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„ZIRP!“ ist das fünfte Studioalbum von DIIV und zeigt die New Yorker so zugänglich wie je zuvor. Produziert vom Hyperpop-Pionier A. G. Cook (Charli XCX, Caroline Polachek) begeben sie sich dabei in neue
Sound-Gefilde: Zwar bleiben die für DIIV typischen Shoegaze-Elemente erhalten, doch nun steht zum ersten Mal der Gesang von Frontmann Cole Smith im Mittelpunkt des Mixes. „ZIRP!“, benannt nach der
Niedrigzinspolitik, die uns in eine Welt gescheiterter Start-ups geführt und uns alle zu „Nutzern“ gemacht
hat, baut mit einer neu gewonnenen Leichtigkeit auf den Themen des Vorgängers „Frog In Boiling Water“
auf. Durchweg konzentrieren sich DIIV bei ihrem neuen Album auf ihre bisher kraftvollsten und einprägsamsten Melodien; jeder neue, in sich geschlossene Hook und jeder beiläufig eingestreute Ohrwurm zeugen von
einer Band, die mehr als bereit ist, ihr Potenzial im Mainstream voll auszuschöpfen.

„ZIRP!“ ist das fünfte Studioalbum von DIIV und zeigt die New Yorker so zugänglich wie je zuvor. Produziert vom Hyperpop-Pionier A. G. Cook (Charli XCX, Caroline Polachek) begeben sie sich dabei in neue
Sound-Gefilde: Zwar bleiben die für DIIV typischen Shoegaze-Elemente erhalten, doch nun steht zum ersten Mal der Gesang von Frontmann Cole Smith im Mittelpunkt des Mixes. „ZIRP!“, benannt nach der
Niedrigzinspolitik, die uns in eine Welt gescheiterter Start-ups geführt und uns alle zu „Nutzern“ gemacht
hat, baut mit einer neu gewonnenen Leichtigkeit auf den Themen des Vorgängers „Frog In Boiling Water“
auf. Durchweg konzentrieren sich DIIV bei ihrem neuen Album auf ihre bisher kraftvollsten und einprägsamsten Melodien; jeder neue, in sich geschlossene Hook und jeder beiläufig eingestreute Ohrwurm zeugen von
einer Band, die mehr als bereit ist, ihr Potenzial im Mainstream voll auszuschöpfen.

In late 2025, Manchester producer Psychederek established the Via Jupiter label as an outlet for his work.
For the label's fourth release, Psychederek returns with 'The Right Side Of The Ocean', a guitar and percussion themed record that drifts somewhere between balearic pop, new age and loose-limbed disco.
Danny Ward's percussion runs throughout, giving the record a warm, organic pulse beneath its hazy melodies.

'Saint Joan' sets sail with a nostalgic, guitar-led groove, easing us into the world of the EP.
From there, things get a little baggier on 'Aire Salado', a Happy Mondays-adjacent pop song built around Stan Lewis' catchy saxophone riff, with Lois Holmes' backing vocals adding another layer of laidback charm.

'In The Sun' settles deeper into the groove, built around repeating vocal and guitar hooks, dreamy synth pads and a deep, rolling bass line.
Then comes 'Central Drive', where the tempo lifts and the record heads towards disco territory. Its roto-tom driven breakdown takes its time, opening up the groove before eventually slipping back into the track's main synth riff.
Finally, 'Everything Settles' brings things back around, dissolving into an ambient reprise of the opening track. The guitars give way to synths, the vocals become a repeating mantra and the whole thing slowly drifts off into full new-age bliss.

Beautiful hand-made artwork design by Alex Giles.

First Cuts Vol. 2* is the second release in this new vinyl series, featuring exclusively new producers making their vinyl debut. In this series, you will find techno, house, and hardgroove.

Arno E. Mathieu returns with a new EP on Musiq Voyage

A Mediterranean horizon in motion.
Arno E. Mathieu returns with a new Balearic journey where electronic disco grooves meet funky guitar, atmospheric synthesizers, mystic chants and driving percussion.
Rooted in the warmth of the Mediterranean but built for movement, the EP unfolds like an endless landscape — from the coastline to the distant horizon. Organic guitar lines, hypnotic bass and percussive rhythms lock into spacious electronic textures, creating a sound that feels simultaneously earthy, cosmic and deeply danceable.
Balearic in spirit, disco at heart, house and psychedelic in atmosphere and driven by a strong sense of place.
After releases and remixes connected with labels and artists including Compost, Real Tone, Earthrumental, Joe Claussell, I:Cube, Mark E, Beanfield and Max Essa, Arno E. Mathieu continues to build a body of work where dance music becomes a form of landscape painting.
Sun on the water. Bass beneath the feet. Guitar in the distance. The horizon keeps moving.

The latest release from the Gladio Operations label showcases a new collaboration between two heavyweights of the European electro scene. This seventeenth release brings us a collaboration between Jauzas The Shining, a regular on the label, and the eagerly awaited debut of Swedish producer Obergman.

This EP, entitled “Continuum Analysis”, opens with “Analysis Of My Ego” and “Untitled”, two powerful tracks by Jauzas The Shining, featuring the classic, forceful and dark basslines, beautifully accompanied by deep vocals, very much to the French producer’s taste. The final track is by the Swedish artist, who treats us to “Kap Flora”, a journey to be savoured amidst consistent basslines and arpeggios, which draws us into a soundscape that flirts with trance sounds.

Side B opens with two tracks by Obergman: the first, “Continuum Bender”, with its intriguing and mysterious passages, gives way to “Closed Surface”, a track that slows the tempo down compared to the previous ones, and in which we hear a gentle line of more synthetic and relaxed sounds. The EP closes with the track “Con Gusto” by the French artist, a rhythmic journey with a fast-paced development, enhanced by cinematic vocals.

Space Ghost returns with Back From Reality, his first solo album since 2022. Blending ambient, downtempo and house, the LP explores themes of escapism, introspection and the search for moments of calm in an increasingly overwhelming world. Out October 9th, 2026 via Space Ghost’s own Peace World Records.

Drawing influence from late '90s and early 2000s ambient and electronic music, the record channels the nostalgic atmosphere of PS2-era video game soundtracks, console startup screens, and save menus. “I used to play games like Spyro, Crash, Ape Escape, Gran Turismo. It's fun for me to reimagine songs that could have lived in games from that era. ” The project reveals Space Ghost's interest in writing music for video games, with tracks such as "System Reset" reimagining an alternate PS2 startup screen or “VGM” visualizing a stage selection screen for an imaginary game.

Visually, the project emulates the minimalist design trends of album artwork from the same era: sparse industrial landscapes paired with minimal type. Space Ghost took the cover photo himself while driving around the quiet, empty Oakland ports at night. Tracks like “Sugar Cube” and “Back From Reality” mimic these late night environments and create a downtempo zone for listeners to get lost in. “One of my favorite things to do after writing songs, is to drive around Oakland listening to them. It's almost like the final test for the songs, to see if their emotion holds up.
”
Written over the course of five years, Back From Reality reflects Space Ghost’s experience of balancing everyday life with the desire to be creative. “This album is me coming home from my day job and returning back to the place where I feel the joy and freedom in making my music. If I could, I would work on my music full time, but for now it's part time and often a form of escapism. ” Beneath its calming surface, the LP quietly wrestles with larger questions. Against the backdrop of global conflict, environmental decline, and economic uncertainty, the album searches for small moments of optimism through creativity and introspection. Back From Reality holds a moment of space away from these overwhelming times, allowing listeners to pause and recharge.

Back From Reality releases on Peace World Records October 9th, 2026

JUNO & Jamek Ortega link up for ‘Deep Breath’ on Crosstown Rebels.

Following an impressive label debut earlier this year alongside Alex Wann on ‘Allo’, crowned Pete Tong’s Essential New Tune, Germany’s JUNO returns to Crosstown Rebels with ‘Deep Breath’ in collaboration with longtime production partner Jamek Ortega. Immediately drawing listeners into a hypnotic, percussive world, snaking rhythms and rattling cowbells build steadily beneath an atmospheric backdrop, before a commanding vocal emerges to anchor the groove. The release continues a relationship that has seen the pair produce across labels including Arodes’ Unreleased Records, Wired World, and more, as well as regular back-to-back performances. On the flip, ‘Sloppy Disk’ sees JUNO step up solo, locking into a driving four-to-the-floor groove where a rolling bassline provides the foundation for pensive chords to drift alongside subtle melodic flourishes, steadily expanding the track’s atmosphere before tumbling into a sweeping, cinematic finale.

JUNO has accelerated onto the scene with hits like ‘Last Dance’ on Magnifik Music and a Hot Mix for Pete Tong on BBC Radio 1, firmly earmarking him as one to watch. Meanwhile, DJ/producer Jamek Ortega continues to connect with audiences worldwide with outings on Three Six Zero, MoBlack, Abracadabra, Madorasindahouse, and more, picking up heavy rotation from the likes of Keinemusik, Solomun, Tiësto, and Black Coffee. Here, the pair show no signs of slowing down as they join forces once again, stepping onto Damian Lazarus’s imprint and marking a major milestone in their respective trajectories.

Carlos Benedetti, a Colombian house producer and live performer from Cali, has steadily become one of the standout names in today’s underground dance scene. Following multiple vinyl releases on the acclaimed German label Disco Disco, Benedetti’s productions have earned widespread praise and support from respected figures including deep house icon Cinthie.

Specialists, selectors and collectors alike have described his records with comments such as:
“fabulous 12-inch”
“This is the most wild dance record to come out this year so far”
“Cannot formulate the words to capture how this one sounds and makes me feel”
“Listen close and behold.”

With this latest EP for SUPREME STRIKER, Benedetti once again delivers a collection that feels destined to become a future underground classic.
The record opens with Nostalgia Blues, a soulful and deeply textured piece channeling the spirit of Larry Levan’s legendary dancefloor energy, somewhere between disco’s emotional golden age and modern club functionality.
On Bellavista, Benedetti dives deeper into high-energy territory, layering powerful black grooves, hypnotic rhythmic tension and rich percussive movement into something both vibrant and timeless.
Pyramid follows with soaring arpeggios and delicate melodic flourishes, recalling the euphoric sophistication of Todd Terje at his most inspired, while maintaining Benedetti’s raw dancefloor sensibility.
Closing track How High The Moon nods toward Patrick Cowley’s pioneering synth work, injecting the EP with cosmic disco pressure, futuristic funk textures and a strange late-night sensuality.

More than a simple collection of tracks, the EP unfolds as a fully coherent journey through house, disco, Italo and high-energy mutations, balancing emotional depth, machine-driven grooves and timeless dancefloor instinct with remarkable naturality.

With World Beats Vol. 3, Lello Di Franco recruits a powerhouse team of remixers known for their dancefloor instinct—featuring Gerd Janson, Johannes Albert, Ben Hixon, and Gerd. Together, they preserve the cosmopolitan, percussive pulse of the original tracks while elevating them into peak-time club anthems. This masterfully crafted remix EP breathes new life into the project through diverse yet seamlessly cohesive interpretations. A must-listen for lovers of sophisticated house, nu-disco, and forward-thinking global sounds.

We are in-between again: FELT founder Fergus Jones surfaces on his own label for the first time with this dreamy, dubby pair of introspective tracks featuring the hazy, elegiac vocals of Thomas Bush, back on FELT after 2023's split cassette with Princess Diana of Wales. The results of a three-day studio bender in Copenhagen, Bush's entrancing vocals gesture towards the unchangeable past and unknowable future, creating a vital, pumping circulatory system of sound, further supported by the saxophone of Italian-Danish artist Francesca Buratelli and the (vinyl debut) of New York's Yumi with a notable interjection on "Untitled (Mix 1)”.



Written, produced and mixed by Fergus Jones & Thomas Bush

Saxophone on Untitled (Mix 1) by Francesca Burattelli

Additional vocals on Untitled (Mix 1) by Yumiko Mannarelli

Mastered by Amir Shoat

»Memorial« grew out of Nate Wooley’s work alongside Annea Lockwood recording the Columbia River, and in particular from a visit to Kettle Falls in northern Washington, once one of the river’s great salmon fishing and meeting grounds and a place of enormous importance to the Sinixt and other Indigenous peoples of the Upper Columbia. The falls disappeared from view following the construction of the Grand Coulee Dam in 1940, submerged beneath what is now Lake Roosevelt, yet beneath the still surface of the reservoir, a fast current continues to move across the buried cliffs. That tension between what remains and what can only be recovered through memory runs throughout »Memorial«.

In the essay accompanying the record, Wooley returns repeatedly to the idea of translation: the attempt to carry an experience from one form into another, from river to recording, memory to sound, landscape to music. He moves between Lockwood’s sound maps, John Ashbery’s rain falling on canal machinery, Ravel’s attempts to make water move through a piano, Christian Wolff’s »Stones«, and the Sinixt First Salmon Ceremony, where rocks struck together recall the sound of salmon once moving through the river in their thousands. These translations cannot restore what has been lost; however, they allow us to revisit what remains beneath in another form.

»Memorial« exists as an uncertainty, concerned with the distance between a place and its recording, between an event and what survives of it, and with the way listening itself becomes entangled with memory. Kettle Falls remains submerged, the river constrained and radically altered, but the water continues to move over the old rock beneath the reservoir. »Memorial« tries to listen for that persisting memory.

Bosconi Records reissues one of its most sought-after releases: BOSCO004 by the British duo 100Hz (Lee Renacre & James Chapman), a three-track EP seamlessly blending Robert Hood-style minimal Detroit techno with dubstep/techno crossover influences.

At the heart of the record is “The Field”, a rediscovered DJ-favorite driven by a deep, trippy groove and the magnetic vocals of Patrick Stanley (AKA “The Voice”), accompanied by the sleek, suspenseful atmospheric vibe of “Tension”. Rounding out the EP is “Cinqo”, a timeless 137 BPM avant-garde smasher originally released in 1995 on Format Records that bridges the gap between Benga, Tobias, and Marcel Dettmann.

Five years on from its first outing, Standards & Practices returns with a second volume of Out of Practice that assembles a roster of exclusive, unreleased material that moves between broken techno, electro, dub techno and bass-heavy experimentation. The strength lies in its range: in this third 12" instalment, Patrick Russell's opener brings meditative dub pressure, Ghost Warrior's 'Second Wave' is a sparse, suspensory underwater world, Pessimist layers deft percussion into fractured rhythm science and Blood Music's 'Figures For Laser' has a cascade of 8-bit melodies adding futurism to jazzy, off-grid drums in what is an eerie and engaging closer. A snapshot of a label finding new ways to bend electronic music's tried and tested boundaries.

UK Garage has ridden a new wave of hype and exposure over the last few years. Artists like Sammy Virji and Interplanetary Criminal have crossed over to the mainstream, while dancefloors across the world have shaken to a switched-up version of the sound that defined the UK underground either side of the millenium.

Hidden beneath a pink balaclava, the mysterious DJ Jackum has lurked this rejuvenated scene while dropping some of the most defining bangers of the period. Often surfacing in the form of moody edits released on Soundcloud, Jackum productions inevitably demolish dancefloors whenever dropped, as they frequently are in the sets of Virji and the other big guns.

Landing on Hotflush, a storied label of UK underground music, ‘Context’ is his most substantial work to date. Six tracks covering the full spectrum of the Jackum sound, from 4/4 heaters to dubstep-adjacent eyes-down bass pressure.

And in the form of opening track ‘Floo’, Jackum spreads his wings into a place that transcends the narrow confines of genre definition. From the UKG building blocks of bass, drive, cut-up vocals, and melody, the track emerges as something both familiar and wholly unexpected - the mark of a producer at the peak of their powers.

‘Clip Empty’ is another highlight of this standout EP. Showing a flair for the cinematic, a breakdown of militaristic snares gives way to a trademark rolling bassline and earworm vocals.

Away from the 4/4 bangers, ‘Take Your Body Higher’ is a guaranteed half-step rewind, while ‘Step Up’ recalls memories of smokey Plastic People sessions of the mid-2000s.

,Manifold of Partially Actualized Realities" ist das neue Album bei Kou Records von Randall Dunn - Produzent, Komponist und einer der markantesten Gestalter von Low-End- und räumlichen Klängen in der zeitgenössischen Musik, bekannt für seine Arbeit mit Sunn O))), Oneohtrix Point Never, David Torn und unzähligen anderen aus den Bereichen Heavy-, Experimental- und Avantgarde-Musik. Das Album ist eine Meditation über zerbrochene Realitäten, Zeit und Sterblichkeit - ein Spiegel, der sich auf sich selbst zurückfaltet und darüber, wie zukünftige Ereignisse die Vergangenheit beeinflussen. Sein tragender Geist ist Philip K. Dicks ,Pink Light Experience" von 1974, in der der Autor berichtete, eine Übertragung von einer gewaltigen, außerirdischen Intelligenz empfangen zu haben: informationsreich, uralt und überwältigend. Dunn nähert sich dem sowohl als Konzept als auch als kompositorische Logik - Musik, die in Schichten auftaucht, zusammenbricht, sich neu formiert und sich einer Auflösung verweigert.? In vier Stücken setzt Dunn ein ganzes Arsenal an Vintage-Synthesizern ein - Korg MonoPoly, Korg MS-20, PPG Wave, CS-80, Juno-60, Waldorf Strings, Fizmo - neben einer außergewöhnlichen Ensemblebesetzung. Spoken-Word-Beiträge von Jim Jarmusch (basierend auf PKDs Prosa) und Laima Leyton (basierend auf Robert Graves' ,Time") verankern zwei der vier Stücke in Sprache, ohne sie zu erklären. Das Album bewegt sich von orchestraler Kammermusik über elektroakustische Abstraktion hin zu einem abschließenden Stück - ,Ayn" -, das sich zu ekstatischem Jazz entfaltet, mit Cyro Baptista, Briggan Krauss, Henry Fraser, Charmaine Lee und Robert Aiki Aubrey Lowe. Wahre elektroakustische Komposition im vollsten Sinne: spektral, körperlich und weit offen. Produziert und gemischt von Randall Dunn bei Circular Ruin, April 2026. Aufgenommen und gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover- und Rückseitengestaltung von Steve Rude.

,Ma Waraa Al-Shaabi" - ,Beyond Shaabi" - ist das neue Album bei Kou Records von Rizan Said, dem legendären kurdisch-syrischen Keyboard-Virtuosen aus Ras Al Ain in der Region Jazeera im Nordosten Syriens und dem wichtigsten musikalischen Kopf hinter Omar Souleyman. Rizan Said ist ein musikalischer Botschafter aus einem verschwundenen Syrien. Es war einmal vor nicht allzu langer Zeit, als die Jazeera - ein kulturell reiches Grenzgebiet kurdischer, arabischer, syrischer und armenischer Gemeinschaften - von einer unverwechselbaren musikalischen Tradition geprägt war: Handtrommeln und Rohrflöten, Hochzeiten, die tagelang dauerten, Dabke, die schon seit Jahrhunderten getanzt wurde, lange bevor Electro, Disco oder Orientalismus auftauchten, um ihr einen Namen zu geben. Rizan war das Wunderkind dieser Szene, ein Ausnahmetalent an Percussion- und Rohrblattinstrumenten, das zum Meister der Synthese in der Region wurde - er programmierte Korgs so, dass sie Zurna, Saz, Tanbura und Buzuq nachahmten, und vereinte die traditionelle Instrumentierung in einem einzigen Paar Hände, das sich blitzschnell bewegte.? Dies ist sein drittes Soloalbum nach ,King of Keyboard" (Annihaya, 2015) und ,Saz U Dilan" (Akuphone, 2019) - und sein bisher weitreichendstes. Aufgenommen im Sundlaugin Studio von Sigur Rós Sundlaugin Studio in Island aufgenommen und von Randall Dunn produziert, in Koproduktion mit Mark Gergis (Syrian Cassette Archives), führt ,Ma Waraa Al-Shaabi" syrische und kurdische Dabke in unbekanntes Klanggebiet: sieben Stücke, die die Hitze und Geschwindigkeit der Kassetten-Szene in etwas Weites, Fremdes und Lebendigeres als je zuvor übertragen.? Aufgenommen im Sundlaugin Studio, Island, im Mai 2026. Produziert und gemischt von Randall Dunn. Koproduziert von Mark Gergis. Zusätzliche Produktion: Ulfur Hansson. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Lackschnitt von Paul Gold bei Salt Mastering. Cover-Artwork von Rebeka Arce; Porträt auf der Rückseite von Randy Ortiz.

,The Long Ear" ist das Debütalbum von Noh Age _ Charmaine Lee (Parabolmikrofon, Feedback, Gesang), John McCowen (Kontrabassklarinette, Bb- Klarinette, Blockflöte) und Li-Chin Li (Sheng) bei Kou Records - live aufgenommen über drei Tage bei Brooklyn Recording im März 2026 live aufgenommen und von Randall Dunn (Sunn O))), Oneohtrix Point Never) produziert. Das Parabolmikrofon hat seine eigene Geschichte: ein Überwachungsinstrument aus dem Kalten Krieg , das dafür konzipiert war, aus der Ferne zu lauschen, um das zu orten und zu verstärken, was sonst unhörbar bleiben würde. Hier ist es nach innen gerichtet - nicht auf einen Feind, sondern auf den Klang selbst, der durch vier Vintage-Röhrenverstärker geleitet wird. Die Parabolantenne spürt Resonanzen auf, die durch den Raum übertragen werden, und stellt sich auf Frequenzen ein, die von Kontrabassklarinette, Sheng und Gesang erzeugt werden, bis sich eine Rückkopplung entlädt - ein vierter Interpreter mit eigener, unvorhersehbarer Wirkmacht. Das Ergebnis ist spektrale Musik in ihrer viszeralsten Form - verwurzelt in der Tradition von Gérard Grisey, Kaija Saariaho und Iancu Dumitrescu, doch herkommend von der Überwachungsstelle, dem Abhörposten, der Abhörleitung. In sechs Stücken, die auf kompositorischen Rahmenwerken aus zellulären Automaten und grafischen Partituren basieren, bewegt sich das Trio zwischen extremen Registerbereichen - CBC-Grundtöne gegen dichte Sheng-Cluster-Klänge , die kristallklaren Obertöne von Blockflöte und Mini-Sheng - während das Feedback durch all das wandert, sich verdichtet, auslöscht, wiederkehrt. Cover- und Rückseitengestaltung von Shintaro Kago - einem in Tokio ansässigen Manga-Künstler und Pionier der ,Ero-Guro"-Tradition, der international für seine Arbeit an Flying Lotus' ,You're Dead!" (Warp, 2014) bekannt ist. Aufgenommen, gemischt und produziert von Randall Dunn. Zusätzliche Synthesizer und Sounddesign von Randall Dunn. Gemastert von Ben Greenberg. Dolby-Atmos-Mischungen von Ben Greenberg. Schablonenschnitt von Paul Gold bei Salt Mastering.

MIO: Memories in Orbit is one of 2026 best games so far. With a synthwave-induced melody, blissful choir voices echoing the main theme of the game, buzzing electronic noises and a hint of groovy patterns, this track captures the very essence of the game. Reminiscent of other iconic OST like Power Glove’s Far Cry 3: Blood Dragon and Ben Prunty’s FTL: Faster Than Light.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

For those with an ear to the Afro-Latin scene in New York City, Doug Gomez is one of the main men. His infusion of those sounds into a deep house framework is sublime, always, and not least on this fourth instalment in his series for his Merecumbe Recordings label. 'Dis a Way of Life' is a collab with fellow heady house hero Trinidadian Deep, and is a spine-tingling affair with spiritual pads that stir your soul as rasta vocals add to the dubbed-out feels. 'Dance Activator' is more about movement, with supple drums swaying beneath jazzy synth expressions that ring out into an infinite sky. On the flip is the warm deep house bubbler 'Sonic Uprising' and a remix by Trinidadian Deep that turns up the colour and soul. Pure class.

Power Ballads and The Wash is the sophomore album from London-based multi instrumentalist James Howard, due for release on 6th November 2026 via boutique
label Faith & Industry. James is known as founder of critically acclaimed 2010’s band Blue House and collaborator with luminaries such as Rozi Plain, Dana Gavanski, Kate Bollinger and Alabaster Deplume.

For Power Ballads and The Wash James has worked with producer Mike Lindsay, co-founder of folktronica group Tunng. Power Ballads and The Wash follows James's debut solo album Peek-A-Boo, released to great acclaim in April 2023.

All eight songs of Power Ballads and The Wash began life as intimate live takes of
guitar or piano and voice, recorded at Howard’s studio in Deptford, south London.
Steeped in the energy of the local environment, each session was preceded by a visit to the Thames to ask for its muddy blessing, with the DLR rumbling by. The sessions at Lindsay’s Margate studio built a widescreen world around Howard’s original performances, from the restless Eventide vocal treatments on Seven Seconds to the Hollywood string samples of The Moon In The Movies and the Moog bass that quietly anchors the record throughout. Howard also praises violinist Magdalena MacClean's (Caroline) contributions.

Beneath this gentle absurdity, though, lies something quietly powerful. Howard’s
song-writing explores the notion that, despite our ever-shortening attention spans,
there is still the possibility of quiet reflection and the discovery therein of revelations hidden in plain sight. The world of these lucid dream-esque reveries is unmistakably London. The record began with a wing-and-a-prayer visit to the Thames, and ends there too: the wash from the Thames Clipper / nearly breaks through your shoe / like some feelings sometimes do.

If Sylvie’s New Season were a movie, Ben Schwab would be the auteur, screenwriting and directing the vision, articulating his story through a cast of actors. In truth, New Season is a record of the freewheeling country-rock variety, Sylvie’s first with Ghostly International, and it finds the Los Angeles-based artist at the helm of a rotating ensemble, arriving at pure, joyous expression and renewed faith in the face of hardship. It’s a rare and refined kind of musical gesture, both intimate and all-embracing, self-produced, penned singularly, delivered collectively. An invitation to find beauty in life's trials and to trust that even the longest winters can give way to a new season. Like Sylvie’s self-titled effort, New Season still rings of the sunny, lighthearted, and smooth 1960s and ’70s pop, rock, and country sonics that have become the project’s signature. While Schwab constructed that 2021 project mainly with friends in his orbit, stemming from his time playing in Drugdealer’s band and other peripheral projects, he has broadened the scope tenfold for his full-length debut, New Season. The shapeshifting collective executes on an alluring mix of nostalgic and modern sensibilities, recalling the free-spiritedness of Laurel Canyon and bohemian-era Nashville with a contemporary sheen.

In alten Zeiten, wenn sich Nebel um ein Schiff legte, war der einzige Weg nach vorne, langsamer zu werden und zuzuhören. Vögel, brechende Wellen, Schiffsklokken, Gongs und Hörner wurden zur neuen Sprache der Navigation, neben Tiefensondierungen, die den Meeresboden mit einer Bleileine abtasteten und seine verborgenen Formen enthüllten. Die Technik hat diese Methoden zwar weitgehend überflüssig gemacht, aber es hat immer noch etwas Faszinierendes, wenn man das Sehen gegen Hören und Fühlen eintauscht. Dieser Wandel steht im Mittelpunkt von AEAEA dem neuen Duo aus Patrick Higgins & Nicolas Jaar und ihrem Debütalbum Mist", einem Album, das fragt: Wie findest du dich zurecht, wenn die Welt um dich herum verschwimmt? Die Anfänge des Duos reichen zurück bis zum Le Guess Who?-Festival 2019, bei dem Higgins als Künstlerkurator fungierte. Benannt nach dem nebligen, mythischen Land der Eichen- und Buchenwälder, wurden die Insel und die sie umgebenden Geschichten zu einer Inspirationsquelle für beide Musiker, die schon lange eine Mischung aus altertümlicher Harmonie und elektronischem Experimentieren bevorzugen. Das Album entsteht aus der Erforschung einer neuen gemeinsamen Sprache durch das Duo, bei der Higgins' Gitarre und Percussion live durch Jaars Echtzeit- Effektketten geleitet werden, wodurch Sampling, Dubbing und Verarbeitung zu eigenständigen Musikinstrumenten werden. Aufgenommen über drei Jahre hinweg in Berlin und in Higgins' Studio im Bundesstaat New York, verwebt Mist" die neblige, intuitive Logik von Bearbeitungsketten und Improvisation in den Kern der Komposition. Die Platte entwickelt eine Reihe melodischer Themen, die aus Higgins' Gitarre hervorgehen und sich in ein Meer aus Elektronik, Percussion und schließlich einem volleren Ensemble aus Keyboards, Orgeln, Schlagzeug und den Cello-Improvisationen der Komponistin Judith Hamann brechen. Die Klanglandschaften von Mist" sind traurig und langsam, mit Tönen, die oft von einem blaugrauen Dunst umhüllt sind. Manchmal nehmen wir Strahlen fernen Lichts wahr, die die Unschärfe durchdringen, doch meist hören wir Echos ferner Ufer, deren Rhythmen es uns vielleicht endlich ermöglichen, ohne zu sehen zu sehen.

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.

Taylor Ashton kehrt mit Charades" zurück, seinem dritten Solo-Album, das am 6. November 2026 bei Birthday Cake Records erscheint. Produziert und mitgeschrieben von Benjamin Lazar Davis (Cuddle Magic, Okkervil River, Maya Hawke), abgemischt von Jacob Blumberg und gemastert von Philip Shaw Bova, bettet das Album Ashtons warmen Bariton und sein einfallsreiches Clawhammer-Banjo in kantigen experimentellen Pop und klassische Harmonien ein: atmosphärische Kurzgeschichten über Treue, Freundschaft, Schicksal und Selbsttäuschung. Die Gästeliste liest sich wie ein Gipfeltreffen der Brooklyn-Folk-Szene: Maya Hawke, Theo Katzman (Vulfpeck), Aoife O'Donovan und Ashtons Frau Rachael Price (Lake Street Dive) singen alle auf dem Album mit. "Ich habe Taylor Ashtons Stimme als sehr ehrlich erlebt wie Balsam, ganz ohne Künstlichkeit", sagt Leslie Feist.

DJ Support: Ben Wal, Lammer, Helena Lauwaert, Kyle Starkey, Two Faced, OLLIE LISHMAN

Smoke Signals is a cornerstone release in my discography — five tracks that trace the arc of the biggest run of my career to date, from the closing weeks of his second European tour through into an Australian summer that felt like a genuine turning point for me personally. The A-side carries three of the biggest tracks from that run, road-tested in front of crowds from Europe to home soil long before they ever had a release date. The B-side turns inward, a more introspective look at his sound and the world behind it. Five tracks, one defining period of my life.

A soaring new chapter unfolds from the forthcoming Elements Of Life album with the release of “Soar,” an uplifting and deeply moving collaboration featuring the incomparable Lisa Fischer. Written by Josh Milan and Louie Vega and produced by 2SoulFusion—Louie Vega and Josh Milan—the song is a powerful testament to resilience, transformation, and the limitless possibilities that emerge when spirit, soul, and music unite.

Built upon a rich tapestry of live musicianship, “Soar” embodies the signature sound that has made Elements Of Life a beloved musical movement around the world. At its core is Lisa Fischer’s breathtaking vocal performance, delivering a message of hope, elevation, and self-discovery with the emotional depth and conviction that have made her one of the most revered voices of her generation.

At the heart of “Soar” is a message of encouragement, resilience, and unconditional support. Through its uplifting lyrics and soaring melody, the song speaks to anyone navigating life's uncertainties while striving to become their fullest self. Lines such as “Clouds hang low, but the sky's still wide” acknowledge the challenges we all face, while the recurring refrain, “I just want you to soar,” serves as a powerful affirmation of faith in another person's journey. Equally moving is the song's central sentiment, “The more you do for you, the better I feel,” expressing a selfless form of love that celebrates growth, healing, and personal fulfillment. Universal in its message yet deeply personal in its spirit, “Soar” reminds us that one of the greatest gifts we can offer is the encouragement to rise, evolve, and embrace our own potential.

The production blends organic instrumentation with sophisticated arrangements, creating a timeless soundscape that feels both expansive and intimate. Multi Grammy Award-winning bassist Christian McBride anchors the composition with his masterful upright bass work, while Josh Milan's lush keyboards, piano, organ, clavinet, and atmospheric textures provide the song's harmonic foundation. Live drums from Tony Cintron and vibrant percussion from Luisito Quintero infuse the track with an irresistible pulse, while Ivan Renta's expressive soprano saxophone solo adds another layer of emotional richness, and a tasteful guitar groove by Sherrod Barnes.

The song's message is elevated further through a powerful vocal ensemble featuring background vocals from Lisa Fischer, Dawn Tallman, Ramona Dunlap, and Lea Lorien, creating moments of communion and uplift that echo the song's central theme of hope, growth, and believing in the possibilities that lie ahead. For Louie Vega and Josh Milan, “Soar” represents another defining moment in their longstanding creative partnership. Through Elements Of Life, they have continually blurred the boundaries between house music, soul, jazz, Latin rhythms, gospel, and global influences, creating music that resonates as deeply on the dance floor as it does in the heart. “Soar” continues that tradition, offering listeners a song that inspires movement, reflection, and renewal.

Recorded at Honeycomb Studios in Pennsylvania and Manhattan Center Studios in New York City, and mixed at Daddy's Workshop in New Jersey, the production benefits from the expertise of recording engineers Yas Inoue & Josh Milan, with final mastering by the Maestro of mastering Herb “Pump” Powers for PM Mastering.

As anticipation builds for the forthcoming Elements Of Life album slated for February 2027, “Soar” offers a powerful glimpse into the project's next evolution— a celebration of musical excellence, spiritual connection, and the enduring power of song to lift us higher.

DJ Support: Kenny Larkin, Francois Kevorkian, Laurent Garnier, Ben UFO, Joseph Capriati, Fra Soler, Carista, Slam, Uncertain, DJ Bone, Christian Smith, Anthony Pappa, Radio Slave, Alienata, Marco Faraone, Christian Varela, James Zabiela, Anika Kunst, Carlos Valdes, Ame, Pushmann and Chris Fortier

Vince Watson Announces ‘The Force’, to launch his forthcoming 30 year compilation VW30 Introspection II.

As the build up to Vince Watson's huge forthcoming VW30 Introspection II compilation begins, the Scottish born Amsterdam based Artist releases a new track, a huge track 'The Force' as the exclusive.

Building on his Detroit inspired heritage and mixed with his energy infused Dancefloor material, 'The Force' is a monster.

With hints and shades of E-dancer with its big baselines, this track is sure to rip up some dancefloors.

Backing this up on the vinyl only, is Bon Voyage and Towards The Light, 2 tracks originally from the Via LP and featuring on vinyl for the first time.

Over the last 30 years, Vince Watson has produced some of the standout tracks of underground house and techno culture, from ‘Eminesence’ to ‘Aurelon’ to 'Mystical Rhythm’ and the new summer hit ‘The Awakening’ and has worked with some of the most renowned artists and labels to ever grace the scene.

To celebrate this incredible milestone and respect this legacy, Vince Watson is announcing a new compilation album showcasing new versions of some of the classics from his catalogue over the last 3 decades.

**The Stone Club - 'Album of the month' **


In a world that buckles and cracks under our calamitous weight, something at once old and beautiful, bitter and malign, stirs just a shade below what can be seen. It had dreamt of the end of things, and tasted there sweet emptiness, but now a new hominid stench has disturbed its slumber.

So keenly it ponders, un-lidding an eye, and within each potent coil desires fester, many and urgent. And so it untangles, and organises, and lurches upwards like a whale; bloated, rotten and desperate to breathe.

Emily and Joe have caught glimpses of that which lurks beneath. As each has struggled to make sense of what they have seen, they have been dragged inexorably into a frightening new reality; a shadow world of lurid horrors, where nothing is as it ought to be. Yet they have witnessed great beauty too, a joy stark and profound, and an addiction is growing.

iO Pan is about a love for that special era in the UK dance music scene that from the late 1980s onwards mixed funk, soul, hip-hop, electro, reggae, dub and Jamaican sound system culture together with the freshest dance music coming out of Chicago, Detroit, Belgium and Italy. A unique melting pot that would lead to some of the most original and groundbreaking musical movements the world has ever seen in Bleep, Breakbeat, Hardcore, Jungle and Dub Step.




iO Pan is an artist, musician and DJ who has presented live art at the Barbican Centre, the Open Data Institute, the Royal College of Art and Goldsmiths University.

As a musician, iO Pan has supported the Arctic Monkeys and worked with the Human League, and with the track ‘Forever’, reached number 5 in the Mixmag Ibiza chart.

As a DJ iO Pan was a resident for legendary Sheffield clubs Gatecrasher, The Leadmill and Plug throughout the 90s.

iO Pan now presents the full-length album When The Lid Opens on Sound Records whose roster includes KiF Productions, Benyayer, Yarni and Lara Jones.

On Rent Due, Chattanooga’s BbyMutha turns the pressure, exhaustion and absurdity of everyday life into a distinctly Southern rap record that could only come from her world. Raw, funny, confrontational and deeply personal, the album finds Bbymutha operating completely outside of the conventions of mainstream rap, filtering Southern tradition through the DIY spirit and fractured energy of the internet underground.

Across 15 tracks, Rent Due pairs heavy low-end and stripped-back drums with eerie, spacious production that draws from the darker lineage of Memphis and Southern rap without ever becoming nostalgic. BbyMutha's unmistakable delivery sits at the center of it all: deadpan one moment and explosive the next, moving effortlessly between money problems, motherhood, relationships, sex, frustration and survival with the same unfiltered humor that has defined her music from the beginning.

Production comes largely from Rock Floyd alongside Foisey, Paris Aden, Vile and Popstar Benny, while Lisha G, Vayda and Fly Anakin make guest appearances throughout the record.

Originally released digitally in April 2026, Rent Due captures BbyMutha at her most focused while retaining everything that has made her one of the most singular voices to emerge from the American underground: uncompromising, unpredictable and completely herself. Now available on limited edition vinyl!

DJ Support: Marco Carola, Jamie Jones, Joseph Capriati, Ilario Alicante, Bradley Zero, Carista, Josh Baker, Saoirse, Djebali, Archie Hamilton, John Dimas, rich NXT and many more

Kepler’s sound sits somewhere between deep house, garage swing and low-slung club pressure. Based in Leeds, he has developed a sound built around weighty basslines, rolling drums and an instinct for keeping ideas sounding fresh. Releases on Up The Stuss, Semi Delicious, Constant Sound and Rossi’s HOME//GRXWN. have helped establish and elevate that approach, with support from selectors including Ben UFO, Raresh, Chris Stassy, Four Tet and Interplanetary Criminal. Alongside his own productions, plus his labels Contact Music and Perspective, his Studio Orbit has grown into an online production community supporting thousands of artists, and he now returns to FUSE after his appearance alongside founder Enzo Siragusa in 2024 as part of the label’s X Series for his first solo release on the imprint.

His ‘Sunday Service’ EP brings four original cuts to digital and vinyl, moving between different shades of his UK-influenced, wide-spanning sound. ‘Inner Motion’ opens with a cosmic groove, sweeping melodies and tightly placed percussion, while ‘Jump Up Crew’, featuring MC Secret Agent, pushes into garage territory with an animated vocal presence and heavy low-end weight. On the B-side, ‘Unity’ settles into a deep, fluid rhythm that packs a punch before title track ‘Sunday Service’ journeys through hazy textures and shuffling drums for a late-night finish.

Wisconsin house music legends Solid Gold Playaz return with Minds Beneath Atlantis EP, a timeless deep house gem first released in 2003 on Silver Network before receiving a sought-after reissue from Still Music in 2017. Long out of print and highly coveted by collectors, copies have regularly fetched upwards of £50 on the second-hand market. Thankfully, Still Music have answered the call with a welcome repress, making this essential release available once again for DJs, collectors, and deep house enthusiasts who missed out the first time around.

Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

House of Groove presents Marc Cotterell’s “Connection”*, now pressed on a limited edition marbled vinyl. Known for his signature garage and soulful sound and for his work through Plastik People, Marc delivers a record built for the dancefloor, with six cuts selected from the full project. Side A A1. Connection With You (Plastik Vocal Mix) A2. Connection (Plastik Vocal Mix) A3. Smooth Groover (Yambow & Cotterell Mix) Side B B1. Connection With You (Roméo Louisa Remix) B2. Connection With You (Baka G Remix) B3. Quicksand (ZAV Club Piano Mix) From the warm groove of **Smooth Groover** with Yambow to Roméo Louisa’s peak time interpretation, Baka G’s remix and ZAV’s piano driven club mix, the record moves between garage, soulful house and pure club energy while keeping Marc Cotterell’s identity at its core. Pressed on a striking clear and white marbled vinyl with black splatter, each copy has its own unique visual character. Mastered by Benoit Daudin at Perception Mastering. Marc Cotterell, Connection Limited Edition Vinyl House of Groove

Electrumos is said to be a lost continent hidden somewhere on Earth. Some believe it lies beneath the surface, others claim it drifts invisibly through the atmosphere or exists between different layers of time. Despite countless attempts, nobody has ever managed to locate it.
On this EP, pdqb becomes the first known traveller to access Electrumos, intercepting and decoding the mysterious electromagnetic transmissions emanating from within.
He transforms these signals into irresistible electro-cognitive frequency patterns.
Featuring remodels by dynArec and DMX Krew, along with artwork by John Armleder.