The third release on Pan Records comes from BRS (British Rhythm Services), a UK deep house production collective active since 2000. They first appeared on the Parisian label Cyclo Records and quickly followed up with releases on Imperial Dub (San Francisco) and Leeds-based 20/20 Vision.
Throughout the 2000s, BRS — originally formed by Ben Vacara, Robert Evans and Mr. Mulatto — built a strong reputation for quality deep house. In 2001 they launched their own imprint, Friends & Families, while their music also appeared on major labels and compilations including Café del Mar, Ministry of Sound, Paper Recordings, Peng, Late Night Tales and React.
Over the years the project evolved, with core members Ben Vacara (also known as Frank Situation) and Mr. Mulatto continuing at the forefront, joined by musicians such as Dom Thompson, Phil “Dr. Keys” Campbell and James Payne. In 2019, BRS saw a new wave of reissues and fresh material on Cyclo, Wolf Music, Pressed For Time and their own label, Situationism.
Still active as producers and DJs, BRS have now been shaping UK deep house for over 25 years.
Duality Trax welcomes the newly formed 9 Hours Ahead to the label with their debut release, complete with a remix from progressive royalty Bliss Inc. Landing in early 2026, Smooth Sailing traces a blissed-out sonic journey from the combined minds of San Francisco’s Namastrange and Amsterdam’s Breeze. Their cross-continental connection threads throughout the EP, with subtle nods to the vast ocean that separates them. The title track opens the release with a gentle drift: airy synths, angelic pads, and tribal percussion guiding listeners steadily out to sea. Meridian Space picks up the momentum, driven by a pulsating, everexpanding bassline. Namastrange’s whispered vocals weave between swelling orchestral pads, before the track mutates into a mind-bending acid line - perfect for a heads-down, eyes-closed dancefloor moment.
The B-side turns up theenergy with Transatlantic Dreams, a dancefloor-minded cut that nods to the golden era of San Francisco progressive and the Hardkiss legacy. Lush piano melodies, breakbeat interludes, rave stabs, and glimmering gated vocals collide in a warm, nostalgic swirl. Closing the EP, Bliss Inc. delivers a psy-tinged reinterpretation of Meridian Space - a dark, brooding acid workout that pulls the original into deeper, murkier waters.
Visionary producer Ilija Rudman confidently lands into the Black Jukebox catalogue with a truly mesmeric 2-tracker.
Based in Zagreb, Ilija has carved a legacy over more than two decades in the game throughout which he's released over 100 vinyl EPs and 8 studio albums, collaborating with the likes of Robert Owens, Greg Wilson, Faze Action and Ron Trent.
'Euphonia' opens up with a suave slice that melds deep Detroit shades with the flexible Electro funk of Morgan Geist and Clatterbox. A sawtooth bass climbs steps in the low end while gorgeous synths bend and glide at the groove's core. Crisp, delicate drums kick, snap and shuffle as they guide a low-slung, retro-futuristic trip to the moon.
'Late Checkout' draws for a similar sound palette as rich analogue pads form a magic carpet for Prelude-era synth phrases and another sneaking bass line. The tone is elegant and nothing feels forced as Ilija Rudman traverses the vast sonic territory between Salsoul-era Disco and modern Electro-funk in the most fluent and stylish manner.
pdqb, the producer whose name sounds like a coded message, has surpassed the need for introduction. It emerged from nowhere, becoming omnipresent almost instantly, leaving every electronic music producer eager - if not obsessed - to work with it. Its original tracks are raw and elegant with warm synth lines, pulsing rhythms, and melodies that feel like echoes from forgotten futures. They always carry a strange magnetic pull.
Presented here are eight stunning remixes of its already-released tracks. Each one its own universe, each one remarkable in its own way, each one crafted by an expert in their field. The eight pieces twist, stretch, break apart, and rebuild the originals. They mutate into technoid creatures, melodies dissolve into vapor, and rhythms reorganize themselves into something alien and alive, yet each still holds a faint spark of pdqb's DNA, buried beneath layers of transformation.
Listeners will understand: this isn't just a remix album. It is an evolution - eight reinterpretations of the same musical core, each pushing pdqb's world into a new dimension.
Altin Gün, die türkisch-psychedelische Band aus Amsterdam, veröffentlicht ihr sechstes Studioalbum "Garip", ein ehrgeiziges und vielseitiges Werk, das als Hommage an die türkische Volksmusiklegende Neset Ertas (1938-2012) dient. "Garip" enthält zehn von Ertas" ikonischen Kompositionen, die von Altin Gün auf einzigartige Weise neu interpretiert und musikalisch erweitert werden. Die Band verbindet dabei eine Vielzahl von Einflüssen, von der klassischen Anatolischen Volksmusik über Arabesque und Bollywood-Soundtracks bis hin zu westlichen Rock- und Synth-Vibes. Das Album ist eine kreative Weiterentwicklung des bereits etablierten Sounds von Altin Gün, der Elemente aus Funk, Rock, und türkischer Folklore miteinander vereint. Mit hypnotischen Basslinien, kräftigen Schlagzeugrhythmen und filigranen Synthesizer-Arpeggien schafft "Garip" eine Atmosphäre, die die Essenz von Ertas" emotional aufgeladenen Liedern einfängt und gleichzeitig die experimentierfreudige Energie der Band widerspiegelt. Die Band, die für ihre packenden Live-Auftritte bekannt ist, beweist mit "Garip" einmal mehr, dass sie zu den innovativsten Vertretern der modernen türkischen Musikszene gehört.
The union of Antwerp synthesist David Edren and Tokyo minimalist Hiroki Takahashi is a fit so natural as to feel preordained. Both traffic in subtle shades of contemplative electronics, marked by patience, space, and poetic restraint. And both have rich histories of curation and collaboration – Edren in the duo Spirit & Form alongside Bent Von Bent, and Takahashi as proprietor of the Kankyō record shop, as well as one fourth of cosmic ambient quartet UNKNOWN ME. Mutual fans of one another’s work, they began sharing stems in the latter half of 2020, which slowly blossomed into a collection of multi-hued compositions inspired by notions of connectivity and impermanence, translated for east and west: Flow | 流れ.
Opener “Dusk Decorum | 黄昏 礼節” maps the mood of what’s to come, elegantly pirouetting and percolating through an expanding vista of looming stars and half-light horizons. Takahashi describes Edren’s arrangements as evoking “a strange feel, something we haven't heard much of before.” The sensation is one of “in-betweenness,” a restless current whispering beneath the beauty, like seasons seen in time-lapse footage: flickering but infinite, transience turned permanent. Takahashi’s signature sculpture garden tones plot spiral patterns over which Edren cascades dazzling pointillist synthesizer coloration. The pieces veer between delicate and dilated, micro and macro, their aperture forever softly in flux.
From the oscillating orchestral lullaby of “Stalactime | 鍾乳石時計” to the sweeping, sparkling dream sequence closer, “Shift Register | シフトレジスタ,” the album achieves the elusive goal of being more than the sum of its parts. This is music of rare air, elevated and amorphous, shimmering just out of reach. Though Edren and Takahashi have yet to cohabitate the same room in person (a fact that should be rectified soon by an astute festival booker), their palettes and poise are perfectly paired, twin fragilities woven into seven radiant and regenerative vibrational states. The cover design of a beatific, beaded leaf rippling on the surface of a hidden pond aptly captures the record’s muted majesty. Takahashi’s quiet pride is justified: “We are very happy with this time-consuming and carefully crafted work.”
Already in its title, Plume Girl’s debut thoroughly lets things go and takes them in – all at once. “In the End We Begin” is the first solo full-length from Sowmya Somanath, a Hindustani classical singer/composer and half of alt-pop duo Felt Out. Plume Girl’s music takes inspiration from the semi-regular musical form of the rāga (translated as ‘tinting’), invoking mood and atmosphere, each rāga thought to have its own distinct nature and personality, brought to life through improvisation. String swells and Somanath’s searching vocalisations envelop every track’s own blissful chamber. Exploring imagined binaries along the way — eastern vs. western, traditional vs. experimental, acoustic vs. electronic, Sowmya sees music as a curious dialogue between divine Self and an invisible reality. Beneath the illusion of a chromatic world, there remains a blissful oneness.
Plume Girl’s songs sit between ambient Hindustani music and emotionally-encumbered pop. In front of backdrops comprising sundrenched drones or glitches, sketched out beats, and criss-crossing glissandi or flutes, Somanath both murmurs intimately and spirals upwards into soaring choruses. The lyrics ponder innermost thoughts, never more literally than on the blissful emo folk closing track: ‘In my heart I know / what’s in my heart / I know what’s in my…’
“When I began writing this music, I was fresh off of an experience that completely twisted my reality,” explains Somanath. It was the end of a years-long relationship, and the blossoming of a long-buried love hidden in plain sight: “a best friend of a decade, my musical partner, someone who had always seen me completely…At once, I felt grief and loss. At once, excitement and love.”
A mastermind when it comes to crafting quality electronic music across the house spectrum, expressing various shades of his vision, French DJ/producer Traumer has solidified himself as one of the country’s finest exports while his alias has become a home for heavily sought-after minimal-leaning house productions that journey through expansive textures and trademark percussion. After combining with Romanian favourite Cristi Cons early last year as part of the imprint’s collaborative ‘X Series’ and following a series of releases on his own gettraum label, the Parisian makes a highly-anticipated solo return to Enzo Siragusa’s FUSE as he unveils his latest four-track offering in the form of his ‘Nectar’ EP. The title track ‘Nectar’ heads up the package and brings a blend of snappy drum grooves and zippy synths beneath hooky female vocals as it builds into a rolling anthem, while ‘Lamerci’ gets dubby with crisp percussion shots guiding hazy stabs and deep grooves. On the flip, ‘First School’ strips things back and focuses on a snaking bassline and signature silky melodies, before closing on the interwoven textures and shimmering tones of B2 ‘Rodage’.
Nicolás Mirón presents Hi-Tech Thoughts, his debut release on Echo Alpha Recordings. A record that draws inspiration from Detroit Techno, as well as New York Hip-Hop and MPC culture, reflected in the way he works with samples and programs chops on his AKAI MPC 2500. His production focuses on beat-making, pursuing a raw, hardware-driven sound rather than an overproduced one.
Nico’s creative foundation is rooted in Black music in all its forms, from soul and jazz to electronic sounds, while also embracing the legacy of figures like Kraftwerk, and genres such as Italo Disco, and New Wave. His musical career began with his residency at Radio Relativa in 2022, with his program “Pa’ Riparla Benne”, a connection between skateboarding and music, as well as its evolution and close relationship with contemporary culture. In the show you can hear different styles of music that have appeared within this scene through legendary video parts from skateboarding history, along with stories and curiosities behind these pieces of art.
Monologues Records concludes its celebration of a decade on the dancefloor with a punchy selection of raw, underground tracks that channel the infallible sound of acid through varying refractions. DECIUS / Paranoid London's Quinn Whalley and Posthuman's Joshua Doherty team up as True Pleasures for the throbbing crunch of 'Pump', Japanese wizards Iori Wakasa and Keita Sano go oddball disco on 'Teachers', label boss Ben Gomori jacks the groove on the hip house flavoured 'Gomorish' and Burnin Music chief Pegasvs nails it on the 303 electro of 'Ridley Road Market Preacher'.
DJ Support: BEN UFO, Solomun, Marco Carola, Damian Lazarus, Jamie Jones, Joseph Capriati, Ilaria Alicante, Michael Bibi, Paco Osuna, D'Julz, Groove Armada, Dennis Cruz, Chloe Caillet, Kettama and many more
Enzo Siragusa opens 2026 with his ‘Kilimanjaro Sound’ EP, a release that expands on last year’s standalone single. Marking both Enzo and FUSE’s first drop of the year, the EP delivers the latest instalment in his longstanding Kilimanjaro concept while reaffirming the label’s position at the heart of underground club culture.
Following the digital release of ‘Kilimanjaro Sound’ back in October, the full EP frames the title track within a broader narrative of rhythm, atmosphere, and movement. A long-time fixture in Enzo’s sets throughout 2025, the title track established itself as a fan favourite through its rolling percussion, weighty low-end, and expansive spatial design, and now it takes on renewed presence on vinyl. New cut ‘Liquify’ pushes deeper into Enzo’s rhythmic sensibilities, pairing fluid groove structures with subtle tension and release. Designed for late-night floors, the track unfolds patiently, allowing swing, texture, and space to do the heavy lifting. It’s a natural continuation of the Kilimanjaro language, less about immediacy, more about immersion, showcasing his refined understanding of how momentum is built and sustained in true club environments.
Completing the EP is a remix from Giammarco Orsini, whose Garage Dub Mix of ‘Kilimanjaro Sound’ offers a fresh perspective while remaining true to the original. Born in Italy and now based in Berlin, Orsini has quietly evolved into one of the scene’s most respected selectors and producers, with releases on Cragie Knowes, Mood Waves, and Shonky’s Stoned Pilot. His interpretation strips the track back to its essentials, reintroducing it through a garage-leaning lens that prioritises groove, swing, and subtle pressure.
As the first release following FUSE’s latest DJ Mag Best of British Award, marking their second Best Club Event win, the EP reflects the values that have long defined the brand: community, longevity, and music built for real dancefloors. Pressed to wax, the release extends one of Siragusa’s most recognisable concepts and sets the tone for the year ahead - measured, confident, and rooted in the underground.
Texas-based producer Declan James runs the VOIDWARE imprint and events, also listing music on labels such as Edit Select Records, Max Gardner's Peer, drxvo's Synergie, and Secus' Rituals amongst others. The Dallas native is making a significant contribution to the upcoming generation of American techno producers with both a domestic and international touring schedule.
Beginning with "Pendulums," a classic sci-fi trip with modular bleeps amidst a slinking, bouncing rhythm section for a perfect lesson in patience and restraint.
"Levitation" has an otherworldly feeling and floats along a sparse track of swirling drones, chugging bass pulses, and classy percussion taps for a mesmerising and introspective journey.
"Transmutate" throws down a stuttering kick drum, haunting tones, and bending modular notes for a grooving yet dystopian analogue concoction.
The final track "Absolved" sees a deep dive into details and dub influences. Where eerie rattles and precision production form a memorable dose of sizzling hot, futuristic, and fantastic techno.
ATA Records are proud to present the new release by Work Money Death, A Portal to Here. This album continues WMD’s exploration of Spiritual Jazz and the sounds and styles that evolved out of the 60s New Thing, particularly the recordings of
Alice Coltrane and Pharaoh Sanders. The first WMD album released since the tragic death of ATA guitarist Chris Earl Dawkins in early 2025, all four tracks reference the journey that band members and the studio have been on – in many ways this record is a testament and tribute to Chris, his musicality and creativity.
Featuring WMD stalwarts Tony Burkill, Neil Innes, Sam Hobbs, and Sam Bell, the album introduces Sorcererskeyboardist Johnny Richards to the WMD sound. Richards brings a fresh new take to the piano role here, drawing on what is clearly a broad knowledge of jazz history and channelling that through his own unique 21st century musical perspective.
The album also features contributions from Alice Roberts on harp, bringing the spirit of Alice Coltrane, Ben Powling on baritone saxophone, Richard Ormrod on woodwind, and Kev Holbrough & Steve Parry on brass. Those Sun Ra-esque horn sections lift the mood whenever they appear.Standout tracks are the second, Dance of the Spirits, with a strong core of Baptism and The Blues and some lovely playing by Richards, and the third track, Brother Earl, which begins with Tony on flute over rhythms that are directly reminiscent of open-hearted, late-60s spirituality. Tony later moves to tenor and, as on all four tracks here, eventually builds to the peaks of shattering emotional intensity that fans of Work Money Death - and spiritual jazz in general - love.
Based in Rennes and founder of the Vives label in 2020, Weever has been exploring the interplay of light and shadow for over 10 years, crafting abstract soundscapes and textured sonic tunnels of unparalleled musical breadth. He elegantly blends industrial and baroque sounds to construct sonic cathedrals. His music is both utterly raw and meticulously crafted.
L’âge de la Galère :
started this EP in 2020. At the time, I had just finished my studies, it was a pretty difficult period and I had made a track, or rather a melody, that I thought was amazing. I held onto it all these years without ever releasing it. 2020 was a tough year overall. The big question was: What am I going to do with my life? Hence the title L’âge de la Galère
The title really started to make sense when I began putting tracks together for Micheal. Around that time, I was reading Those of 1914 by Maurice Genevoix. For those who don’t know it: it’s written as a journal and tells the story of the author and his fellow soldiers in the trenches during World War I.
I’ve always been passionate about the two World Wars, I watch every film, old and new, I listen to the soundtracks, and so on. Same with period films, especially medieval ones. I love drawing inspiration from them.
So naturally, I imagine and create around that. It comes easily because it’s always been my universe. And when I make music, those kinds of images inevitably come out, even subconsciously.
So I created and told an audio story through my 6 tracks.
“It’s 1914. The story of many men who, upon hearing the sound of the bells, are met with the announcement of a war like no other. Most of them are young, some very young, and they are drafted into the French and German armies. They have no military experience, and the first battles are so violent that many won’t make it back. Very few will earn the glory they deserve.
The conditions are appalling, everything is in short supply, and the men are exhausted. Still, they must hold on.
Leaving carelessly from beneath their mothers’ skirts, too few returned. Many were left traumatized, and an entire generation was forever changed.”
Sublunar is proud to present Pareidolia IV, the fourth chapter of the saga written by its founder Sciahri.
With this new LP, the journey continues and reaches its most complete sonic expression to date a statement of evolution, depth and identity, featuring a special collaboration with Temudo.
The record opens with "Just 30 Seconds", driven by powerful low-end foundations balanced by warm, enveloping textures that immediately pull the listener in. "Groundbound" follows, deep and immersive, built around a memorable synth and arrangement designed to linger in the mind.
The voyage continues with "2014", a melodic and transportive track that drifts effortlessly into "Silent Embers", where raw power and mysticism merge into a uniquely intense atmosphere.
The second half opens with "Anime", propelled by a massive rumble beneath a delicate groove and finely crafted stabs. "Essenza" dives into darker, hypnotic territory, defining its own distinct mood and tension.
The only collaboration on the LP, "Encontro", sees Sciahri and Temudo blending their respective visions into something truly memorable, where both styles converge naturally and with purpose.
The journey closes with "Offset", a reflective and emotional piece that encapsulates a sense of travel and quiet melancholy a final moment designed to resonate long after the record ends.
Isa Gordon and Tony Morris were first brought together through their individual releases on Optimo Music, which established mutual respect within the label’s community. While they had not previously performed live together, they were invited to take part in a fundraiser hosted by Queen’s Park Arena in support of Glasgow NW Foodbank and later for JD Twitch’s end-of-life care. Tony asked Isa to contribute guitar and backing vocals to his set, including a track then called Last Night I Had a Dream. That performance became the seed for their collaboration.
The first phase of fleshing it out, recalls Tony: “Somebody said Isa sang like Shania Twain. That got me thinking about country music and call and response, prompting me to come up with alternative lyrics.” Isa remembers: “I cycled over to Tony’s house with my guitar, and we spoke about what the tune meant. It was about him being wrapped up in dreamland, luxuriating in his subconscious, while my character — impatient and trapped in her own routines — barely had time to remember her own dreams.” Tony continues: “Brilliantly I realised that I could never collaborate with anyone in situ and so I sat in the garden for two hours watching my wife tend to plants. Every now and again I would creep up the stairs and put my ear to the door. I could hear Isa warbling away and so would resume my garden watch. After two hours I went back upstairs to see how she was getting on, only to find that she had written one of the greatest songs I’d ever heard. I still think that.” Tony adds: “My overwhelming sentiment about Wake Up Baby is pride. I can honestly say that I’m more proud of it than anything else I have done. It ticks a whole load of boxes. Isa’s singing in various Scottish modes is unique. The way her electric guitar adorns the dance beat makes it a rock song as well as a dance and a C&W song — truly multi-genre.”
The B-side of the 12” release, Syringe Moustache, is a surreal, darkly playful counterpart to Wake Up Baby. The track was inspired by a dream Tony had: “I was in a shopping mall, in a two-level shoe shop, and my attention was taken by a little girl with a syringe taped beneath her nose like a moustache. She went about her business trying on shoes, confident and wise beyond her years. In the dream, I imagined her as the daughter of cultured, intelligent parents determined to raise her independently. I was struck by my own feelings of inadequacy — I knew I could never have coped with such a contraption myself.” Isa’s take on the meaning of this song somewhat differs: “Tony sent me the tune over Instagram months before I met him, and I was spooked — as far as I knew, he didn’t know anything about me, but the story felt like it was written about me as a little girl, growing up around heroin addiction. The syringe beneath the girl’s nose became a symbol of the inescapable constraints of that environment, literally written on her face, yet something you just have to carry on through. On a buzz from the serendipity, I added a full instrumental backing to this most bizarre of works.”
The result is absurd, unsettling, and strangely empowering, staking out its own surreal, cinematic space. The 12” dance single is a format Tony had long wanted to explore — a tangible artefact to leave for family, a medium that celebrates the physicality of sound and the ritual of listening. It allowed the artists to maximise the format’s potential: a strong, multi-genre A-side, a surreal B-side, and remixes that expanded the record’s sonic world. Glasgow music staples Auntie Flo and 100% Positive Feedback were invited to reinterpret the tracks, bringing their distinctive touch — Auntie Flo transforming the A-side into a luscious, dancefloor-ready meditation, and 100% Positive Feedback twisting Syringe Moustache into absurd, playful shapes with false-start drops and over-the-top vocal editing.
The cover photograph, taken at the University Café by Harrison Reid, captures Isa and Tony embodying the characters they brought to life in the songs — a visual reflection of the record’s narrative and emotional stakes. The Café also holds personal significance: it’s where all of Isa’s meetings with Keith McIvor took place, where she first remembers visiting Glasgow as a child, and a place Tony fondly likes to go to drip egg yolk down his tie and watch the world go by. Together, the 12” format, the remixes, and the artwork create a cohesive, tactile experience, amplifying the duality, theatricality, and emotional breadth of the collaboration.
Texas-based producer Declan James runs the VOIDWARE imprint and events, also listing music on labels such as Edit Select Records, Max Gardner's Peer, drxvo's Synergie, and Secus' Rituals amongst others. The Dallas native is making a significant contribution to the upcoming generation of American techno producers with both a domestic and international touring schedule.
Beginning with "Pendulums," a classic sci-fi trip with modular bleeps amidst a slinking, bouncing rhythm section for a perfect lesson in patience and restraint.
"Levitation" has an otherworldly feeling and floats along a sparse track of swirling drones, chugging bass pulses, and classy percussion taps for a mesmerising and introspective journey.
"Transmutate" throws down a stuttering kick drum, haunting tones, and bending modular notes for a grooving yet dystopian analogue concoction.
The final track "Absolved" sees a deep dive into details and dub influences. Where eerie rattles and precision production form a memorable dose of sizzling hot, futuristic, and fantastic techno.
Tom Joyce’s sought after Sounds Benefit label marks their milestone tenth release with “7 Years Of Sounds Benefit”, a carefully curated selection of essential artists and rising talents presented as a double vinyl LP. The two slabs of wax manoeuvre between innovative electro and refined flavours of house and techno for trained ears.
First up is a reissue from S-Max, New Delhi Projects, previously released on Below back in ‘99. A chugging display of sounds that were way ahead of their time. After featuring on SND002, Ben Cohen makes his comeback on the label with Short Night, a breakbeat journey which boasts beautiful and emotive chord progressions. The B side features somewhat of a rarity as Etienne shares a track, Gateway Experience, futuristic energy from the accomplished producer, layered with subtle yet effective acid tones. Label head Tom Joyce delivers 7:15pm, a dreamy quest through melt in your mind synths and punchy electro drum patterns.
As we approach the second vinyl, we uncover further gems from the archive as Lowtec kindly shares his unreleased La Java 2014, which was created circa. 2000. Javier Carballo and Aniano have been making positive movements with their Hdz moniker in recent times, and Moog is another stamp of approval, a warm bass line converses with the crisp drums and spaced out elements. On the flip, Berlin based Englishman Rob Amboule turns out a killer elasticated groove which takes you for a late night shuffle in Scrap It. Huge fun for the hazy hours on the dance floor. Nuversion, formerly known as Juliano, showcases his debut track under this name with Crepuscule, addressing further pensive moods with his classy production. Ending the fantastic release in a meditative state of mind, cruising on sweet melodies.
Mikkel Metal makes a welcome return to Echocord with his new ‘Rebuild’ EP, accompanying remixes from Luke Hess and Frenk Dublin.
Copenhagen’s Mikkel Metal is a pioneering figure in dub-techno and minimal house, known for his atmospheric soundscapes and textured production. With acclaimed releases on Kompakt and Echocord, including Close Selections, Victimizer, and Peaks and Troughs he’s cemented his place as one of Denmark’s most distinctive electronic artists. Here he continues to dispay this further diving into new sonic realms with a new EP for Echocord.
Title-track ‘Rebuild’ opens, a hazy excursion through metallic, reverberations, expansive atmospherics and crisp drums before Detroit’s own Luke Hess steps in to offer his interpretation, delivering his signature groove-driven style, extracting the essence of the original and stirring it in amongst robust drums and spiralling dub echoes. ‘Bend’ is up next and displaying Mikkel’s production prowess as he blends murky bass flutters and analogue rhythms with psychedelic guitar melodies and dynamic space echoes, resulting in something that sounds uniquely his own. ‘Steam’ continues this theme with further psychedelia infused guitar tones flowing alongside breathy vocal stylings and fluttering atmospherics tucked into the depths. Rotterdam, Netherlands based artist Frenk Dublin delivers his ‘Deep Space Rework’ of ‘Stream next, reshaping the original into something entirely different with a dropped-tempo roots dub aesthetic, weaving fragments of the original into the composition alongside swaying dub drums and heavy doses of sub. ‘Midnite’ then concludes the release, another experimental sonic foray into unique effect processing, glitched out percussion, haunting vocals, plucked bass notes and expansive atmospherics
“The music of Season 2 of SEVERANCE is true to what came before in Season 1, while also developing new themes, new sounds, and new variations,” says Shapiro. “The season's bold expansions into new storylines and new locations, along with the incredible filmmaking and performances, provided plenty of inspiration.” “We are beyond thrilled to head back to Lumon with our Season 2 vinyl package,” says Mutant Co-Founder Spencer Hickman. “Working alongside Ben Stiller and his team, Fifth Season, and Apple has been an absolute honour and a joy. Greg Ruth and I are obsessed with the show and the chance to play in this sandbox again. Creating original art alongside in-show ephemera is like receiving a gift. I couldn't be prouder of the package we have crafted for Season 2, blending the Innie and Outie worlds just as the season itself felt instinctual. I really hope fans feel we have done it justice. PRAISE KIER.” Single LP with obi strip and a 16-page booklet featuring portraits of the main cast.
Kicking off 2026 in style! Here we have volume 5 of the annual Razor-N-Tape Family Affair series. As always a wide-ranging collection of vibes and grooves from the extended international Razor-N-Tape network, this year’s vinyl sampler includes label newcomers and veterans across 6 tracks. Recloose, Medlar & Daisybelle, Misiu, Saucy Lady, Anoraak and Marina Trench deliver in their respective signature styles, taking us on a genre-bending tour of genres and sounds. From House to Disco, Dub to Breaks, and Chuggers to Pumpers, there’s bit of something for everyone here…fun for the whole Family!
‘Let’s take a trip’ – with major names on the psytrance scene Avalon and GMS releasing on KNTXT for the first time, combining forces for a full-on attack, 4-track EP ‘The Underground’, out December 11th. Their joint mission? ‘Combining two worlds where psytrance meets techno, a fusion which will take you on a mind-expanding journey! Welcome to The Underground…you have arrived!
London DJ/Producer Avalon was recently awarded the number 1 top-selling psytrance artist on Beatport with over 30+ psytrance chart #1s and 5 top-selling LPs to his name, and performs at the likes of Tomorrowland, Boom, EDC Las Vegas, Glastonbury, Exit, Burning Man, Ultra, ASOT, Ministry Of Sound,... GMS (Growling Mad Scientists) was founded by Dutch Ibiza-based DJ/Producer Riktam with the sadly late Bansi, to establish pioneering psytrance label Spun Records and to have director Tony Scott no less, using GMS tracks on three of his films. A prolific producer with over 300K album copies sold, GMS holds the most psytrance records released overall.
‘I'm beyond honoured to release this stunning four tracker from psytrance legends Avalon and GMS. With this release, friendships were formed and worlds truly started colliding. I have massive respect for both these artists and their long standing impact on electronic music. This release feels like a bridge between generations and genres. It carries an energy that deserves to be heard, experienced, and felt on dancefloors around the world.’ Charlotte de Witte
Title track ‘The Underground’: hyperspeed trance beats support a wild variety of acid-dripping pulsations, spacey arps, otherworldly swoops, mind-teasing stabs, it’s like a lightshow in sound. That transports its listeners into another dimension. On ‘Horizen’, psytrance thrives, while ethereal vocals call, with intricate sound design painting a mythical soundscape. On ‘Machines’, it’s driven by hypnotic acid lines, pulsating Kick & Bass with sprinkles of techno infused percussion! Its choral notes and alien-like spoken lyrics, both gripping and disorientating as builds & breaks come thick and fast. ‘Rave to the Grave’: constant pulsing high synth and vocals with twanging acid together with frantic percussion create a sustained, agonizing build, build, build – until ‘On the 7th day, the Lord said ‘Let the beat drop!’’ Phew!
‘We are very excited about our debut release on KNTXT ‘The Underground’ and can’t wait to share this 4 track EP with you all. We hope you enjoy it as much as we did creating it. This fusion of techno/psytrance is brought together by all of our mutual love for acid & driving hypnotic dance music! Enjoy… Play it loud! Welcome to The Underground… You have arrived!’- Avalon & GMS
A mind-bending EP, with racing beats that give the ‘trance’ in psytrance a huge adrenalin shot. This is high energy reaching new altitudes; hold on to your brain cells, they’re going for a ride!
Mike Shannon drops the ‘Off World Synthetics’ EP on Rekids. The Cynosure label boss follows up his ‘Shadow Moves’ EP on sister imprint RSPX on January 16th, 2026
Canadian DJ and producer Mike Shannon kicks off the year on Radio Slave’s Rekids with the ‘Off World Synthetics’ EP, landing 16th January 2026 and marking his first appearance on the label since 2023’s ‘Shadow Moves’ for sub-label RSPX. A long-standing force in Minimal and House with a discography stretching two decades, collaborations on Richie Hawtin’s Plus 8, and his own Cynosure and Haunt Recordings labels, Shannon has carved out a reputation as a respected staple in the booth and the studio.
Inspired by Alejandro Jodorowsky and Möbius’ INCAL graphic novels, Mike Shannon’s ‘Off World Synthetics’ EP opens with ‘Synthetic Salsateca’, where a static groove drives a playful, squelching synthline. ‘Back To The Hood’ follows with rattling, mechanical energy before the fl ip reveals ‘Off World Sparkle’, its wonky sequences bending around rubbery low-end. Closing cut ‘Only Noodles’ pushes deeper into warped clicks, scratches, and subtly shifting textures, rounding off an EP that’s raw, restrained, and devastating in the right hands and on the right system.
Métron Records announces Mycorrhizal Music, the forthcoming album from composer and multi instrumentalist Ess Whiteley. Currently a PhD candidate in Composition at the University of California-San Diego, Whiteley’s practice spans recordings, installations, performances, and scores, a body of work as diverse as the fungal webs that inspire it.
Across seven tracks, Whiteley explores interconnected sound worlds shaped by mycelium networks, rhizomatic structures, and other unseen systems that sustain life. Rooted in experimental electronics, minimalism, ambient and IDM, the record imagines sound as ephemeral connective tissue capable of reshaping how a listener might experience time, memory, and futurity.
At the core of Whiteley’s work is an excavation of what lies beneath perception, the felt but unspoken currents of emotionality and subtle experiences that dwell in the unconscious.
Mycorrhizal Music channels these hidden threads into a speculative ecosystem of kinship and exchange, where joy, play, and spirituality interlace like branching hyphae beneath the soil. Mycorrhizal Music has been conceived as kinetic ambient music, designed to move with the listener while walking, riding trains, driving, cooking, where everyday rhythms align with shifting sonic textures, reminding them of hidden, interconnected, mycelial webs of spiritual vitality beneath the surfaces of daily activity.
Guided by a vision of speculative ecology and interspecies resonance, it thrives in contrasts: tracks like Rhizomatic Harpists and Whispered Messages in Tapestried Fields of Fluid Motion pulse with fluid momentum, while Kaleidoscopic Patterns of Emptiness Dancing drifts into fragile stillness.
With artwork by Kenta Senekt and mastering by Brandon Hocura, Mycorrhizal Music extends Métron Records’ ethos of cultivating subtle, interconnected sound worlds.
Dedication is Stevie Bensusen and Lashley Todd, two friends born and raised in Seattle, WA, who started singing together in high school. Their dynamic blend was undeniable and it made all the sense in the world to form a band together. And if and when the planets were somehow aligned and they were gifted with adequate financing, go into the studio and record their voices. Convinced that their unmistakable vocal blend would be better served by recording their own material (songs both written and arranged by Stevie) that would showcase their voices, both solo and together. After attending Boston's Berklee College of Music to study theory and composition, Stevie returned to Seattle with a batch of new tunes and arrangements in his portfolio. He and Lash focused on rehearsing the material and looked for a chance to take their sound into the studio. As luck would have it, someone liked their prospects enough to bankroll their studio sessions. They hired and rehearsed the top-notch players that would make up their masterful rhythm section, then booked time at now legendary Kaye-Smith Studios in Seattle to cut and mix their tracks. What came from those sessions are four powerful and sophisticated R&B performances, being made available only on the Final Bell label by Super Disco Edits. Their adventures in the unpredictable world of recorded music are now beginning to unfold. Which brings us to this moment in time when audiences in the UK can finally discover, and appreciate . . . Dedication.
Dedication is Stevie Bensusen and Lashley Todd, two friends born and raised in Seattle, WA, who started singing together in high school. Their dynamic blend was undeniable and it made all the sense in the world to form a band together. And if and when the planets were somehow aligned and they were gifted with adequate financing, go into the studio and record their voices. Convinced that their unmistakable vocal blend would be better served by recording their own material (songs both written and arranged by Stevie) that would showcase their voices, both solo and together. After attending Boston's Berklee College of Music to study theory and composition, Stevie returned to Seattle with a batch of new tunes and arrangements in his portfolio. He and Lash focused on rehearsing the material and looked for a chance to take their sound into the studio. As luck would have it, someone liked their prospects enough to bankroll their studio sessions. They hired and rehearsed the top-notch players that would make up their masterful rhythm section, then booked time at now legendary Kaye-Smith Studios in Seattle to cut and mix their tracks. What came from those sessions are four powerful and sophisticated R&B performances, being made available only on the Final Bell label by Super Disco Edits. Their adventures in the unpredictable world of recorded music are now beginning to unfold. Which brings us to this moment in time when audiences in the UK can finally discover, and appreciate . . . Dedication.
“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.
Swiss sound artist Zimoun continues and transforms the material from his solo project 'One & Two' with Taylor Deupree on 'Wind Dynamic Organ, Deviations.' Both albums were created entirely from recordings of the Wind Dynamic Organ (Prototype III), an extraordinary instrument housed in Bern Minster and developed by Daniel Glaus and his team at the Bern Academy of the Arts. Unlike a traditional organ, this prototype allows the wind pressure and air volume of each pipe to be shaped in real time and produces tones that breathe and blur at their edges. On Deviations, the pair push these organic tones into new territory by layering, bending and re-contextualising them into evolving ambient structures. A quietly radical exploration.
A Missy Thing is a simple MPC work out of a famous female rapper, with a bouncy bassline and deep chords. A Badoo Thing is a deep slice of early 2000s west coast deep house, featuring the best neo soul singers of all time. Both produced by the same producer uknowho. And if you don’t, we can’t help you!
DJ Support: Ben UFO, Pearson Sound, Midland, Pariah, Or:la, Ciel, Florentino, HAAi, Tom VR, DJ JM, Peder Mannerfelt and Bradley Zero.
Ikke Sant’s debut release, Sub Cut, delivers three tracks of genre-blurring psychedelia and club pressure from label founder SUCHI. The title track unfolds a didgeridoo-driven strut with unconventional textures, Every Pan Has A Lid layers hypnotic grooves with processed vocals, and Propeller dives deep with celestial arpeggios over driving basslines. Music for adventurous dancefloors.
After three years of releasing singles and remixes across the electronic scene, Belaria makes a grand return to her label, Binding System, with a more introspective format: Dynamic State. A conceptual EP exploring the benefits of body movement on the mind, psyche, and emotional well-beng, it
unfolds through a two-sided narration where physical and mental energy gradually resurge. Balancing tension and release, control and liberation, Dynamic State translates movement into sound. This EP includes two powerful remixes: VEL delivers an ultra-textured, psychedelic reinterpretation, while Kendal transforms another track into a trance-infused, rave-ready floor-filler.
Xris bends the sentiment. Pacing at four in the morning with no intention of stopping. The night won't go quiet. The days are not linear. Straight lines are for people with plans.
Originally released in 1972, Toni Tornado's self-titled debut is a landmark in Brazilian soul and funk - a gritty, groovy record that helped define the sound of the Black Rio movement. Blending deep soul, psychedelic funk, and bold orchestration, this album channels the revolutionary energy of James Brown with the tropical swagger of Rio's streets. From the urgent rhythms of 'Torniente' to the undeniable strut of 'Mané Beleza' and 'Tornado,' Toni's music pulses with a fierce sense of pride and liberation. It's the sound of a new cultural identity taking shape - where African-American soul met Afro-Brazilian reality. Often compared to the legendary Tim Maia, Tornado brought his own explosive edge to Brazil's growing soul scene. By the 1970s, other Brazilian musicians, such as Banda Black Rio, Cassiano, Gerson King Combo, Jorge Ben and Gilberto Gil, began making soul records. DJs started throwing soul-only parties. Toni Tornado's voice carries grit and passion, his grooves hit hard, and his message is crystal clear - Black is beautiful, and the funk is real. Back on vinyl for a new generation, this reissue is more than a collector's gem - it's a time capsule from an era when music moved bodies and minds. Essential listening for fans of vintage soul, global funk, and revolutionary sounds. Reissue on 180g vinyl.
Mord is from Rotterdam.
Mord is short for Morderstwo.
Mord is a label project by Bas Mooy.
Mord is here.
Mord!
Early support by Surgeon, Adam Beyer, Shifted, Speedy J, Black Asteroid, Chris Liebing, Len Faki, Gary Beck, DVS1, Svreca, Perc, Ben Klock, Truss, Dustin Zahn, Paul Mac, Paula Temple, Xhin, Samuli Kemmpi, Tommy Four Seven, Rebekah, Developer,Pfirter, Jonas Kopp and more...
Manizeh Rimer, founder of London’s Love Supreme Projects, announces her debut album Mahku, releasing on vinyl and all digital platforms on December 5, 2025 via LEITER.
A bold contribution to contemporary spiritual jazz, the album was co-produced by LEITER labelmate ganavya – who recently released the celebrated Daughter of a Temple and Nilam. Recorded in early 2025 at LEITER’s Funkhaus Studio in Berlin, Mahku features eight chants, including a reimagined version of Fleetwood Mac’s Landslide, with ganavya appearing on three tracks.
The album brings together a stellar cast: Grammy-nominated Jai Uttal; bassists Ben Hazleton and Doug Weiss; harpist Miriam Adefris; pianist Jay Verma; and Manizeh‘s teenage daughter, Mahku Rimer, on vocals and guitar. Tracks range from a 3,000-year-old Zoroastrian prayer (‘Ashem Vohu’) to Sanskrit and Buddhist mantras (‘Asato Ma’, ‘Gate Gate Paragate’) to the devotional ‘Avan’s Sita Ram’, dedicated to Manizeh‘s late mother.
Mahku means “eclipse” and is also the name of Manizeh’s grandmother. Developed from her long-standing chanting practice and deep creative partnership with ganavya, the album opens and closes with three generations of women’s voices, exploring music as a timeless, intergenerational loop. Recorded in a space Manizeh describes as “suspending you in an infinite river of time,” Mahku is both personal ritual and universal offering, flowing through lineage, loss, and love.
A year after her rebirth on the 2.0 EP, Maedon returns to her Rant & Rave imprint with the intentions of her previous release now distilled and focused into bold new forms. Whereas before the artist was transitioning from her earlier work towards new directions, Matter & Form arrives as an extended concept piece featuring four variations on a bracing, developed sound, an equally impressive remix from Lady Starlight, and a contrasting mix of the opening track. Where 2.0 charted emergence, 'Entelechy I-IV' unites to actualize this potential into a single-minded purpose behind fundamental principles.
Immediately launching into territory her last release only hinted at, 'Entelechy I' is a showcase for her now-mature approach. Her rhythmic dexterity and groove focus remains, with drum programs subtly evolving phrase by phrase, but they now form the basis for layered, complex compositions in a decidedly contemporary vein. 'Entelechy II' shifts focus towards the arrangement while keeping its drums steadily driving, drawing attention to details in its densely designed sounds through deliberate, gradual processing. Relaxing the tempo slightly, 'Entelechy III' fills in the extra space with more dark atmospherics and finely detailed soundscapes, finding a heavy medium between dark ambience and hammering techno. Another deeper effort, 'Entelechy IV' counterbalances insistent, finely-tooled percussive bleeps and equally persistent bass figures against another sweeping bass pulse, at times breaking down into carefully-controlled atonal aggression. Lady Starlight's remix is skeletal in comparison, deploying its parts sequentially over ticker hi hats and a massive kick while using small shifts to incrementally build tension. 'Entelechy I (Bent Mix)' is more accurately described as hellbent, stripping out the original's harmonic elements to grind the heavy rhythmic workout against an unrelenting acid line.
