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The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

This 1998 album compiles unreleased sessions from the late 70s featuring Weldon Irvine, Don Blackman and a young Marcus Miller. Known for his rare groove classics like Spirit Man in 1975 and Sinbad in 1976, Irvin's work shines here and highlights come thick and fast. They include the soulful 'Morning Sunrise' which was famously sampled by Jay-Z and Drake, the jazzy funk of 'The Sisters' with Miller's bass and Tom Brown's trumpet and the smooth 'Heard It All Before' which mixes urban sophistication with mellow fusion. Toni Smith's dynamic vocals on the funky 'Think I'll Stay A While' is another doozy which makes this masterpiece rich with jazz, soul and funk goodness.

Waves Within is a genre-blending triumph from Mexican producers Luca Ferrand and Selva in which they serve up sounds that evolve through deep house, broken beat, jazz, nu-disco and hip-hop. Opener 'Bona Fide' pairs dusty jazz and disco-house with a slick hip-hop switch and some superbly sunny melodies. 'Zarapes (After the Rain)' marries Mexican folk and broken beat, then 'Back To That Thang' twists jazz guitar into a genre-fluid ride and the title track evokes tropical 90s house. Closer 'Lynx' is a shapeshifting house cut with bulbous bass and sophisticated sound design that really brings it to life.

Zurich-born, New York-based DJ Tony y Not is best known for her free-spirited sets, seamlessly weaving together techy acid, progressive, dark disco, and heart-opening indie. She brings that signature energy to her Kompakt debut with striking precision. Have You Lost Your Mind channels a touch of Swan Lake-era Todd Terry – one of NYC house’s legendary figures – delivering a razor-sharp acid line, a rock-solid groove, and one of the most flawlessly executed breakdown/drop combos in recent memory. Deep Don’t Stop follows suit, skillfully reviving the essence of ’90s New York club culture in a way that would have set Junior Vasquez’s Sound Factory ablaze. True to her mission, Tony y Not continues to spread joy and uplift others, both on and off the dance floor.

TEE MANGO’s first release on Kompakt has been a long time coming. Ever since Michael Mayer heard his sunkissed remix of The Invisible’s ‘K Town Sunset’ back in 2017, he’s been obsessed with his music. The two tracks here, ‘Moonshots’ and ‘My Mind Is Making Up Monsters’, are prime examples of TEE’s ability to create heartfelt, uplifting modern house music. There’s a sense of bacchanal liberation, a potent transcendental element that opens the mind to joyful bliss.

‘Absurd Matter’ is a labyrinthine sonic conundrum that spirals around the two poles of extreme noise and hiphop. It's Berlin-based Italian producer Shapednoise's first album in four years and confidently advances his narrative into the next chapter, building on the groundwork of his prior abstractions to emerge with a coherent genre-warped fusion of urgent rap, crushing bass weight and idiosyncratic sound design. After spending years scrupulously deconstructing club music, Nino Pedone has rebuilt it brick by brick in his image.

The album is the first release on Pedone's brand new imprint WEIGHT LOOMING, a multidisciplinary label platform that's set to explore the depths of bass music, textured noise and abrasive transcendence. It follows a slew of acclaimed releases for Numbers,
Opal Tapes, Type and his own Cosmo Rhythmatic label, and forward thinking collaborations with Kenyan beat alchemist Slikback and Hyperdub-signed Angolan producer Nazar. Pedone's most ambitious project to date, ‘Absurd Matter’ taps into kinetic energy from a hand-picked selection of collaborators, including New York rap duo Armand
Hammer, French DJ/producer Brodinski, Bruiser Brigade's ZelooperZ and vanguard Philly poet, musician, and activist Moor Mother.


On ‘Family’, Billy Woods and Elucid weave a dismal, apocalyptic landscape with their razor-sharp anecdotes. The duo’s macabre imagery is given artificial life by Pedone's industrial scrapes and rattles that curl around their worlds like thick smoke. It's still rap, just about, but lodges itself in the back room of a factory, machines running themselves to an early death. Pairing with techno-rap trailblazer Brodinski, Pedone edges further towards the sound system, spatializing rhythms in four dimensions around Detroit rapper
ZelooperZ's playful expressions. This is the Italian producer's sci-fi tinged liquefaction of radio echoes, a way to fire familiarity into the void and sublime the human voice into weightless mist. When Moor Mother arrives shouting "me me me" on the aptly-titled 'Poetry', it sounds as if all of Pedone's loose threads are being tightened into a knot. His misshapen neo-grime beats sound like a broken jet engine, but smartly cede power to Moor Mother's resonant rhymes. "You can't cancel me" she assures. ‘Absurd Matter’ is a defining personal development for Pedone that not only appraises his career so far, but diverts its logic into frighteningly new sonic territory. From great loss, the producer has determined his work's cardinal themes, and sounds more strident and far heavier than ever before.

What happens when you combine SUMAC: a band that uses the volume, distortion, and guitar-centric approach of metal to make music that has the malleability of jazz and textural exploration of noise with Moor Mother: a poet and sound artist that has deconstructed hip hop to a point where it"s less about rhyme and rhythm (though obviously both are present in her work) and more about oratorical cadence and power.

The Film is an album that takes attributes of both artists" work and finds common ground in shifting musical patterns, and expressive force. The record is a musical thumbing of their noses at the more traditional approaches of their respective fields, an innovative, powerhouse of an album. The Film"s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: "The idea is to create a moment outside of the convention. This is a work of art.

Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won"t understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process." The Film is just such a work, a nebulitic collaboration between SUMAC and Moor Mother.

Organic Analogue returns with a rediscovery of Beppu's rare dubbed-out electronica and circuit-bent techno. Andrew Hargreaves is the Manchester-based producer behind this alias which was first making waves back in the late-2000s. Back then it was three limited CDr EPs in 2009, which came with just 50 copies each, that made a stir and still stand up today. As such, the sought-after recordings receive a proper vinyl pressing and have been mastered by Miles Whittaker. Two distinct remixes from Demdike Stare also add further quality and contemporary context to the origins, which blend dub techno and braindance with textured noise. IPOP continues Organic Analogue's tradition of spotlighting overlooked talent having already done so with names like DJ Guy and Jean-Louis Huhta.

DJ Feedback

dBridge:
"A moment in time."

Ben UFO:
"This is gorgeous, thank you."

Tolouse Low Trax:
"Very much my start into Electronic Music back in the days. Cool Reminder!"

Stonecirclesampler:
"All time Manchester classic from one of the best in the city, incredible project and so so so happy for it to be reissued and on vinyl, original and Demdike remixes are all beyond incredible and absolutely nail the sound of the late 2000s early 2010s post-Sandwell District/Berghain techno and pre-noise/techno/post-punk - an absolute snapshot of a city and sound moving FWD, brilliant cant wait for the wax!!!"

Eric Cloutier (Palinoia, Tresor | Detroit):
"Well god damn. I mean...god damn."

Yu Su:
"These are so good. Demdike Stare's remix also!!"

Ruf Dug:
"Next level even almost 20 years later."

Silent Era (Of Paradise) :
"Great project. What a gem."

Saint Paul has long since proven himself as a fine curator of dusty beats across the deeper house and disco spectrum. He is part of the Moonrise Hill Material crew and now lands on Saint Wax with his first outing of the year. 'The Chosen One' brims with joy from the shimmering chords and vocal chops while bumpy drums get you moving. 'Pour L'Amour Du G-Funk (69 La Trik)' is a funky jam with smeared pads and excitable synths then 'Bay Disco Orkestra' brings a percussive twist and retro disco vibe. The trio of flip-side cuts explored slower, more soulful deep house and jazzy grooves that overflow with musicality, while a Gledd remix brings a lovely Latin skip and shuffle to 'Don't Hold Back Da Groove'.

An ever-present name in underground house, Alex Celler is back once again on Baby Ford's cult Trelik label. This is his third and maybe best outing yet with 'Twilight Firedancer' being a long and extended dub tech workout with wobbly bass and off-balance drums topped with glowing chords that bring occasional relief to the pressure of the groove. 'Mescaline' is much more busy with abstract pops and squeaks, synth modulations and an urgent, tightly programmed minimal tech groove that you would expect of this label. It's high-class music for mind and body.

It's been a couple of years since Oscide impressed with his contribution to Chez Damier's House Of Chez label on the 'Identity Of Our Sound Vol 2' EP, so we're glad to hear more now. This outing on Traxx Underground taps into his pure house sound and opens with the bubbly kicks and bass of 'Alone Tonight' (ft Ryan Hayden & Collie). It's dynamic deep house with a spiritual synth edge and heartfelt vocals, which will make it a real crowd favourite. After the more direct club mix comes the percussive US garage throb of 'The Last Time' and the raw and bumping house realness of 'What I Said', which has another smart vocal hook adding the irresistible emotion. Four effective but stylish house jams.

Das Leid ist uns allen verheißen, aber auch die Freude. Man muss muss man in dieser Dualität Frieden finden", sagt Yaya Bey, die Humor, Liebe, die Kraft der menschlichen Bewegung und menschlichen Bewegung und Verbindung - auch wenn sie Angst hat. Mit ihrem neuen Album, das auf eine Veröffentlichungen folgt und ihr Debüt bei einem Indie-Label drink sum wtr erscheint, ist die Singer-Songwriterin aus Queens, New York, durch ihr aufmunterndes, sprudelndes Material. Eine Absage an vergangene Vergangenheit, die auf sie projiziert wurde, findet Bey in ,do it afraid ihre Geschichte mit entschlossenem Spaß, vollem Herzen und nuancierten Songs, die sich aus R&B, Hip-Hop, Jazz, Soul Soul und Tanzmusik, einschließlich des Soca-Stils ihrer Bajan-Wurzeln ihrer Familie. do it afraid zelebriert alle Seiten von Yaya als Teil einer kollektiven Lebenskraft, die nicht die sich nicht der Angst verschreibt, sondern den Momenten, die uns bewegen.

In the previous episode, the Vibracid technique was discovered as a way to deactivate memories imposed by technocratic elites.

Now, with VIBRACID 2, its real deployment begins: a series of sonic attacks targeting control systems through rave vibrations.

Each track is a weapon. Each producer, a node of resistance. “Vibracid Advent,” the single that launched the assault, opens the mini album with acidic force — delivering the first sonic strike that breaks through imposed control. From the acidic and powerful aggression of Calagad 13 (Spain), through the modular precision and acid techno of C.C.O (Contra Communem Opinionem, Switzerland), to the dark, industrial electro of Mokotron (New Zealand). Atix brings the French 90s rave energy; Wicked Wes, from Florida (USA), builds grooves with bifasic rhythms and glitch textures; and Romphea (Greece) closes with distorted breaks exploring chaos and sonic escape.

Careful sound and mastering, and exceptional design for a limited edition of 150 copies on solid red vinyl.

DJ Support: Support by Kenneth Bager, Colleen "Cosmo" Murphy, Phil Mison, Chris Coco, Erki Pruul, Steve Cobby, Max Essa, DJ Gripper, Phil Cooper, La Guardia De La Luz, Johan Blende, Bill Brewster, Mike Salta, Pete Herbert, DJ Dribbler / For Mankind and many more.



Greek duo Bonnie & Klein serve up an Aegean musical escape with their new Glam Pulse EP on Hell Yeah.

George Fountzoulas and Thanasis Skouzis are lifelong Balearic brothers who offer up their own soul-stirring take on the sound on labels like Music For Dreams and NuNorthern Soul. They are inspired by the sunsets and seas of their homeland and bring great imagination to their melodies as this new outing proves.

'Glam Pulse' sets a gorgeous tone from the off with wavy grooves and a peppering of percussion. As well as some singing guitar riffs, sundown synths and shimmering chords make this a steamy and seductive gem. 'Haleakala' is another perfect soundtrack to lazing on the beach and watching the sun sink into the sea while new age motifs wash over you and carry away your woes. Proggy guitars speak to the soul on 'Horizon Avenue' as woody xylophones and wispy leads ride on dubby bass and 'Sunion' closes with hints of melancholy - a lament for the final dance of a long hot summer with lingering trumpets lodging deep in your heart.

Bonnie & Klein tap into real Balearic magic on this EP and effortlessly transport you to a sandy paradise.

Have you ever wondered what might happen when you collide Mighty Ryeders' timeless rare-groove classic 'Evil Vibrations' and De La Soul's iconic hip-hop jam 'A Roller Skating Jam Named 'Saturdays'' into one new tune? Well, wonder now more, because that's exactly what Groove-Diggers have done here. This fresh version blends the sampled parts of 'Evil Vibrations' with De La Soul's raps and vocals while Japanese hip-hop group FNCY have added their own new mic work into the mix as a way of paying tribute to De La Soul's original hit. Also included is a Japanese cover of 'Evil Vibrations' by Taiwanese jazz and neo-soul singer 9m88 which brings a whole different respective. A fun and sure-to-be effective package.

Life Elsewhere marks the striking debut of Catalan artist Oriol Cebrián, working under his Absent Corps alias. Known in underground circles for his razor-sharp ear and deep historical knowledge of electronic music, Oriol steps fully into the spotlight with an EP that both pays tribute to—and expands upon—the clubbing traditions of the late ’80s and early ’90s Valencia and Girona scenes: two epicenters of Spain’s most fervent and influential electronic underground. Crafted with a clear sense of purpose and sonic identity, Life Elsewhere is a masterclass in tension and rhythm—fusing hard- edged new beat with body-moving EBM, break-heavy trance detonations, and raw, unfiltered machine techno. All of it is filtered through a contemporary, uncompromising vision. Each track feels designed for the floor, yet refuses to fall into formula—constantly shifting between muscular propulsion and hypnotic detail. Presented in a truly limited ONE- OFF edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLUE vinyl. All tracks have been specially remastered and mastered for vinyl.

ZUG is without a doubt one of the leading and most compelling forces in contemporary European body and minimal electronic music. Once again joining forces with Oráculo Records, they present a retrospective that traces the arc of their already extensive and influential career. The result is a powerful compilation that blends previously unreleased material with some of their most iconic tracks to date—specially remixed and remastered for this edition. Every piece captures ZUG’s signature approach: a fusion of machine precision and raw physicality that transcends genre limitations. Tailored for fans of truly experimental, humanized electronica, primal drum patterns, and proto, body-shaking basslines, this release is a visceral listening experience from beginning to end. This is body music in its purest form. Presented in a ONE-OFF, truly limited edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Estado de Bienestar is the bold new solo project from Nico Cabañas, co-founder of the record label Oráculo Records and Ombra Festival. Emerging from a period of personal transformation, the project marks a departure from Cabañas’s earlier ventures — including Synths Versus Me (“So Far”, 22 Recordings) and Almax und Forte (“Nois d’Avui”, Oráculo Records). The latter had already begun shaping the sonic direction Cabañas now fully embraces: a raw, visceral, and fully analog “proto” sound. Chapters 1 and 2 of Estado de Bienestar offer a genre-defying journey through twisted, reimagined darkwave. As if curated by a seasoned digger, subgenres collide and dissolve — EBM blends seamlessly with breakbeat, industrial goth meets trip-hop, and dub-industrial collides with jazz, creating a rich and unpredictable listening experience. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid ORANGE and YELLOW vinyls. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).








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New on Sublease is label boss Steve Bug teaming up with Herve Solar, an emerging talent from Geneva whose debut was featured on Poker Flats Under One Roof series previously. The two artists first crossed paths at the Mixmasters retreat in Ibiza, where Herve participated as a student under the guidance of Steve Bug. Impressed by Herves material, Steve Bug saw potential for collaboration. Upon returning to Geneva, Herve sent Steve a few unfinished tracks, sparking the idea for a joint EP. The creative process involved each artist sending a track for the other to complete, with Steve Bug adding the final touches in his Berlin studio.

No Faith, No Dreams highlights a slinky, sexy sound that will instanty win over other DJs and crowds, and is also shared here via a remix courtesy of Jürgen Kirsch. His rework is a little tougher, stripping the sound down to ist essentials before bringing up the energy with a dubby bassline and intricate percussion. Swamp Frog is the 3rd track of the release, a grooving bassline providing the anchor for the rhythm and detuned chords that lend the whole thing a wonky, loose feel for the heads.

King Street Sounds are back again with their fourth installment in the King Street Sounds Sampler Series. This release unearths four classics from house music heroes such as DJ Romain, Mike Delgado, Dennis Ferrer, 95 North, Sabrynaah Pope and Louie Vega.

The EP kicks off with DJ Romain’s “All Day, All Night”. Originally released on “Nite Grooves” in 1996, a perfect example of New York house with a memorable vocal sure to keep you hooked hopefully all day and all night.

Next up is Mike Delgado with “Get Ready”. This track is a certified dancefloor filler, with those fast hitting highs and catchy keys. It is definitely a secret weapon that any DJ should use in case of an emergency.

Flipping over to the B side, Dennis Ferrer is returning once again in this series with “Dem People Go (DF's Kicked Out Mix)” Featuring Bola Belo. This Tribal House classic emulates being in the sun for the listeners, effortlessly bringing that block-party vibe.

Rounding off the EP is 95 North featuring Sabrynaah Pope with “Hold On” (Louie’s MAW Club). An already great track by its lonesome, but with house music icon Louie Vega’s magical touch it makes it a must have for any DJ who wants to get the dancefloor bumping.

King Street sounds have done it again! All killer and no filler.

A record woven deep into the tapestry of South African electronic music, ask any SA selector about Blackwhole’s ‘1000 Seconds’ and its certain to evoke a reaction. Alongside the first ever global release of the record. A “stone cold classic” that has never had a release beyond South Africa, Stay True Sounds has also commissioned a remix from label mainstay Atmos Blaq. Also, adding a fresh new perspective to this track is Jullian Gomes who is making his first appearance on the Stay True Sounds imprint.