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2026 Repress

Jack Stevens aka Sully has become somewhat of a cult figure in the jungle world with his output being in high demand. His work is unmistakable. It’s always true to it’s origins while simultaneously adding new takes and juxtapositions in palette and composition. A true artist that excels in his field.

Stevens returns to Astrophonica with Swandive, a body of work presented in dual energies - dark & light, body & mind, Yin & Yang. In Werk you’re put to the test physically as es- ki-like percussion stabs grab the attention and demand a response. A staple in Fracture’s DJ sets for the last year or so.

Poison demonstrates a side to Stevens’ production that is harder, meaner, cruder and all together more brutal than he is known for. The result is an infectious mix of venomous bass and corrupted drum breaks fit to kill any dance.

The title track Swandive begins to counterbalance the fierce energy and bring some harmony opening with calming strings and trademark icy melodies before elevating to an intense state of amen divinity that twists and turns in a story like fashion.

Memories completes the balance with euphoric bass stabs and emotional strings culminat- ing in a searing and conclusive anime-like solo. Some of Stevens’ most daring work. The cycle is complete.

Rain Dance is the debut album from Bristol-based producer Arcane, released on Over/Shadow. Across eight tracks the record explores atmospheric jungle, drum & bass and breakbeat influences, combining deep bass pressure with rich melodic detail and immersive sound design. The album moves between expansive, journey-like pieces such as “Nebula” and “Metropolis”, heavier dancefloor cuts like “Underground” and “Fear", resulting in a spacious but rhythmically detailed LP that balances classic junglist energy with a cinematic sense of atmosphere.

Innate launched out of Bristol in 2018 as an extension of a well-respected blog run by Owain K, and is now one of the more cultured outlets in the realm of advanced techno. This ninth 12" heads across the Irish Sea for a split EP featuring top heads Eddie Reynolds aka TR One and Americhord. The former goes first with the snappy drums and reverberating bass twangs of 'We Lost An Hour' before 'I'm Alone' zones out into more widescreen and far-sighted deep techno laced with malleable acid lines. Americhord then keeps it deep with the interplanetary 'Parallax', a supple, comforting cocoon of synth and bass warmth before flipping into kicking electro territory on 'Sub Level'. Proper classy tackle.

DJ Support: Danny Krivit, Brian Tappert, John Morales, Craig Charles, Dr packer and more

Italian producer Corrado Alunni returns to the 7-inch format with a high-caliber double-sider. The A-side, 'Black Pearl', is a masterclass in jazz-funk-house elegance, weaving warm Fender Rhodes melodies with vibrant flute and trumpet solos over a sophisticated, sun-drenched groove. On the flip, 'Turn It On' keeps the energy high with Alunni’s signature blend of infectious Rhodes riffs, chunky basslines, and dancefloor-ready drums. A must-have addition for fans of soulful house and nu-disco lovers alike.

Roman Flügel returns to Running Back with another chapter in an ongoing love affair between machine funk and dancefloor euphoria. Following a string of releases stretching from Garden
Party to the recent Dusty Jukebox EP, this latest offering continues a path that has become unmistakably his own.New Release Information

There are no dietary restrictions here. Just generous portions of basslines, rave signals, bleeps, and rhythm tracks, all layered with the kind of instinctive musicality that makes Roman’s productions feel both immediate and timeless. The spirit of early rave culture remains a guiding force, not as nostalgia but as a living source of inspiration, feeding into House music’s endless capacity for joy, surprise, and communal release.

As ever, the objective is simple: celebrate the moment. Preferably loud, preferably together, and preferably with plenty of icing on top

Undo & Casiowaves join forces to bend minds on their new EP “Chemical Eyes”. The Catalonian pairing, collaborators for the past five years, have built a body of work that’s conceptually rich and sonically sophisticated. The “Chemical Eyes” EP is a love letter to analog synths, taking us on a psychedelic trip through past and present, nostalgic but never mimetic.

Reality begins to warp the moment “Chemical Eyes” kicks in. The title track opens in post-punk territory, leaning into nostalgia both lyrically and sonically and with synth outro that lingers like a memory.

Parisian producer Chloé’s remix takes us firmly into the 21st century, chopping up the title track until it mutates into something more minimal and syncopated. This electronic take still retains the track’s post-punk mood, with contemplative loops and reverb-drenched guitar as we begin to move from the concert venue into the club.

B side “Trumpsky Beats” picks up the pace with neon-soaked synthwave that references the 80s synthpop icons in more than just name. Crisp, shimmering synths dance through warped bass lines and new wave drum patterns, creating a lush contrapuntal soundscape that thrives as much on nostalgic memory as it does on contemporary creativity.

Italo Brutalo’s remix amps up the intensity further with infectious snares and acid twangs. The German producer and synth enthusiast adds a tasteful complexity that pulls the EP fully onto the dancefloor.

Deeppa Records kicks off a new 7" series here that aims to pair emerging artists with established names from the label's artistic circle. The opening release introduces Tolyatti producer Pasadena with 'Vodichka Nice', a laid-back, groove-led gem that recalls 'Stepoing Into Tomorrow' era Donald Byrd with its seductive drums, squelchy slow-bass and soft-focus melodic wonder. It's already becoming a fave on the scene and on the reverse, respected producers Scruscru and Tony Lavrutz reshape the original with a remix that leans into deeper club territory, though keeps the bright melodies and inviting horizontal feel. Two sides, two moods, two essential cuts.

The Reflex has been back remixing on his multitracks again and if you have been out anywhere decent in recent times you might already have heard this one as it has been a favourite of those DJs in his inner circle. Finally, the unrelated rework of a legendary disco diva arrives on wax and dazzles from front to back. 'Lolita' has it all - the deft hi hats sliding above funky bass, a rhythm driven by busy piano chords and lung-busting vocal full of burning soul. 'Camels' rides funky, chunky drums and has more expressive tones this time in unison with an off-balance chord sequence and fluttering sax. Lovely stuff.

¿DONDEDOS is young dude/unc duo hailing from the Mission. Pascual Martinez (young dude) and BPT head honcho Jeremy Castillo (unc) have spent the last few years in the stu, cooking up this deep fried, groovin' 4 tracker. Fans of 2011-16 LIES and Future Times releases, “Biology" era Young Marco, Juju and Jordash, and the Wah Wah Wino crew are in for a treat.

In an era where literally every aspect of dance music is overly programmed and manicured, ¿DONDEDOS take a massively refreshing approach marked by true experimentation. All drums were recorded on the Roland R8, and the melodies were live played with a loose, jammy feel not felt on many electronic 12" releases in 2026. They're a jam band baby!!!!!

The fun starts with "Drifting Nowhere," a fried oddball deep house record with one of the year's most infectious basslines. Be ready for it to be on a loop in your brain long after the track has stopped playing.

2nd track "Dies Varos" was described by BPT fam Izaak from Loveshadow as sounding like "part of the Mediterranean touching Mexico." Ahhhhhhhhhhhhhhhhhhhhhh. (that was a deep relaxed sigh, not a scream for once!!!)

"Music for Patios" sounded pretty good on a walk and not on a patio so, just FYI, only a suggestion not a requirement.

Ender Noche Caminando features Diego Herrera (AKA Suzanne Kraft) on sax. In Jeremy's own words, this track features "oddball dancehall drums on the R8 with 80s synth pop dub melodic sensibilities."

The SuckaSide duo have tagged in label regular LROY once more for another irresistible blend of classics on this crucial new 7". 'Pacific Life' kicks off with a laid-back, deep and elastic fusion of a house classic and a rave staple, reimagining both as blissed-out warmth with instantly recognisable vocals and loon bird samples. On the flip, the beats become even slower and more swaggy, with sunny chords lighting them up and real Caribbean heat fusing with elephantine bass. These tunes are high-level blends that are playful and immediately effective but never cheap or obvious.

Diso Gram is based in Barcelona and deals in global disco, nu-disco and edits with in-house production from we don't know who, but we do know they're skilled in the studio. 'Bobby' is a life-affirming opener with proud trumpets and classic disco vocals before 'The King' taps into a funky bassline and slapping hits that all feel wonderfully live. 'Me Enciendes' brings more strutting disco house with massive claps and falsetto vocals that will take any crowd to a better place and 'Tropical' closes the account with a more subdued, early evening dub-disco builder with Afro flourishes.

Anyone lucky enough to have lived through the 90s will know that Coco Steel & Lovebomb were a key acid house duo who dropped early tunes on Warp and penned a number of underground anthems including 'Feel It'. Now they are back with new tunes on Coco's Disappear label and the remit, stylise, is wide. This EP opens with gentle breaks and dubby undercurrents on 'El Acido,' which has already become a favourite after its digital release. DJ Rocca remixes with a blissed-out energy and 'Our Thing' (named after Coco's new party in Hastings) then taps into a more expressive sound world with new age pads, affirmation vocals and dusty broken beats plus lashings of bass. A dub version of the same tune, named Dub Thing, closes down with aplomb.

London groover Sam Shelly plays everything from new jack swing to boogie, disco to soul, jazz funk to soulful house, and much of that feeds into his work in the studio. After outings on the likes of Midnight Riot, he now features on Soul Service Sabrosura with a new 7" full of love, life and soul. 'Spirit Love' is a life-enriching funk and jazz fusion with positive messages in the celebratory vocals, drama in the horns and killer groove in the drums and bass. On the flip, 'The Latin Strut' is a much quicker funk workout with shades of 60s styles and the narrative flow of a cop chase. It's a brilliant flip side to complete a gorgeous 45.

2026 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

Last year Ace Records were delighted to reissue The Brides of Funkenstein’s debut LP from 1978, “Funk Or Walk”. Featuring their hit single ‘Disco To Go’, this album put the Brides on the map and sold strongly.

Before sessions commenced for a second album, Lynn Mabry left the group before sessions commenced for a second album, leaving Dawn Silva alone at the altar. George Clinton added P-Funk backing singers Jeanette McGruder and Sheila Horne to the mix, creating a three-pronged vocal attack.
Sessions featured the cream of the P-Funk players including keyboard wizard Bernie Worrell, bassist Bootsy Collins and guitarist Garry Shider. The resulting album, released in 1979, was even better that their debut.

The title track ran for over 15 minutes on side one, showcasing the vocal and musical prowess of all concerned. Other tracks included ’Party Up In Here’, ‘Smoke Signals’, ‘Mother May I?’ and the gorgeous ballad ‘Didn’t Mean To Fall In Love’.
Although it did not spawn a hit single, “Never Buy Texas From A Cowboy” sold as strongly as “Funk Or Walk” and over time has been hailed as a classic P-Funk album.
With liner notes from Ace’s Ian Shirley, we are delighted to release it on orange vinyl and CD. You don’t need your mother’s permission to buy it either.

Ring Noord and Anetha connect on Everything Is Still To Come EP for Mama Told Ya



Ring Noord return with a five-track EP on Mama Told Ya, marking their first collaboration with Anetha and their first release on the label. Developed between studio sessions in Groningen and sustained time in the club, Everything Is Still To Come places their work in a broader context, moving between bass music, techno and rave, where instinct-driven writing meets a more direct sense of physical function.

Dieses Jazzensemble ist durch und durch skandinavisch. Schlagzeuger Emil Brandqvist stammt aus Schweden, Pianist Tuomas Turunen aus Finnland und Bassist Max Thornberg ist ebenfalls Schwede. Seit etwa drei Jahren bilden sie das Emil Brandqvist Trio – mit großem Tatendrang und großem Erfolg. »Falling Crystals« heißt ihr drittes Album.

Auch ihre Musik ist typisch skandinavisch: geprägt von unaufgeregten, meditativen Klängen und nordischer Melancholie.

Und obwohl man von einem Trio, das nach seinem Schlagzeuger benannt ist, eigentlich das genaue Gegenteil erwartet, zeigt Emil Brandqvist auf »Falling Crystals« ein weiteres Mal, wie gut musikalische Zurückhaltung klingt. Das hat er bereits mit seinen beiden Vorgängeralben »Breathe Out« (2013) und »Seascapes« (2015) bewiesen, für das der Schlagzeuger unlängst für den Echo Jazz 2016 in der Kategorie »Instrumentalist/in des Jahres international Drums/Percussion« nominiert wurde.

Neben all der Leichtigkeit und Stille des neuen Albums, darf aber nicht vergessen werden, dass es sich dabei auch um herausragende, starke Kompositionen handelt, in dessen Zentrum das Klavier steht.

Beim Emil Brandqvist Trio treffen technische Finesse und punktgenaues Zusammenspiel auf bildhafte, berührende und vor allem eingängige Melodien. »Falling Crystals« bleibt also lange im Gedächtnis – wie der letzte Skandinavienurlaub.

Rezensionen
»Emil Brandqvist scheint ein ausgeglichener Mensch zu sein, der mal ausgelassen und fröhlich daherkommt, aber auch seine nachdenklichen, leiseren Seiten hat.​ Jedenfalls versteht sich der Schlagzeuger darauf, mit seinem Trio heiter, schwungvoll, aber auch bedächtig aufzuspielen.​ In „Through The Forest“ hüpfen die Töne von ihm, dem Pianisten Tuomas Turunen und dem Kontrabassisten Max Thornberg so fröhlich, als hätten sie sich durch Hits von ABBA zu einem Tänzchen inspirieren lassen.​ Mit „Shine“ hingegen bringen sie eine kleine Melodie zum Strahlen, und die Ballade „Longing“ gewinnt durch ausdrucksstarke, stellenweise an Frank Sinatras Intonation erinnernde Klaviermelodien und ein klares Fundament von Bass und Schlagzeug Ausdruck.​ Zu dritt oder im Quartett mit dem Perkussionisten Martin Brandqvist verzichten sie auf virtuose Hochgeschwindkeitspassagen – ihre Stärken sind einerseits das gelassene Ineinandergreifen von Piano und Begleitung und andererseits die Fähigkeit, kurze und einprägsame Melodien abwechslungsreich auszugestalten.​ Mal greifen sie dabei auf minimalistische Variationstechniken zurück, mal setzen sie Brüche, gliedern in Abschnitte, setzen einzelne Segmente hintereinander.​ Im Eröffnungsstück „While We Are Here“ und dem abschließenden Epilog „The Oak Trees“ und „Early Spring“ unterstützt sie das Sjöströmska String Quartet mit flächigen Klängen und aufgefächerten Akkorden, während das Trio in „The Sea Begins To Freeze“ eher auf die Tradition der Minimal Music zurückgreift.​ Die im Titel angesprochenen Kristalle fallen nicht nur, sie funkeln auch.​« (RONDO, Werner Stiefele, 12.​03.​2016)

»Die wahre Schönheit zeigt sich hier nicht an der Oberfläche.​ Brandqvist, Turunen und Thornberg sind wahre Meister darin, elaboriert-komplexe klangliche Architekturen mit einer fein gezeichneten Gradlinigkeit zu entwerfen…Wunderschöne freigeistliche und anrührende Musik.​« (JazzPodium)

»Waren schon die beiden vorherigen CDs (s.​u.​) wertvolle Kostbarkeiten in Sachen Piano-Jazz, so kann das Album „Falling Crystals noch mal einen draufsetzen.​ Ein dermaßen relaxtes, zeitloses und Musikliebhaber aller Couleurs ansprechendes Album hat man selten gesehen.​« (sound&image.​de)

»Falls Ihnen der Name bekannt vorkommt: Vom schwedischen Emil Brandqvist Trio haben wir schon mehrfach geschwärmt, das wunderbare ›Seascapes‹ Ende 2015 gar zu einem Album des Jahres gekürt.​ Nun folgt mit ›Falling Crystals‹ der nächste große Wurf.​ Wieder gelingt es den drei Musikern, ganz simple Ideen zu Stücken von zerbrechlicher Schönheit und anmut zu formen.​ Mal klingt das Trio fast wie Popmusik, mal erweitert es sein Klangspektrum durch ein Streichquartett.​ Dann scheint die berühmte nordische Melancholie noch etwas stärker durch die beührenden Melodien.​« (Stern, 31.​03.​2016)

»Dem Schlagzeuger Emil Brandqvist gelingt mit seinem Jazz-Trio nun bereits zum dritten Mal ein gar nicht mal so einfaches Kunststück: hinreißend schöne, cineastisch ausgreifende Melodien zu schreiben.​« (dpa + Focus)

»Typisch romantische Brandqvist-Art: Eine eingängige Popmelodie wird von schwebenden Streichern unterstützt, fern von darüber gezogenem Pathos.​« (Jazz thing)

»Die klangmalerischen Landschaftsbilder des Trios …entwickeln einen hypnotischen Sog.​« (Hörzu + Gong)

»Erstklassiger Piano-Jazz.​« (In Music)

»Eine stilvoll und -sicher arrangierte Kreuzung aus Pop-Jazz und eingängiger Kammermusik.​« (Nordische Musik.​de)

»Dieses Trio besticht durch herrliche Melodien, welche tief ins Herz gelangen.​ Sounds welche man so schnell nicht vergisst.​ Es scheint als würden die Musiker ein Gemälde von unsagbarere Schönheit malen.​ Dieses Album sticht aus der Masse deutlich heraus.​« (Jazzdrummerworld.​de)

»Um es vorweg zu nehmen, mit Falling Crystals liefert das Emil Brandqvist Trio sein Meisterstück ab.​ Bereits in den letzten Jahren hat sich der Göteborger Schlagzeuger Emil Brandqvist auf vordere Ränge des europäischen Jazz gespielt, sein Trio steht für unaufgeregte, bildhafte und berührende Melodien und Sounds, die lebhaft in Erinnerung bleiben.​« (Medien-Info.​com)

Konzert-Reviews

Poesie- und Literaturfestival Bad Homburg – Lesung mit Max Moor:
»Unterbrochen werden seine Sequenzen vom Emil Brandqvist Trio, einer virtuosen großartigen finnisch-schwedischen Band, die mit magischen und häufig melancholischen Klängen, mit Jazz ganz eigener Prägung, den Inhalt der Geschichte aufgreift, intensiviert und weiterführt.​ .​.​« (Taunus Zeitung)

»Mit ihren besonderen Klangreisen hinterließen sie ein andächtiges und zugleich euphorisches Publikum, das die einzelnen Songs lautstark beklatschte…Einfach exzellent…mit seiner raffiniert gewürzten Lyrik des Nordens.​ Dieser teils magische Jazz bleibt in Erinnerung.​« (shz.​de)

»Klassisches Maß und große Kraft.​« (HNA)

»In die Musik des Emil-Brandqvist-Trios kann man sich wunderbar versenken und sich darin verlieren…« (Haller Tagesblatt)

Double vinyl reissue of Skullflower’s epochal “IIRD GATEKEEPER” album - the first time that this album has been available on vinyl for 30 years. In addition to the original LP this definitive and expanded edition includes extra and unreleased tracks taken from the recording sessions. For the first time all the tracks recorded by the band during this period can be heard together giving fans unprecedented access to material previously only available in the bands’ archives. Recorded in London in 1991 and released in 1992 on Justin “Godflesh” Broadrick’s HeadDirt label in 1992, IIRD GATEKEEPER established a worldwide reputation and following for Skullflower and convinced many who heard it that they had encountered nothing less than the best band on the planet. Arriving at the height of the “grunge” and the expansion of underground guitar “rock” into corporate America, IIRD GATEKEEPER had its roots deep in the UK noise and power-electronics scene. Guitarist Matthew Bower and bassist Anthony Di Franco were both graduates of the Broken Flag school of British noise making with their respective projects PURE, TOTAL and JFK. IIRD GATEKEEPER was Skullflower’s third album and was the first of the band’s albums to feature a consistent line-up throughout its production: Matthew Bower (guitar), Anthony Di Franco on (bass) and Stuart Dennison (drums). Recorded and mixed in four sessions between January and June 1991the tracks on this edition of IIRD GATEKEEPER shows the band’s new line up developing their sound, warping and evolving in real time. As such this edition of IIRD GATEKEEPER provides a unique document of the band in a state of transition, with the chemistry of the individual playing combusting in the studio to create a wave of astonishing creativity. IIRD GATEKEEPER is perhaps the definitive British underground rock album of the 1990’s – unique and never equalled. With this new edition Dirter Promotions allows Skullflower fans old and new to listen to this classic album as it was intended: spark up, crank it up and prepare to have your ears and mind blown

After more than a decade shaping dancefloors and curating sound, ROOTS steps into a new chapter with the launch of its vinyl imprint: ROOTS LTD, a platform dedicated to exploring the essence of “the sounds of Roots.”

The inaugural release comes courtesy of Gojnea76, delivering a refined four-track EP built with the dancefloor in mind. Drawing on the spirit of ‘90s tech house and memphis rap, the record blends solid basslines, groovy vocal cuts, and rolling pads into a cohesive and timeless journey.

With his unmistakable signature, Gojnea crafts a debut that feels both nostalgic and forward-thinking, a statement piece to mark the beginning of ROOTS LTD.

Slope114 are Dmitri SFC & Elise Gargalikis, a duo that makes their house music live from home in San Francisco. That lends it a rare musicality and melodic lushness that sit their work right up there with deep house forefathers. This outing starts with the slouchy goodness and endearing bass of 'Dystopian Blues', complete with aloof vocals that exude cool. The dub is even more pillow and smooth than the Mark Ambrose mix that brings a little more roughness to the drums but still locks into a hypnotic vibe. 'Emu 2' is a gentle rhythm with dusty pads and candle-lit chords for when slow-burn subtlety is prized over immediacy. Classy stuff.

The world of UKG is as fruitful as ever right now and someone who continues to make fresh moves in it is IsGwan, a Melbourne/Naarm-based artist adding his own twist to the classic template. London label Bad Parrot welcomes him for a series of bouncy and bright originals as well as some on-point remixes. 'Next To Me' has low-key groove that skates and scuffs along with a classic r&b vocal from Amber Ferraro, adding the sunshine. There's a slow, more bass-driven heft to 'All That You Want', 'On Your Mind' is sun-baked and blissed out and 'Feel Free' brings more adventurous synth work to a busier framework. Of the remixes, Harvey Sutherland brings his usual sun-facing synth sounds and Rich Ellis makes 'Feel Free' into a more dark and gritty low-end workout.

Released on Polydor in 1972, He’s Coming captures vibraphonist Roy Ayers at a creative apex, as Ubiquity’s sound settled into the blend of jazz improvisation, funk rhythm, soul harmony, and spiritual import that would define his work throughout the decade. Emerging at the start of the 1970s, the album reflects Ayers’s deepening move toward a groove-centred musical language rooted in soul-jazz and early jazz-funk. The vibraphonist, keyboardist, composer, and bandleader is supported by a core ensemble that includes Harry Whitaker on electric piano, organ, and vocals; John Williams on bass, with Ron Carter featured on ‘We Live in Brooklyn, Baby’; David Lee Jr. and Billy Cobham on drums and percussion; guitarists Sam Brown and Bob Fusco; saxophonist Sonny Fortune; and percussionist Juma Santos. Tracks like ‘He’s a Superstar’, ‘Sweet Butterfly of Love’, and ‘Fire Weaver’ embody the record’s mix of urban narrative, spiritual reflection, and deep rhythmic momentum — qualities that would later make Ayers’s catalogue a source of inspiration for soul, funk, hip-hop, and neo-soul artists.

As anticipation for The Rolling Stones’ Foreign Tongues album grows ever more feverish, the legendary band have served up another irresistible preview with the new single ‘Jealous Lover’. It’s the latest fantastic example of the Stones’ effortless ability to switch between styles, as they glide from the pop-rock dynamism of ‘In The Stars’ to this soulful groove featuring a captivating falsetto lead vocal by Mick Jagger.

Eloquent guitar detail by Keith Richards and Ronnie Wood is further enhanced by the redoubtable rhythm section of Darryl Jones on bass and Steve Jordan on drums and percussion, as well as the Stones’ longtime friend Steve Winwood on Rhodes and organ. ‘Jealous Lover’ continues the band’s lifelong love affair with R&B, as Mick delivers a “hands off” message to an over-inquisitive partner with such whip-smart lyrics as “You pray like a mantis, you’re emerald green”

Derek Kamm is the American producer behind the Kidislive project and brings more than two decades of experience.

The Long Island-raised DJ and producer has previously received support from the likes of Richie Hawtin, Marco Carola and Carl Craig, while releasing on Visionquest, but now hones his craft, combining influences from micro house, minimal and experimental. Fresh off a third outing on 8 Head Records, he is back on his own new label to explore more compelling grooves.

Opener 'Down To The Penny' has a lively carnival feel, with an excitable mix of shimmering synths and subtle guitar riffs bursting through the mix. Sweeping filters ramp up the scale as more delicate melodies hang in the air, helping to hypnotise the dance floor. There is plenty of sunshine in the rich, multilayered instrumental 'Never Stop Reaching', which builds through rousing chords and florid flute lines. Vocals arrive with an empowering message that will bring real rapture. The fantastic 'Dipper Fox' is a rugged rhythm with chunky bass and a muscular feel that's softened by wispy, swirling synths and soaring choral vocals. Last but not least, 'Shorty Circuitry' is a study in emotional soundscaping - a warm, effervescing brew with strings and breathy vocals, long-tailed chords and a sense of joy all swarming around a subtle bass guitar that moves things onward and upwards.

Bifu is a new curation project by Pirka that translates the concept of a gentle wind into a refined electronic signature.

Marking the label's inaugural release, Barut crafts an atmospheric, airy landscape where floating textures meet dancefloor weight.

By seamlessly weaving mellow synths and emotive vocals over the organic warmth of swooshing congas and groovy basslines, this debut defines a space where deep house feels entirely natural, refreshing, and moving as a gentle wind.

Rhythm Of Paradise captures the essence of modern Italian piano house with the "Ti Sento EP".
A coherent and refined project that blends radio appeal and club depth, all with a warm, Mediterranean soul and pure Italian House Vibe.

The EP opens with the title track, an emotional summer anthem built on a sensual Italian female vocal. Beautiful piano hook in the real Italo style & warm M1 organ bassline, are the foundation that makes this track a unique narrative experience keeping balance between radio-friendly immediacy and a solid timeless club presence.

From the emotional Ti sento going to the festive, sunny mood of "Mi Piace" on A2, where the energy is amplified by a more driving rhythm and piano melodies that celebrate pure joy. It's the EP's track designed to create a peak of collective euphoria on the dancefloor.

On B, Micheal’s partner in crimes St. David reimagines “Mi Piace” track on a tribal dub journey with an Ibizan soul, where the original vocal is deconstructed into echoes, the bass becomes hypnotic, and the groovy organic percussions keeps the floor moving and shaking. A version for emotive charm of early Italo house, evoking euphoric dancefloors, Calypso beach parties in the style of Palmares or Irma records.

Closing with B2. Ti Voglio and its seductive groove, and a refined afterhours atmosphere. It demonstrates how Italian emotion in house music can also be communicated through the power of few elements that hits your sensitive side. Sax atmosphere and deep dub groove capture the rhythm of the listener for this beautiful closing track.

A complete collection of Timeless Italo House journey for those that knows !

Written and Produced by Michele Lamacchia. Includes remix from St. David
Mixed & Mastered by St. David

(180gr) The 1980 solo album by legendary jazz bassist Isao Suzuki, who has earned worldwide acclaim, is set to be repressed in a new heavyweight pure clear vinyl edition! Created entirely by Suzuki himself through extensive multitrack recording, the album layers an extraordinary range of instruments, including double bass, Hammond organ, vocoder, Taisho koto, and erhu, together with his own vocals. Suzuki handled not only the composition and performances, but also the jacket artwork and liner notes, making this an extraordinary one-man album that literally brings together and embodies every aspect of Isao Suzuki.

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

There was a regrettable time in Turbo's history when our email filters would prevent anything called Groovedeep from reaching our senior A&R braintrust. We felt we needed to shield their sensibilities and sanity from demos by acts like The Rhythm Pilgrims and Loop Addict, but it ended up costing us potential stars like SonicVisions and Beatweaver. Someone had to stand up and say no more.

With this benighted era behind us, Turbo is proud of itself for presenting you with this pair of decidedly modern bangers from international supergroup Groovedeep, comprised of Toronto's Ciel and DC's James Bangura and Jackson Ryland.

"Funk Solo" packs 145 beats into each and every minute of a delirious techno mindbeast, with remixes from icons such as Shed, Batu, and Mark Broom taking the vibe in all the right various directions. Meanwhile, the bottom of the B-side is a "Big Bass Mix" for those of us who are compelled to slather ourselves in bass-boost ultrasound gel and nestle into the club sub-woofer where the low frequencies massage our kidneys and sacrum and the twinned demons of treble and vision cannot touch us I mean not even close brother.

Bosconi Records returns with Tangled Waves Vol. 2, the second chapter of the series—this time expanding the concept into a four-artist VA, diving deep into progressive house and neo-trance territories while keeping that unmistakable timeless, old-school spirit alive.
Like shifting currents moving in parallel, Tangled Waves Vol. 2 brings together different voices, each following their own path while converging in the same flow—crafted for longevity, built for the dancefloor.

The EP opens with Fly High by DJ Glc, founder of Digging Deeper records and already known to the label through his contribution to the Home Cooked Beats compilation. Here he delivers an epic italo-infused progressive cut, driven by a classic rolling bassline and lifted by a futuristic arpeggio that bridges past and present. Hypnotic, warm, and undeniably effective—pure late-night material.
Next up is Strange Gift by rising artist Little Sea, founder of Sea Horse Records. A high-energy progressive groover with a clear nod to ‘90s classics, the track blends a punchy forward-moving bassline with bright melodic flashes and a sensual female vocal in the breakdown—making it a proper peaktime weapon with emotional depth.
On the flip side, Matteo Guarnieri (aka Rare Happiness) makes his Bosconi debut following a standout release on Kulture Galerie. His track Roller Disco Truck merges old and new with ease—leaning into a tech house framework with a distinct groove, textured stabs, and a subtle arpeggio that adds a psychedelic edge. A playful yet driving cut with strong character.
Closing the EP is Stargazing by Andrea Mera, also debuting on the label. A soft, mesmerizing progressive journey, the track unfolds with lush pads, a fluid atmosphere, and a gently evolving energy. With its warm 303 touches and emotional depth, it feels like a timeless closing moment—introspective, romantic, and built for those final hours on the floor.
With Tangled Waves Vol. 2, Bosconi introduces a new wave of artists while staying true to its roots—delivering four carefully crafted cuts that balance nostalgia and forward motion. Another essential addition for the bag, made to last.

ORANGE - Limited Edition! SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.

SPANDAU20 returns, bridging Berlin and UK lineage, with new material from Mr. G, Elli Acula, FJAAK and Dajusch, continuing to showcase the many shades of contemporary club music through its forward-facing approach. On its 12th release, the Berlin label presents a record that reflects individual artistry as much as the unmistakable identity of the SPANDAU20 sound. Opening the release is Mr. G with 'I Came To See You'. The track is a true embodiment of his distinctive production style, unfolding through bouncing basslines, swinging percussion and hypnotic looping vocals and capturing the raw spirit of old-school dance music with fresh spirit. Sitting somewhere between house and techno, it sets the tone with a particular kind of hypnosis, taking the listeners deep into the endlessly circling groove. Elli Acula follows with 'Take One Higher', a fierce and uncompromising techno track that perfectly reflects the label's hallmark aesthetic. She channels the raw energy of the 90s through a modern lens, pairing rough edged stabs, cavernous kicks and gritty percussion programmed with unfiltered dancefloor intensity in mind. The result is a high-pressure track designed to fully consume the room. On the flip side, FJAAK unleash 'Drip Code', showcasing the duo's signature blend of powerful low-end pressure and analogue grooves. Having spent over a decade shaping Berlin's techno landscape through their machine-driven approach, the pair deliver crisp percussion, huge open hi-hats and teeth-rattling drum machine combinations, while racing chords and looping vocals propel the track forward. It is a direct and highly effective example of the energy that has come to define the SPANDAU20 universe. Closing the release is Dajusch with 'Tongue In Cheek'. Deeply influenced by the foundational sounds of Detroit and Chicago, the classically trained producer leans into warmer, more uplifting territory. The track combines grooving basslines, saturated 909 percussion and piano-led melodies with disco-tinged vocal loops that glide effortlessly across the arrangement. This closer highlights Dajusch's refined understanding of groove, texture and atmosphere, rounding off the release with a distinctly euphoric touch. SPANDAU20 012 is another example of classy production skills merged with genuine dancefloor purpose. As ever, the label lets the music speak for itself. The many shades of sound are on full display, bound together by the singular identity that has made SPANDAU20 one of Berlin's most distinctive voices in the electronic music landscape.

In a dystopian universe where elites manipulate memory to control the population. Vibracid emerges as a technique of liberation through sound: a method for erasing induced memory.

THE RHYME marks the counterattack phase. The insurgents infect the system used by the elites for control and reprogram it from within: patterns, voices and sequences as active code.

Contemporary bass, electro, breaks, acid and rave converge as transmission vectors. Each track operates as a unit of intervention within this science fiction scenario.

At this stage, new signals are incorporated. Power, with a solid trajectory within the underground circuit, opens the EP in a forceful way, with an acid, surprising and spectacular impact. Exieve, a young producer from Chernihiv, continues the attack with a raw tension where vocals cut through the signal like sharp fragments. Alongside them, Lups Digga, Atix, Parand and Calagad 13 continue expanding the system’s reach.

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.



The Release:
Striking the sweet spot between sampledelic downtempo and earth-rooted deep house, Fila Brazillia's Old Codes New Chaos is a maverick patchwork of grooves and soundscapes. Crafted in North East England in the vibrant period before chill-out was co-opted by advertising, Steve Cobby and Dave McSherry's sharp-eared funk formula remains a cult classic suite of exquisite productions spanning deep house, broken beat and ambient shot through with wry humour.
Last physically released in limited quantities in 2002, Forever Records are revisiting this 1994 gem with an extensive reissue led by a triple vinyl pressing. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

'Chemistry' and 'Rankine', plus an exclusive print of Catherine Brennand's watercolour painting that graces the front of the album. All editions also features liner notes by veteran music journalist John McCready.

Press response to Old Codes New Chaos:
"The album that made the world finally sit up and take notice of the avant funk grooves coming from Hull's immaculately stoned tech funk magicians." Frank Tope, Mixmag, UK 1994.
"This album… stands out a mile from most of its peers as a work of untouchable genius." Bill Brewster, DJ Mag UK 1994.

"Fila works because they fit into that no man’s land, the space in your record collection where ambient seems too much like wallpaper and house seems just too braindead for your bedroom " Frank Tope, Mixmag, UK 1994.

"Having already created the perfect desert island disc, "Mermaids" and explored the darker side of sub bass on the 17-minute extravaganza "Fila Funk", Fila Brazillia have just unleashed their moving debut LP, "Old Codes New Chaos", and to be quite honest, you'd be fool to miss out this time around." Mandi James, Melody Maker, UK 1994.

“Where Cobby and Man rip up the rulebook on the four to the floor and probably make the greatest afterhours house album in the word”. Tony Marcus, Mixmag, 1996.

San Dee, TMD - Watif EP - Command Center Records - CCRE001

Command Center Records operates as a unified collective, independent label, and boutique online shop that actively energizes the local Miami community. Launched in 2019, the brand champions multiple musical styles. curating a wide array of genres while amplifying dance music to the forefront.

San Dee and TMD team up to launch this debut vinyl effort, delivering a heavy-hitting release of deep, minimal house and breaks. Across four tracks, "Watif" engineers a landscape of floor-shaking groovers, fusing sub-heavy kicks and rolling bass lines with layering drum machine textures and analog synths.

House titan Adam Collins contributes TWO masterwork Watif remixes that incinerate peak-hour sets. With the first Remix, a deeper rhythmic breakbeat and slapping hi-hats that slightly varies from the original. The second remix, being the Top Down Mix, packs a groovy Detroit electro-house feel, that you'll find yourself cruising at high speed with the top down.

Rounding out the EP is “Listening Minds" which transports the audience through a cosmic soundscape, while a recurring voice instructs the room to "Listen."

For their third release, Sarturan Records immerses you in the electrifying and captivating world of Wave Catchers (aka Baldov & Lazer Man).

The duo delivers a truly immersive sonic experience with their debut vinyl. Electric Pressure captures the essence of electronic music, where saturated bass meets retro sounds with tracks like Aerosmith and 80’ Spirit. Then comes a plunge into introspection, all tinged with haunting melodies and hypnotic rhythms, with Secret Emotion and The Russian Nightmare. A bold EP, at the crossroads of eras and emotions.

Pleasant Systems 014 brings together David Böning and Phillip Kluge for Moonbathed and Sunkissed, a four-track EP rooted in rough-edged ’90s deep house and early protohouse aesthetics. Split across two sides, the record moves through dusty drum machines, stripped-back grooves, raw basslines, and understated club energy. Drawing inspiration from classic US house music without slipping into nostalgia, both producers deliver tracks built for smoke-filled rooms, early morning floors and selectors who like things deep, direct and slightly worn around the edges.

Still compelled by the space they first opened, Gūsū returns with a second release, “Inhabiting Me”. What began as a shared approach, sprouted from intuition, has grown denser and more defined, holding on to that same fragility and openness. The duo continues to befriend with contrast, friction and proximity, shaping a language that inhabits their uncommon ground.

Vintage drum machines, tape delays and bass guitar widen the sonic ground, adding pulse, grain and instability, while the guzheng holds its place in full clarity. Each sound source becomes each other’s ornament, forming to gesture the next currents.

What emerges is less a fixed composition than a shifting form: precise in detail, impossible to contain. Listeners who have experienced Gūsū’s live performances will recognise this rare quality: a music of great sensitivity that expands with quiet force, drawing them inward rather than confronting them directly. The sound fades, re-enters, and leaves behind the trace of a lighthearted heaviness, echoing back in fragments, reappearing in memory with altered weight and colour.

Time bends inward and tones return altered. Between repetition and resonance, a tensile form begins to emerge. Neither nostalgic nor futuristic, neither static nor loose. Gūsū does not merge its materials into one smooth surface; it lets them stand close enough to sharpen one another.

Gūsū is a transcultural music project born from the confluence of two distinct artistic voices: Xueyan Chen and Nicolas Balmer. Together, they create a complex dialogue of sound that bridges the ancient and the modern, exploring the liminal spaces between tradition and experimentation. Gūsū’s inception was serendipitous, sparked by a shared stage in late 2022. What began as spontaneous improvisations has since evolved into a profound collaboration. The duo has performed under various monikers, finding their ultimate identity in the name Gūsū, a nod to both heritage and transformation.

All Nice Records returns with the 006 instalment, welcoming Raw Takes to the roster for a self-titled six-tracker that lives up to its name. No frills, no fuss, just pure, unfiltered club music pressed on wax Side A kicks off with House of Phreaks, a dense Chicago house sledgehammer built around a heavyweight bassline that sets the pace from the first bar, no introduction needed. Last Figure pulls the tension tighter before One For Gehm closes the first side as a heartfelt nod to Andreas Gehm - the legendary German acid pioneer whose influence continues to ripple through the underground. Flip it over and Piano Jam brings an unexpected melodic warmth to the centre of the record, while AECD wears its influences proudly, a 303-drenched acid workout rooted deep in the classic Chicago house tradition, the kind of track that feels like it could have come straight out of the Warehouse era. Crime Times seals the deal... gritty, atmospheric, and built for the late hours.