Superkill Records' debut release introduces Seoul-based producer Baeyoon, whose four-track EP opens with "Doxa," already played out by Derrick May during one of his recent tours in Japan. Baeyoon's sound layers melancholic, romantic pads over heavy kicks and basslines, stacking intricate arpeggios and irregular drum work into a retro-futurist take on Detroit techno. That tension between soft and machine-driven is the EP's throughline — uplifting, colourful and true to its lineage.
We have reached the final chapter of Kontra-Musik Records' 20th-anniversary celebrations - a busy and rewarding year filled with new releases, represses, club nights, festival appearances and tours. To bring the year to a fitting close, Andreas Tilliander, aka TM404, has once again teamed up with label head Ulf Eriksson for a new limited, vinyl-only 12-inch. Entitled Tjugo (Twenty), the EP sees the duo return to their dusty, machine-driven sound. It opens with Navet, a deep techno track built around rolling stabs, a melancholic organ chord and a solid bassline. From there, it moves into Ravet, a hissing, propulsive piece of minimal techno. The B-side is given over to Sjuhundrasjuttiosjuan, a slow, acidic bonnadub, to close of the year and the record.
With Shadows is the darkwave alter ego of Jordan Lieb, the acclaimed North American electronic producer also known as Black Light Smoke. Recognised for his house and techno releases on Scissor & Thread, The Hacker’s Zone and Tiga’s Turbo Recordings, Lieb explores a darker, more introspective sound under his With Shadows alias. Drawn from two digital releases on his own Ancient Spells imprint, this collection of electronic darkwave traces a journey in reverse: opening with dark Italo and EBM-inflected technopop, it gradually slows down, sinking into a shoegaze universe steeped in atmospheric melancholy. Cold synthesizers, basslines that pulse like a heartbeat and haunting vocals give way to blurred textures and dreamlike spaces, carrying the listener from the dancefloor into a more intimate inner world. On “There’s a Hole”, his instinct for rhythm meets a deeply personal voice, revealing the emotional weight beneath the electronics. With Shadows gives Lieb room to reach beyond club structures and express himself through songs, bringing his songwriting, vocals and multi-instrumental talents to the forefront and revealing a facet of his musical identity distinct from his work as Black Light Smoke.
The return of Batty Bass is well and truly underway with a brand-new four-track EP from Hannah Holland. Bringing together Holland with long-time collaborators Kurtis Lincoln and Joy Joseph, the EP delivers four killer dancefloor workouts.
'Action Satisfaction' comes in heavy, driven by a seriously mean, ceaseless bassline and Kurtis Lincoln’s unmistakable vocal, with Joy Joseph’s percussion adding another layer of physicality to the track. Lincoln is an artist, writer and performer whose work moves between fine art, rave culture and performance, bringing a distinctive theatrical edge to his vocal work.
Joy Joseph is a drummer, DJ and live percussionist with a long history spanning East London’s New Wave scene through to collaborations with artists including Mr Hudson, Amy Winehouse and Jessie Ware.
'Mitzubishi' takes things somewhere darker. A sinister, heads-down number built for late-night pressure and packed dancefloors.
The remixes bring two fresh perspectives to the EP’s originals. DJ Spilt, known for his raw take on classic Chicago house, brings down the tempo with a sleazy, low-slung groove that swaps peak-time pressure for after-hours swagger. Meanwhile, Wigs turns Mitzubishi into an even more techno-tinged, heads-down affair designed to lock the crowd in and keep them there.
Hazy chords linger over Conoley's signature bounce, characterizing this whole record of humid grooves. Cruisin' Summer Heat sounds more like sunset, while Sound Drips takes us to somewhat darker terrain. The talking percussion on the latter reveals its own compelling atmosphere even before a scant melody sneaks in at the seams.
Underappreciated deep house stalwart Nico Lahs makes a welcome appearance with an unsurprisingly compelling rework on the B side. His remix warms us back up again with a beachside bonfire toasty bassline & shimmying backbeat.
From the co-writer of the iconic Hardcore Uproar, Suddi Raval arrives on Hello World Records with his debut EP — a five-track electronic journey that moves effortlessly between disco, electro, experimental electronics and analogue-fuelled psychedelia.
At the heart of the release is “Laser Beams and Mirror Balls”, the EP's titular track, reimagined by superstar DJ and producer Justin Robertson, who takes the neon-charged original and pushes it into new disco dimensions with his unmistakable production touch.
The journey begins with Robertson's remix before moving into the original French-vocalled version of “Laser Beams and Mirror Balls” — a hypnotic, pulsating slice of electronic disco that sets the tone for what follows.
On the flip side, “Oni Strangler” takes a darker, more hypnotic and exotic turn, drawing the listener deeper into Raval's richly textured electronic world. “Robot Computer” follows with a growling bass machine of electronic stabs, warped drones and relentless low-end energy.
Closing the EP is “Zub Sierra”, a spaced-out voyage through a dubbed-out otherworld before descending into deep, resonating electro synths — the kind of beautifully unpredictable analogue textures that only an analogue Odyssey can deliver.
Across all five tracks, Raval combines electro-flavoured rhythms with a kaleidoscope of electronic textures, forging pulsing basslines, hypnotic melodies and richly layered soundscapes. It's an EP that feels both rooted in the electronic music traditions that have influenced him and entirely of its own time.
Five tracks. One electronic journey. From laser beams and mirror balls to analogue odysseys and robot computers.
Jamaica meets South Korea -- following his two BLESSYOU EPs, Turquoise and Journey Home, the Seoul-based artist returns with another stellar contribution, revisiting his early appreciation of reggae music: a 4-track EP by Korean producer and multi-instrumentalist Seungyoung Lee aka Mogwaa, immersing the listener in a rich blend of lovers rock, dub and reggae. The EP combines dreamy, dubbed-out atmospheres with warm basslines, lovers rock rhythms and subtle vocoder textures. Mogwaa approaches these Jamaican influences with a refined and distinctly personal aesthetic, creating a spacious and warm sound that feels both nostalgic and contemporary. Crucial for any contemporary music lover's record collection.
Two seriously high-grade legends come together to mark the 30th anniversary of the cultured Seasons Limited imprint here: Don Carlos is behind one of Balearic house music's most enduring anthems in 'Alone' and Robert Owens has been voicing the genre since the 80s with his signature smoky tones. Here they cook up 'Inspired' in three different forms - there's a deep and soulful House Mix with an electric delivery from Owens, then a chord-laced and warm Classic Mix with a throwback Chicago bassline and finally a Dub Mix that strips everything back to a more breezy late-night sound that sinks you into the groove perfectly.
It's been almost a year exactly since the debut CJP Band 12' was released, Landing just in time for a few nausent plays at We Out Here 2025.
12 months and two more well received 12's later, Most notably of course by festival founder Gilles Peterson, the band find themselves making the short trip from their New Forest homes to the Tomorrow's Warriors stage on Saturday night for their We Out Here debut.
What better way to mark the occasion and round of the (calendar) year of releases with a tasty 7' that perfectly encapsulates festival vibes wherever they might be.
Taking the foot of the gas, For one release at least, Freedom delivers two sides of blissed out summer soul. Heavy drum breaks and the funkiest basslines of course still come as standard with a sweet vocal from guitarist Geoff Lai.
On the flip those trademark CJP strings glide over a stripped back instrumental version for the aptly named String Dub.
Mack Loenz delivers his debut album From The Heart on Maceo Plex’s Lone Romantic imprint, expanding his razor-sharp, cinematic sound through analog synthesis and retro-futurist design.
Across its ten tracks, the album moves through a palette that is both nostalgic and forward-facing, with glistening arps, soaring pads and growling basslines shifting between physical club function and emotional extremes of melancholic yearning, romantic tenderness and futuristic intensity. ‘Follow Me’ opens with shimmering arpeggios and driving bass building to a euphoric crescendo, while ‘Switching My Flow’ pushes into heavier territory with gritty hoover synths, skittering vocals and chest-rattling subs. Elsewhere, ‘It’s Complicated’ brings a more tender, melancholic edge with rolling drums and expansive, symphonic synth work, and ‘Trust Issues’ leans into a nocturnal, romantic yet dystopian mood carried by sweeping leads and pitched vocal splicing. ‘Waiting Game’ moves into darker, industrial-leaning tension, before ‘Back To The Stars’ closes on a reflective, emotional resolve.
Shaped by a vision to push electro into a more expressive space, From The Heart carries a clear emotional core throughout. As Mack Loenz puts it, “In a time where there is a lot of darkness, this album is about bringing light, spreading positive energy, and creating moments that people can feel both on the dancefloor and within themselves.” That sentiment runs through the record, shaping a cohesive statement that balances club functionality with atmosphere, emotion and forward-facing electronic production.
UK underground heavyweight Ploy unleashes his second release on Dekmantel with a brand new four track EP. The release sees the dynamic producer continue to push the envelope with his own flavour of driving, sexy, Ploy house. Putting every ounce of his production prowess on show while proving yet again that Ploy is a force to be reckoned with both in the studio alike. Making tracks for DJs has always been the source of inspiration for Ploy and this is no different with each offering carrying its weight and then some. Straight up, no frills house music that oozes quality by doing the simple things well.
Kicking off the record is title track 'Glizzy', an arpeggiated tech house tool built for the hours that you lose yourself on the dancefloor. From the off Ploy puts his ear for percussive dynamism on show with the understated subtleties of this opener. Thematic sampling, nuanced arrangement and odd ball melodies combine to set Glizzy apart with a gentle nod to hot dog lovers worldwide.
The EP follows suit with A2 'Global Underground'. A contemporary progressive house roller, which rips through the atmosphere with melodic blasts, unrelenting groove, and a powerful bassline.
Offering an equally effective double B-side, B1 is 'Yesterday Now Tomorrow', which sees Ploy lean on his production mastery with entangled percussion and expertly dosed sampling. The result is a swinging heavy house burner that is truly greater than the sum of its parts.
Lastly on the EP is ‘SlowanDip’. A heavily swung, percussive chugger to warm up a dancefloor, paired with a bassline to test the system, this B2 closes out a stellar second showing on Dekmantel for Ploy.
The record arrives at the crest of festival season and is primed to soundtrack dancefloors around the world under the glistening Summer sun. Ploy has quickly carved out a reputation for his unmistakable, drum driven take on house music, and Glizzy only sharpens that identity further. Focused, effective and built with DJs firmly in mind, the EP captures an artist operating with total confidence, delivering four tracks that prove Ploy isn’t just part of the conversation, he’s pushing it forward.
Dajusch brings his distinctive sound to Backspin Records with 'Oracle', a five-track EP that showcases his instinct for powerful grooves, deep low end and carefully selected synth work, rounded out by a remix from Dutch techno veteran Sterac. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music, keeping the focus firmly on club functionality.
Opening with 'Boxer', Dajusch immediately strips things down to their essential elements. A buzzing deep bassline provides the foundation while a repeated vocal hook becomes the central motif, surrounded entirely by percussion including a punchy kick, heavy toms and crisp hats. 'Narrow' introduces a saw wave synth that functions simultaneously as bassline and lead, gradually building tension through repetition and a slowly opening filter before a droning pad leads into the return of the drums. Closing the A-side, 'Reeses Piece' is built around a wide gliding Reese bass moving across di?erent notes. A heavy breakbeat, clean claps and hats provide the framework while a high-pitched vocal brings a distinct 90s rave energy, with swinging toms adding movement to an already groovy production.
On the flip side, the title track 'Oracle' shifts the focus towards melody, with Detroit-influenced synth work taking centre stage. A classy melodic motive is complemented by heavily processed vocals transformed into euphoric, drone-like elements, adding another dimension without losing the track's directness. 'Strings' closes the original material with a hefty saturated kick while string synths carry the main theme. Drums straight out of a classic drumcomputer and warm chords build into a more expansive breakdown before returning to the groove. Closing the EP, Sterac's remix of 'Narrow' takes the original saw synth motive into a more hypnotic direction, playing with its pitch and arrangement while reducing the percussion and pushing an already deeper kick further into the mix, giving the synth work more space to breathe.
With 'Oracle', Dajusch delivers a focused statement rooted in classic Techno while remaining connected to a modern sound. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music', reinforcing the label's dedication to forward-thinking techno with a clear respect for where techno came from.
Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.
This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.
Esoteric, atmospheric, dancefloor-feric! GFD012 is here! The Son Of Knuf EP is pure love for the groove and the roots of funkiness. Four wild tracks from Guy From Downstairs that hit with a fresh touch built on a faster pace, deeper basslines, and a flow smoother than ever.
Sempra makes his debut on Up Ya Archives with tracks imbued with his signature blend of jungle and breakbeat, interpreted through his unmistakably soulful lens. Warm vocal melodies and ethereal instrumentation ride smoothly atop the rolling waves of breakbeats and warping basslines. It all culminates in a soulful take on ragga jungle sound, setting Sempra apart from his junglist peers. When asked on his process behind ‘Wicked N Ruff’,
Sempra said:
“I’m really proud of this release! I love the fusion of genres and feeling, these tracks really show my love for contrasts. You get the soft with the hard without losing any of the euphoria”.
Having released consistently across labels including Future Classic, Headroom and Hardcore Energy, Sempra continues to refine a unique sound that draws equally from soundsystem culture and contemporary soul.
Peach Discs sends their last record of 2026 to the pressing plant in the form of G-Zip's wigg(l)ed-out, tech'd-up, but very much tuned-in "The Mystic Dog" EP.
A new house-focused alias from Stephen Howe – who you may remember from his excellent "Mimesis" EP for Joe Delon's Welt Discos, or his abso-fucking-lutely everywhere remix of Oklou – the G-Zip sound sits in the centre of the Venn diagram between London's tech-house pump and the blissed/blessed relief of deep house.
Hats from early grime instrumentals, interviews in club smoking areas, compilation skit tracks, video essays and jazz interludes – "The Mystic Dog" EP is built from a library of samples that extend far beyond house, tracing a deeply personal line through Stephen's influences and inspirations both past and present. Meticulously sequenced synth lines sit atop tightly woven Digitakt grooves, all mangled together through FX boxes and the Mackie desk that sits at the heart of his Berlin studio.
The EP sets out its stall with "Juiced (Monomania Mix)." Written after Stephen's first visit to Open Ground and inspired by a standout set from Fumiya Tanaka, it pairs stomping, techy drums and phat bass with a restless collage of mono synth patches that donk, squiggle and gurgle throughout.
"Missing Track" leans into contrast as a staccato bassline rubs up against the tighter than tight percussion, before skyscraping synths enter the picture to respond to the rhythm section's call. Flipping the record puts us back into banger territory with "Talking About Drums", as the tuned percussion and heavier-than-heavy subs nail the track to the dancefloor. Until the halfway point that is, when post-dubstep-indebted synths briefly arc across the stereo field – a glistening glow-up amidst the locked-in groove.
Closer "Mystic Dog" showcases Stephen's knack for idiosyncratic melody, as a wonky modular sequence twists and turns across the track while smack-in-the-face drums offer a bashy counterpoint. A classic B2 track if ever there was one, and wicked way to round off the EP.
(Oh, and there's a cheeky alternative mix of "Juiced" as a digi bonus for the hip-house heads).
Three Stripe Records, the original ‘Bristol Sound’ label release their first vinyl in 30 years.
Founded in 1988 by Smith & Mighty, the label was set up to release music from local talent as well as the pair’s own recordings, and in the late eighties released a string of underground hits.
The label’s first venture in ’88, a cover of Dionne Warwick’s ‘Anyone Who Had A Heart’, featured local singer Jackie Jackson alongside rappers M.C. Kelz and Krissy Kriss and stayed at the top of the indie charts for several weeks.
Now after a long hiatus, a new three-track 12” vinyl featuring Tammy Payne performing a cover of the ’60s Mandel & Webster classic, ‘The Shadow Of Your Smile’ is due to be released on 13th November 2026.
The vinyl’s three tracks capture different variations of breakbeat, dub and soul.
The A side is a break driven, dynamic bond-esque version with orchestral drops and rises, over a tough hiphop rhythm.
AA1 is a head nodding, rolling breakbeat affair with a digi dub style bassline, while Tammy’s vocal floats in and out on a sea of echo.
AA2 is the original mello mix with sparse beat machine style patterns and 303 bass line. Tammy’s full vocal carrying the flow in contrast to the urgent backbeat, occasionally joined by keys, guitar melodies and fx.
Each version having it’s own identity while all remaining very ’Smith & Mighty’
¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light.
The title track of the EP, already known from the album (D1 - Extrawelt - ¡No Pasaran!) carries a commanding presence, pulses with a rolling, insistent bassline that anchors shifting rhythmic currents and evolving sonic layers. Between tension and release, shadows and melody, it's a track that moves like a living entity.
Arctic Dead Run hits like a surge of raw energy. Acid lines roll relentlessly, building tension that feels alive. Then a melody sneaks in - soft, almost fragile - cutting through the intensity, until hi-hats erupt and the groove snaps into full focus. Maximal yet controlled, every element finds its place.
Clipping Me Softly dissolves the pressure with a dark, playful groove. Precise rhythms meet spacious pads, opening into a dreamlike state where night slowly gives way to warmth and light.
A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.
DJ, model, artist and selector Yuka Mizuhara steps forward with her standout 12-inch release 'Moon Dust' on Rush Hour. For her debut release, she joins forces with producers Benedek and Mickey de Grand IV (Psychic Mirrors), delivering a vibrant boogie and city pop-influenced transmission that bridges contemporary rhythm with classic, sun-drenched grooves.
Having spent formative years immersed in the underground music scene in Tokyo, with extended stays in Los Angeles and London, Mizuhara channels a rich blend of influences into her work. Known widely for her encyclopedic all-vinyl DJ sets, her residency on NTS Radio (Wave Flower), and high-profile collaborations with legends like Haruomi Hosono, Yukihiro Takahashi and Towa Tei, her musical output reflects a deep appreciation for groove, melody, and rhythm, carrying the torch of foundational Japanese techno-pop, experimental, and dance music forward.
On Moon Dust, Benedek returns fully to his signature West Coast boogie roots, laying down rolling, intricate synth basslines and melty chord progressions that form the heavy-grooving backbone of the record. Around this foundation, Mickey de Grand IV and Yuka Mizuhara write and weave extraordinarily catchy, endearing vocal melodies and hook-laden arrangements. Across its three distinct mixes, the track radiates Yuka's cute spirit—evoking a bubbly, high-spirited aesthetic reminiscent of classic 80’s RAH Band productions while blending sophisticated electronic arrangement with warm, organic dance floor vitality.
Fully stepping into her own as a recording artist following recent debut performances at major festivals like RDC and Rally, Yuka Mizuhara invites listeners into a romantic, synth-laden world built on pure groove and creative freedom.
Four solid dub house and deep house cuts from Alessandro Crimi, pressed on blue green marbled vinyl. Get Up opens on a rolling groove, hats ticking against a bassline that breathes rather than pushes. Interstate tightens the low end into something more direct, built for the peak of a set. Look At The Stars slows the tempo down into dub house territory, chords smeared and delayed until they blur into the drums. Multiverse closes the record on a dubbier note again, echoes trailing off into silence between hits. Across the four tracks the mood stays controlled, functional, made for rooms where space and repetition do the work.
Following up the launch of his own Dustbin Digs label, Manchester local Rossiter piles four of his own atop the stack of goodtunes97 wax.
Side A lifts off into the clouds with Feels So Good. The rhythmic shuffle, hint of UKG, and a determined bassline get to the gate as spacey chords are cleared for takeoff. Go Straight carries the trajectory, pressurizing the cabin in breezy dubbed transit. Keys vaporize on the periphery as Rossiter mitigates turbulence with careful cadence, maneuvering high-altitude with grace.
With two stops still to go, the B-Side gets off and running upon arrival. Round & Round kicks up dust as the low end stomps out the homestretch, tenaciously hitching a ride to our final destination. P45 is the long awaited return to familiar territory – nostalgic chords carrying beats so blissed they stutter. Interview samples from legendary UK producer/DJ Grooverider give the track a cultural anchor, connecting its contemporary sound to the lineage of UK dance music and the culture that shaped it.
Each side balanced with equal parts heavy and light, Rossiter’s Round & Round EP firms up the fifth release for goodtunes97.
– Forrest Camire
After a brief hiatus and creative refresh, Radiant Records returns with a bang, courtesy of Belfast house aficionado Cromby. A producer who needs little introduction, Cromby delivers the label’s ninth release, showcasing exactly what he does best: colourful, groove-heavy house music built for the dancefloor.
Ignition kicks things off with winks and nods to post-Y2K UK breaks and electro house. The title track’s boshy bassline and driving drums provide the backbone for an irresistibly stomping peak-time cut with summer written all over it.
Pumping the tempo up, A2 Psy Op is a rapturous floor-filler that draws from dance music’s most playful corners without ever sounding pastiche or revisionist. Undulating basslines, infectious vocals and flirtatious synth hooks combine to create something that feels both nostalgic and strikingly fresh.
Taking things in a slightly toolier direction, B1 Money is classic Cromby. A nifty little dinger packed with razor-sharp percussion, “house” vocals, tightly wound subs, timeless stabs and an impeccable arrangement, it’s a hot tip for DJs and dancers alike.
On remix duties, Adonis resident and legendary legend Hannah Holland zeroes in on Ignition’s electro parts and dials the mood up to 11. The result is a Detroit-leaning electro banger that highlights her versatility as a producer and rounds off a highly playable return to the fore from Radiant Records.
Manticore.system introduces MNTR001 – the label’s first vinyl-only transmission, bringing together CT Kidobó and Kvrk for a four-track split EP.
Moving between cinematic electro, progressive trance, hypnotic techno and psychedelic club territory, the record shifts from retro-futuristic synth work and nocturnal atmospheres into darker, peak-time pressure.
Four tracks connected by warped electronics, hypnotic basslines and a distinctly psychedelic edge.
Atom Trance Force 20 is a special one for fans of 90s hard trance. EDM’s DJ Manga (Made In Hong Kong, Judgement Day, etc.) discovered two previously unreleased tracks, originally recorded in 1995 and 1996, and generously offered us the opportunity to release them on vinyl. Naturally, we accepted and are proud to present: DJ Manga – Motion (Original DAT Recordings 1995–1996) A1 and title track “Motion” (1995) is everything you’d hope for from an unreleased 90s trancer. It’s got the pianos, it’s got the melody that sticks in the back of your mind for days after hearing it, and it’s got the raw bassline and drums that drive in that special way they did back in the day. A2 features label head Micropulse on remix duties. Keeping the core elements of Marc’s original composition intact, the remix seeks to add some modern magic to the vintage charm and sprinkle some Atom energy onto the release. The flip side gives us “The Key” (1996), which occupies the entirety of side B and stretches out across 10 more minutes of 90s magic. It’s difficult to write track descriptions without sounding like AI, but the intro is long, the lead is sizzly, and the resonant bassline fits perfectly to round off this EP — the type of release that doesn’t come around often. The tools Marc used to produce the original 90s tracks included a Roland JD-800, Korg Poly-800, Roland TR-505, and some kind of Akai S-series sampler, all sequenced with an Atari 1040ST. For those interested, the 2026 remix uses a Novation Supernova II, Access Virus TI, Korg Wavestation AD, Waldorf Blofeld, E-MU E4XT Ultra, 208HP of Eurorack, and two Lexicon PCM70s.
New chapter unlocked. The Exaltics deliver their most sophisticated work yet, Five extraterrestrial transmissions of precision electro and techno. Alienating melodies, robotic basslines, and a burning planet in the rearview mirror. Space, sound, and imagination...
DJ Linus came up with the basic idea for You Are House Music while DJing. He provided the vocals himself and refined them through numerous tests during his DJ residency at Munich's Pacha club. The track is a tribute to the party people and became the secret anthem of Pacha during its six-month production period. The vocals seem to work...
A.O.D.S. - DJ Linus' self-created genre: Adults Oriented Disco Soul. He organizes parties and plays vinyl records from 1975-1985, covering everything from AOR to soul and disco.
Senium refers to DJ Linus's newfound love for the chillwave/retrowave genre, for which he has acquired a small new record collection.
DJ Linus spent a whole year working on the EP, including relentless testing and sound adjustments. DJ Linus: “I am very happy with the result—thank you!”
By the way: DJ Linus released his first records on Compose, Compost's 90s house label.
About DJ Linus
DJ Linus is one of the very first House DJs in Munich and in Germany. He started way back end of the 80s, early 90s.
Linus is said to be a great influence to many a famous Tech House DJ today.
His solo album “Fantasmagorique“ was the first german House Music long player of its kind.
Linus was owner of two record shops and the famous “exun records“ label.
Nowadays he is resident at the incredible Pacha Munich – since 18 years now – and is running his current label “Sujet Musique” with great success since 2013.
Linus is also resident at the legendary “Palais Club” and the asian, high class restaurant “Izakaya“.
He works as a mastering engineer and as a lecturer for DJing and Producing @ Musicversity. DJ Linus won twice the Munich Night Life Award for best DJ “House/ Techno“ in 2013 and 2019.
DJ Quotes:
“Loving the sound of You Are...! Just the kind of percussive, bassline-led house I love to play out!” – Jimpster
“Very nice!” - Fred Everything
“Tune(s)! Big up Linus.” - Bill Brewster
“Nice funky stuff.” – youANDme
“YOU are house music ! :-):-)” - Acid Pauli
“Enjoying the original You Are House Music track. ” - Josh Wink
“Beautiful!” – Reznik
“Mega EP” – Sandrino
“Really like all the tracks on this EP, Linus has been always special about his production work. Will play the tracks out for sure” - Kiko Navarro
“What a beauty!“ - Phuncadelica
Links:
Raw and unfinished. Never released, for various reasons. DAT and compact cassette tapes forgotten in home studio drawers, then boxed away in the basement for decades. After modern mastering, sounding solid and fresh — so why not release them after all?
Kilotoni drops its sixth vinyl-only round of radioactive techno findings. Be prepared for the meltdown and fallout.
A1 Banging acid techno in the Public Energy vein, mixed with the minimal Landstrumm-style funkiness of the 1990s. Raw and minimal, but dialed in just right.
A2 Simple acid house with shuffling beats and romantic chords. Perfect for setting the mood at a club night or an outdoor sunrise.
B1 Tech house from the 90s — or perhaps from outer space. A bouncing bassline and funky drum machine programming are joined by unidentified bleeps.
B2 Wild but unconventional acid techno with shuffling beats and throbbing basslines. Midwest acid and ghetto techno shake hands on a nuclear wasteland.
Bondage-Music proudly welcomes back Markus Homm with his latest vinyl EP, "It's Safe To Say." Continuing his long-standing relationship with the label, Homm once again delivers the warm grooves, crisp rhythms, and unmistakable dancefloor sensibility that have become his trademark.
Across four carefully crafted tracks, Markus Homm combines rolling basslines, soulful vocal touches, and refined house grooves with subtle techno influences. From the infectious swing of "My Alibi" and the driving title track "It's Safe To Say" to the soulful energy of "I Got All This Love For You" and the hypnotic flow of "Rush," the EP is built for both peak-time club moments and extended listening sessions.
As a special treat for vinyl collectors and DJs, two exclusive tracks are available on vinyl only, continuing Bondage-Music's tradition of offering unique content for the format.
MARS004V brings together Robert Cosmic and the Galician duo Slit Observers in a four-track split EP where hard-hitting electro meets cinematic atmospheres, raw basslines and a strong sense of identity. A vinyl release that reinforces Mars Frequency’s vision while showcasing the creative strength of Spain’s contemporary electro scene.
Duality Trax reaches its tenth release with a defining moment for the label, as label boss Holly Lester steps forward with her debut EP. A personal milestone as much as a catalogue marker, the record channels sounds that have shaped her sound to date - early tech house, the low-end swing of UK garage and breakbeat, the rolling pulse of mid- 2000s European dancefloors, and the emotional lift of ’90s progressive house - all refracted through a distinctly personal lens. Open Your Mind sets the tone with a sense of lift and release: a wide, expansive bassline carries skippy, garage-tinged percussion, while bright piano stabs cut through guided by playful, restless FX. Big Fill pivots into tougher territory, a driving cut built on a rolling sub that pulls you into the groove - equal parts pressure and introspection, with moments of dreamlike suspension between the weight.
On the flip, Tanit drifts into more atmospheric space —an ode to Ibiza that still carries a distinctly UK undercurrent. A squelching, elastic bassline and cheeky, garage-leaning wubs provide a foundational groove but everything around it drifts: gated synths shimmer, drums sparkle, half-heard vocals dissolve into the mix and the track unfolds with a blissed-out, cruising energy. It feels just as natural in a dark room as it does out on open water, coasting past Formentera. For the remix, Holly turns to one of her favourite producers of the moment, DJ Life, who draws Open Your Mind into deeper waters. The Berlin via Australia producer stretches the groove into something more hypnotic and submerged, a patient 5am burner that lingers in the air,equally at home in basements, afterhours, and those inbetween moments as night slips quietly into day
Finnish producer DJ Dats returns with the four-track EP “Phuture 3030” on his own label, Allowance Trax. The title track is built on solid 808 rhythms, a sliding 303 bassline and futuristic synth textures, while “Test Drive” is driven by a heavyweight Moog bassline and shuffling house drums.
Detroit’s Nels the Operator reworks “Phuture 3030” with his modular synth setup, giving the track a rawer, more live feel and a richly layered sound. London’s Moroka remixes “Test Drive” in his signature style, blending house grooves with jazz fusion influences.
Four years after its original release, Mochakk's breakout anthem 'Da Fonk' featuring Joni continues to define a generation of house music. Originally released via Nervous Records in 2022, the record has surpassed 60 million Spotify streams alone, becoming Mochakk's signature track and one of the most recognizable records in modern dance music.
Fronted by fellow Brazilian artist Joni's soulful vocals, "Da Fonk" bridges classic house and contemporary club energy. Its stripped-back bassline and timeless groove have made it a fixture on stages and dancefloors around the world, while also marking a turning point for Mochakk, who has since become one of electronic music's defining artists, widely praised for his vibrant live sets in which "Da Fonk" has remained a staple. To celebrate the track's continued success, Nervous Records releases the 'Da Fonk' Remix Pack today across all streaming platforms, alongside a limited edition three-vinyl release available during Mochakk's long-awaited New York City takeover from August 28, 29 and 30.
Spanning three parts, the remix pack brings together a wide range of artists, each offering a different take on one of house music's most enduring records of recent years.
The first vinyl features Mochakk’s Original Mix and OG Dub of “Da Fonk”, in addition to a new Bass Mix from Marco Carola, whose signature rolling grooves and understated approach bring fresh weight to the original without losing its unmistakable feel. The second vinyl moves across a broad spectrum of club sounds. Australian duo Confidence Man inject their playful, high-energy style into the track, while Berlin's DJ Gigola delivers a sleek, club-focused interpretation. Cinthie, known for her deep-rooted house sound and analogue production style, offers a warm and driving remix, with Brazil’s Bronka rounding out the record on a fresh, contemporary rework. The third vinyl shines a light on Brazil's electronic music scene with an all-Brazilian lineup. Solarce Brothers contribute a soulful reinterpretation that nods to the original's house roots, alongside remixes from DJ Fuzil, Classmatic, and Deekapz & kLap, each bringing their own perspective to one of Brazil's all-time most influential electronic releases on global stages.
Chris Liebing's collaboration with Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, aka The Alte Stuben Modular Ensemble, 'Entangled Circuits', has been remixed by Hayden Payne, better known as Phase Fatale. Originally released on Chris Liebing's 'Evolver' LP earlier this year, the remix will be released via CLR 20th November 2026. The original track is a collaboration between Liebing and The Alte Stuben Modular Ensemble made up of Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer. New York-born, Berlin-based Phase Fatale has held residencies at Berghain, Brooklyn's Merge and Tbilisi's KHIDI, and has built a catalogue across Ostgut Ton, Dekmantel, Jealous God and his own BITE imprint, carrying a lineage that runs from New York's cold-wave underground through to the sharper industrial edges of Berlin's club circuit.
Phase Fatale rebuilds 'Entangled Circuits' around a hypnotic bassline, pitching the original's synth stabs up a notch.
Weighted kick drums, relentless repetition, and industrial texture anchor the rework in techno mastery, delivering a peak-time weapon without loosening its grip on the source material.
The original version of 'Entangled Circuits' appears on 'Evolver', Liebing's first solo techno LP, released 27th March 2026 on CLR. 'Entangled Circuits' was composed on a skiing trip to Oberlech, Austria with The Alte Stuben Modular Ensemble, Mute founder Daniel Miller, Pascal 'Stubbleman' Gabriel and Terence Fixmer, blending dark, modular synth textures with driving rhythmic sequencing. Marking a distillation of over three decades at Techno's core, the album pairs introspective depth with immediate, floor-driven impact, bringing together contributions from the likes of Luke Slater, Charlotte de Witte, Speedy J and The Advent, while ultimately remaining rooted in Liebing's singular vision.
The duo of Nail and Barney Osborn are rising stars who work under the Indoor Tall Boys alias, a new name on us but this fresh drop on In The Dance suggests they have a deep understanding of dancefloor dynamics and a wide-ranging taste. 'Flames' is a supple, succulent and poppy sound with silky disco flourishes and a soulful, almost gooey groove. 'Re-Vibrations' has a lovely double skip in the drums and a gloopy bassline that brings a nice louche vibe, while 'Hold A Groove' has a sunny outlook and subtle strings worked into a smooth groove that exudes summery heat. 'KTT' shuts down with a filter-edge and glistening keys all stitched into a classic disco house groove full of colour and funk.
Finnish-American producer Tin Man aka Johannes Auvinen has spent much of his career updating 80s Chicago acid house for a new era and on 2006's now reissued 'Love Sex Acid', the three 303-driven cuts recall the acid work of Laurent Garnier and Ludovic Navarre. 'Falling Acid' opens with a gloomy intro before building into clattering snares and a slowly intensifying 303 wig out. 'Let's Do It Acid' writhes hypnotically with a snake-like bassline and a haunting whispered sample, while 'Love And Sex Acid' leans into deep house, with tasty electric piano licks over acid textures. A still well-crafted new take on acid's roots that hasn't aged in the 20 years since the revered Finnish label Sahko first issued it.
In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.
Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).
In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.
The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.
The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.
The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.
Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.
It’s hard to describe dreamy acid techno without referencing 747’s Aurora Centralis. The title track captivated dancefloors in the late 2010s, serving as an emotional and interstellar reprise. Nine years after its original release, the record returns in this white-out reissue edition. The Aurora Centralis EP is a teleportation into a cosmic dream state through four 303-fuelled cuts. The title track’s surreal electronic vocal levitates us into a reverie. Continuing the excursion, Tenke takes us on a journey to the centre of the earth with a thumping acid bassline, before Night Passage drifts in with gentle allure and neutrally buoyant, disorienting trance. A fourth, vinyl-only version of Tenke sees us off with the hypnotic Oxidized Edit.
