody of voice and the punctuations of structured composition. Working with methods of reduction rather than opulence in both tonal composition and rhetoric, each piece pegs the poetic to the musical with compositional schematics and methods. It is important to state that there is little to none improvisation here, instead, the duo set up matrices, rules and structural links that facilitated meaningful locus of exchange between their two practices. Lippard's texts are a collection of new and previously completed works. In these, as is typical for her work, she enjoys the easy pleasure of wordplay, iterative language, and decontextualised anecdote, as in opener Portrait of a Betrayal, a piece about the loss of a phone and the way it haunted the owner who dropped it, based on a lived experience. Grieco's instrumentation works with Lippard's language art as a form of acoustic typography. "I studied graphic design and I think about how you can express typography through voice," she says. "Renato's use of the viola da gamba becomes like an underline, or a font's brushstrokes, in ways that feel typographical." In this, the classically-trained composer Grieco often finds and echoes the pitch movements of Lippard's voice, intonation mirrored and revealed, linguistic meaning doubled and shadowed by plucked, strummed or bowed strings. His main instrument is the viola da gamba, the instrument considered closest to the human voice for its tonal range and ability to mimic inflections and timbre, and here he brings it even closer to the voice, building systems by which it moves with and around Lippard. He also plays piano and Wurlitzer, and joins her in speaking on Receiver and in conversation for final track The Black Rose. "Hanne's voice is an artist's voice, embodied as the artwork itself," he says. "But where my approach is from the perspective of a composer, hers is around rhetoric and language. We worked towards each other in this sense, Hanne finding a space to welcome my voice, and me designing an acoustic space to enhance her vocal persona." In some tracks the structural connections are obvious - the matched tumbling delivery and stepped pitches of voice and piano in Aficionado sounding like two tipsy friends descending a staircase. In others, like the triptych of tracks Three Rungs Ladder, structured with rules derived from nursery rhymes, or cumulative song (akin to the 12 Days of Christmas). For the Colour 1 and Colour 2 pieces, the duo worked from palettes of colours connected to clusters of harmonies, which underlined the power of the word and its articulation. The absurd Labradorable personifies a people pleaser, A Story About Being Blue is an imagined playful monologue from the Deep Blue supercomputer - requesting in sing-song stop motion to be called Debbie, and Larry - as Grieco echoes in factual reportage. Hurtbeat unpacks and recomposes a tweeted non-apology by a Russian art collector about owning a piece of racist art, Grieco shadowing Lippard's generating a third `drop-shadow' performer from the resonances between the duo, typographic re-articulation of the source material. The Receiver includes lines from Robert Ashley's Improvement (Don Leaves Linda), Ashley existing as a spiritual parent of sorts to the practices contained on Today's Special, and here interpolated as if he is being quoted and written through within the audible world of the piece in a palimpsest of borrowed sentences. Closing track The Black Rose contains its own self-aware comedy, a lightly distorted conversation sourced from a Reddit thread about whether black roses exist, recorded as if it were an internet radio or a low budget podcast, the casual exchange stilted in the delivery of platitudes as scripted speech. Today's Special was developed in person over the course of a series of small residencies - at Deutsche Akademie Rom Villa Massimo, Rome; Fondazione Morra, Napoli; Callie's, Berlin. In these limited periods that rarely stretched beyond a week, Lippard and Grieco developed strategies for the works, keeping tightly locked to musical concepts. This, for Grieco, is about maintaining a solid, meaningful connection within the compositions, and committing to everything having a purpose for existing within the work. Each element pulls its weight; has something to say, literally and metaphorically speaking. In the same way that Lippard's work leaves nowhere for her to hide, he wants the music to exist with its own naked purpose: "It's is about exposing nudity via reduced materials," says Grieco. "This is a form of courage we want to embrace. Once we take off everything, it needs to be extremely precise to maintain a connection with the audience. We have a lot of tools to hide behind now, to protect ourselves and our identities as artists, performers, and in life more generally. It's something I don't want to do. I want extreme reduction: no hiding."
Match Box continue an unstoppable run of form. Following their 2026 12” on Neptune Discs and relentless support from Job Jobse, they link with Amsterdam’s Mixolydian for a summer-closing split that marks their debut on the label. The record brings Mixolydian’s slick tech-house sensibility together with Match Box’s vibrant prog palette.
Played by Peach and Gabrielle
Kwarteng during their b2b at Junction 2, the A1 pairs catchy vocal cuts with a relentless, festival-ready groove — while Bliss Inc. joins the ozone on remix duties on A2 with a heads-down, tunnelling dose of wormhole prog.
The B-side is built for movement. ‘Go’ locks shuffling hats, alien bleeps and whispered fragments into a restless club groove. The B2 is pure vortex prog: warm trance pads, a hypnotic inward pull and a huge, ecstatic breakbeat that arrives out of nowhere at the breakdown.
Four club tracks spanning vibrant prog and heads-down pressure. Limited edition 12” and digital.
Blending shimmering disco grooves, warm analog synths and soulful vocals, Luna Soul bring together the elegance of the 70s and 80s with contemporary disco pop. Formed by German singer Lisa Michèle Lietz and Spanish guitarist Jordi Arnau Rubio, the band creates music that feels equally at home on the dancefloor and during a quiet drive home after midnight.
Following the release of their debut album „First Move“ (2025), Luna Soul have established themselves as an internationally touring live act, performing more than 50 concerts each year across Germany, Spain, France, the Netherlands and Denmark. Airplay and features on radio stations including Deutschlandradio Kultur, Radio Eins, NDR and Bayern 2 introduced the band to a growing European audience.
With their new album „Second Nature“ Luna Soul expand both sonically and emotionally. Written between tours and shaped by constant movement, the record explores themes of change, longing, resilience and the search for genuine connection. Ten new songs unfold like scenes from a midnight movie. Synthesizers, guitars and soulful melodies accompany stories of long journeys, quiet conversations, fading memories and the hope found in new beginnings. The album’s first singles, “Only Human” and “Down The Line” capture the two emotional poles of the record. „Only Human“ embraces vulnerability and acceptance with an uplifting warmth, while „Down The Line“ moves through nocturnal cityscapes, combining cinematic intimacy with the pulse of the dancefloor. Together they introduce an album that feels equally suited to solitary late-night drives and crowded dancefloors.
Live, Luna Soul perform as an multi-national four- to six-piece band, seamlessly moving between disco, sophisticated indie pop, yacht rock and atmospheric slow-burners. Their performances combine musical precision with emotional immediacy, inviting audiences into the same cinematic world that defines „Second Nature“.
„Second Nature“ defines Luna Soul‘s most mature artistic statement to date, a record less concerned with nostalgia than with preserving fleeting moments before they disappear.
Shape of the Unknown’ is kind of a double LP that fully embraces the idea of exploration. It is CHLOÉ’s most expansive and immersive work to date. ‘Shape of the Unknown’ is CHLOÉ’s fourth proper studio album. Its predecessor, ‘Endless Revisions’, was released in 2017. Nine years have passed. Nine years during which CHLOÉ has continued digging for music, DJing at internationally renowned clubs and festivals including Rex Club, Robert Johnson, Panorama Bar, Nuits Sonores, Glastonbury and many more, releasing EPs and remixes, while also allowing herself the time to explore entirely new creative paths.
The challenge is to capture the unknown, make it her own, endlessly reshape its textures, and ultimately preserve its mystery.
The first single ‘Drifter’, released back in June, already offered a striking glimpse of the sonic territories the album would venture into, driven by its hypnotically contoured basslines. The album's two other singles offer different windows into her world. 'Shapeshifter' captures CHLOÉ at her most hypnotic, balancing stripped-back techno and melodic house through deep rolling grooves, expansive bass chords and subtle rhythmic shifts that constantly reshape the listener's perception without ever disrupting the flow. Later, 'Repeating The Obvious' takes a more leftfield route, pairing staggered rhythms with retro-inspired harmonics and an understated indie dance pulse that feels simultaneously familiar and unpredictable.
CHLOÉ has ventured into live performance through new formats, notably alongside percussionist Vassilena Serafimova; immersed herself in film scoring with soundtracks for Paris la Blanche, Arthur Rambo, The Mountain, Blanquita, Guru and Unsubmissives; and developed compelling collaborations, from High Season, her project with Ben Shemie of Canadian band Suuns (which resulted in the album The Call), to her own organic, experimental audiovisual performances under the name Slo/Mo AV.
Throughout Shape of the Unknown, CHLOÉ blurs the boundaries between deep house, hypnotic techno, electronica and cinematic sound design with remarkable fluidity. The album unfolds as a continuous narrative rather than a sequence of tracks, moving effortlessly between beatless ambient passages, rolling analogue grooves and emotionally charged club music. Organic percussion, sweeping bass movements, melancholic harmonies and richly textured synthesisers create a body of work that constantly evolves, where no section feels static and every transition reveals another layer of depth. There is an unmistakable warmth running through the record, with grainy analogue textures and spacious production giving even its most driving moments an intimate, almost tactile quality.
The album’s title is no coincidence. It evokes a form that has yet to be named, something language itself struggles to grasp. CHLOÉ approaches it through an organic creative process. Each piece must first be performed in the studio, almost as if it were being played live. The album will be followed by a series of live performances and DJ sets, including a show at the Olympia on March 18, 2027.
She is joined by a handful of steadfast collaborators. Jazz trumpeter David Enhco appears on two tracks, ‘Undertow’ and ‘Inner Bass’. But above all, there are the voices: Ben Shemie lends his unmistakable presence to the radiant ‘More Than Just a Feeling’. Olivia Merilahti, singer, songwriter and one half of The Dø, appears on the otherworldly ‘TWYR’. Working with Olivia’s already hypnotic voice, CHLOÉ has approached it like a sculptor, enhancing its strangeness and dreamlike quality.
And finally, impossible to miss is the instantly recognizable voice of Kittin. A longtime accomplice, she lends her distinctive phrasing to CHLOÉ’s music here for the very first time. The strongest collaborations are often those that take their time, arriving only when the moment is right. Same kind, same bass, same vibe, same pride.
The result is an enigmatic, nocturnal record, drifting between introspective listening and dancefloor functionality, revealing an artist who remains far more interested in atmosphere, movement and emotional storytelling than conventional club structures. It is an album that invites us to dream more deeply and to dance again, both within ourselves and out in the open.
BATTISTINO, the artistic alias of Marco Battistini, is an Italian musician, songwriter, producer and DJ. His project is rooted in the meeting point between Italo Disco, French Electro, late-’70s Disco Music and Italian pop culture, reinterpreted through a contemporary vision that avoids nostalgia in favor of a distinctive sonic identity. His main influences include the aesthetic vision of Daft Punk, the musical freedom of Daniele Baldelli’s Cosmic Sound, the international disco movement of the late 1970s, and the golden era of Italian Italo Disco, with a special admiration for Righeira. His productions combine driving synth grooves, pulsating basslines and immediate melodies. Gritty electronic drums, saturated synthesizers and subtle harmonic distortion deliberately break away from the polished sound traditionally associated with classic Italo Disco. The result is a more physical and textured sonic palette that preserves the melodic elegance at the heart of the project. BATTISTINO’s visual identity follows the same philosophy. Elegant, reserved and almost bureaucratic, he prefers to remain behind the scenes rather than at the center of attention. More than a performer, he acts as the curator of a sonic archive, where every track represents a fragment of a larger story.
“Il Segreto” is the opening chapter of a conceptual trilogy inspired by an affair that was never revealed, set on the Italian Riviera in the early 1980s. Rather than telling the story itself, the project explores what remains: silence, forgotten details, invisible traces and memories suspended in time. Music, visual design and imagery all become chapters of the same narrative. Every release is a new file, every track a recovered document, every production another fragment of a story that will never be fully disclosed. BATTISTINO doesn’t tell stories. He preserves them. And, from time to time, he allows part of them to surface.
X Clan emerged from Brooklyn, New York as one of the most distinctive and politically charged groups of the early 1990s. The original lineup, Anthony “Sugar Shaft” Hardin, Claude “Paradise” Gray, Jason “Brother J” Hunter, and Lumumba “Professor X” Carson, became the driving force behind the Blackwatch movement, a collective that also included artists such as Lin Que aka Isis and Queen Mother Rage.
Renowned for their Afrocentric vision, militant activism, and unmistakable sonic identity, X Clan quickly rose to prominence. Their 1990 debut album To The East, Blackwards sparked both acclaim and controversy, reaching No. 11 on Billboard’s Top R&B/Hip-Hop Albums and No. 97 on the Billboard 200. The record delivered several standout singles, including “Heed The Word Of The Brother” backed with “Raise The Flag”, “Funkin’ Lesson” backed with “Shaft’s Big Score”, “Grand Verbalizer, What Time Is It?”, and the funk-driven, sample-heavy track “Verbal Milk”.
The group’s original formation dissolved in 1995, and tragically, both Sugar Shaft and Professor X passed away later that year.
To The East, Blackwards is now reissued on vinyl for the first time since 1991, honouring one of hip‑hop’s most influential and culturally resonant albums.
A State Of—Trance 25 Years - The Official Anthem Collection celebrates a quarter century of one of electronic music’s most influential movements, curated and driven by Armin van Buuren.
As the visionary behind A State Of Trance, Armin has shaped the global trance community through his radio show, events, and unmistakable sound. This definitive collection brings together, for the first time, the best of the official ASOT anthems, tracks personally championed on the world’s biggest stages and synonymous with unforgettable festival moments. From euphoric climaxes to deeply emotional journeys, these anthems trace both the evolution of trance and Armin van Buuren’s enduring influence.
More than a compilation, this release is a tribute to 25 years of leadership, passion, and connection on dancefloors worldwide.
For twenty-five years, A State Of—Trance has united trance lovers around the world, evolving from a radio show into a global movement and one of the most influential brands in electronic music.
To celebrate this remarkable milestone, Armin van Buuren presents A State Of—Trance 25 Years - Selected Highlights, a special mix featuring a personally curated selection of ASOT tracks that highlight some of the biggest moments, memories, and milestones from the past quarter century.
Bringing together timeless classics, scene-defining anthems, and exclusive new interpretations, the mix also includes brand-new remixes of beloved ASOT favorites by some of today’s most exciting trance artists, including Andrew Rayel, ReOrder, Matt Fax, and Dan Harrison.
Honoring the past while embracing the future, A State Of—Trance 25 Years - Selected Highlights is a celebration of the music, artists, and global community that have shaped the journey—twenty-five years together, all united by one sound: A State Of—Trance.
CFUNK 050 is presented as a special collector edition commemorating the 50th Cyberfunk release. The package celebrates more than two decades of the label's music, artwork and visual identity.
The accompanying booklet brings together artwork from across the Cyberfunk catalogue, including labels from some of Quest's biggest and most memorable releases, alongside a personal retrospective from DJ Quest looking back at the creation of the label, the artists who shaped it and the journey back to vinyl.
Dedicated artist pages introduce DJ Quest, Paket, Destroyers, Code BreakerZ and Groovebox, connecting the artists behind release 050 with the wider story of Cyberfunk and the international breakbeat community that continues to support it.
More than simply a four-track 12", CFUNK 050 is designed as a physical celebration of Cyberfunk: its records, its artwork, its artists and the people who have kept the sound alive.
Cyberfunk reaches release number 50. To mark the milestone, DJ Quest opens up the Cyberfunk archives for a special four-track vinyl release featuring new interpretations from Paket, Destroyers, Code BreakerZ and Groovebox.
CFUNK 050 connects the label's original UK Bassline Breaks foundations directly with a new generation of producers. Each artist has been given the freedom to reinterpret classic Quest material in their own style while retaining the character, bass pressure and dancefloor attitude that made the originals unmistakably Cyberfunk.
From Paket's reworking of Muffled Mayhem and Destroyers' take on Cybanet, through to two very different versions of Back To The Old Skool from Code Breakerz and Tech House maestro Groovebox, the release moves across modern breaks, heavyweight club production and rolling groove-led territory.
It is both a celebration of 50 Cyberfunk releases and a statement about what comes next.
A1. DJ Quest feat. Yoof - Muffled Mayhem (Paket Remix)
Spanish breaks heavyweight Paket takes on Muffled Mayhem, retaining the attitude and personality of the original while rebuilding it for contemporary dancefloors with heavyweight drums, powerful bass and the polished low-end pressure that has made him a leading figure in the new generation of Andalusian Breakbeat.
A2. DJ Quest - Cybanet (Destroyers Remix)
Destroyers turns his attention to Cybanet, pushing one of Quest's darker electronic productions firmly into modern club territory. Futuristic electronics, heavyweight rhythm programming and serious dancefloor pressure meet the machine-driven character of the original.
B1. DJ Quest - Back To The Old Skool (Code BreakerZ Remix)
Code BreakerZ completely re-engineer one of Quest's defining tracks for a new generation. Their acid-tinged, hard-hitting approach injects fresh energy into Back To The Old Skool while keeping the hooks and attitude that made the original such an important Quest record.
B2. DJ Quest - Back To The Old Skool (Groovebox Remix)
Groovebox closes the release with a deeper, tech house, groove-led interpretation. Built around movement, rhythm and rolling dancefloor momentum, his remix takes the original somewhere different while preserving the unmistakable old-skool spirit at its core.
Tramp Records International proudly presents: The 1975 Baltimore Colts Glenn Doughty and his All-Pro Shake & Bake Band! In 1975 Glenn "Shake & Bake" Doughty Wide Receiver for the Baltimore Colts formed the Shake & Bake Band. Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history!
Doughty is a Detroit 'Motown' native and All-American from the University of Michigan, that was recently crowned national champion and the winningest college football program in NCAA History. Doughty and his four world-class athletic teammates formed the heart of the band. The Shake & Bake Band in the mid 70s played live at Baltimore's hottest Clubs with teammates in attendance on Monday nights after Shakin' & Bakin' their opponents on Sunday at Memorial Stadium. Doughty's sports hero was Muhammad Ali. He originated the popular Shake & Bake athletic movement scoring touchdowns. He recited Shake & Bake poetry like Ali to make predictions after games on local and national TV to celebrate Colts victories. His lyrics in his music were used to fire up thousands of his Colts fans and his teammates. Many fans felt the group sounded like WAR the popular funk group from California. Members of the Shake & Bake Band were: Glenn "Dr. Shake" Doughty #7, All-Time Colts leading Wide Receiver, producer, lead singer, congas and lyrics, Ray "RC Cola" Chester, All-Pro Tight End, Super Bowl Champion, Bass, Baltimore, Maryland, David "DT" White, Wide Receiver Lead Guitar, producer, sound technician. Buffalo N.Y., Lloyd "The Bullet" Mumford, Defensive Back Harmonica, Miami Florida, Freddie "Bones" Scott, All-Pro Wide Receiver on percussion, Grady Arkansas, and Bruce "Turn it Loose" Barnett, Drummer and shoe salesman. Randallstown, Maryland. This group of talented stars lead the Colts to its first ever three consecutive Eastern Division Championships.
Additionally to this 45 RPM single release, "Starflight Disco #1 Pt.1&2" has been featured on the "Can You Feel It Vol.5" compilation album.
Continuing his compelling exploration of dubwise pressure at 170, the relentlessly prolific Brendon Moeller returns to Samurai Music with six stunning demonstrations of purposeful minimalism and spatial intrigue. Arriving in tandem with a second EP of introspective meditations on Samurai sub label SAIBAI, Codebreaker finds Moeller's peerless run of shadowy broken dub techno yielding startling new forms as the upstate New York artist continues to mine a rich seam of inspiration.
There's a pronounced economy of sound exacted on Codebreaker that binds the tracks together aesthetically, taken to the furthest reaches of subtlety on 'Dorian Grey Frequencies' as filigree slithers of percussion skitter across a brooding surface of sub bass with little in the way of distraction. This approach allows the microscopic detail of Moeller's engineering to shine through, as every inflection and murmur crackles with lithe movement to give each track its captivating energy.
Fractured beatdowns creep into earshot on 'Static Possession', edging towards Gescom-informed B-boy structures head-spinning in cryo-stasis surrounded by the hum of machines from a distant future and punctuated with occasional bullet points of delay soaked acid. Even when the bass starts to snarl and the hi-hats start ticking faster on 'Interzone Pulse', they're managed with brutal precision and a narrative flow of anti-build-ups that maintains a nail-biting tension throughout.
The decision to lean into a stripped-back sound on Codebreaker shows the faith Moeller places in his particular interpretation of bassweight 170, as his jaw-dropping sound design speaks volumes with the most modest of lexicons in a dialect never heard before.
Following her foundational role in the early years of The Fall, and then the searing post punk of The Blue Orchids, as well as several tours serving as a backing group for Velvet Underground chanteuse Nico, Una Baines found herself starting 1985 without a band. Drafting together members of the all-female Beyond The Glass, and compatriots associated with her past projects, she entered the studio with a clutch of songs and a willingness to experiment. Separating the sides into “waxing”, for the more traditional songs, and “waning”, where the structures become looser and varied, the resulting album was the sole release on her Taboo Records and seemed quickly lost to time, but feels shockingly current in both feminist content, and freak folk execution.
It is a collection of influences that would emerge decades later in the wyrd folk movement, and Furia is not out of place at an intersection of Devendra Banhart and Meg Baird, but there was absolutely nothing like it in 1986. Upon release, Mark E. Smith famously likened it to Third Ear Band, having to dip back to 1970 for a touchstone. Songs like “Bridget of Ireland” could be traditional ballads from decades past, while “No Romance” is a lo-fi new wave hit waiting to happen. “Sheila/Beats My Heart” fashions The Velvet Underground as a feminist protest band, and “Ritual” plays out like all of the Motown girl groups banding together to tell the world that they don’t need a boyfriend to solve all of their problems. It all draws on sources that are so familiar, yet turns them upside down in a celebratory fashion. Is it freak folk? Pagan punk? Pastoral drone? It is all of that and so much more. It is the sound of a woman, and an artist, truly finding her voice, and it is both magical and compelling.
“Remarkably prescient and weirdly beautiful record. A creative, challenging and memorable companion, with a distinct voice and identity of its own: in turn playful, political and experimental. It's highly recommended.” – The Quietus
