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'A Senegalese Griot singer, an Amsterdam improviser and a Puerto Rican jazz drummer find each other on an open playground, a stage built for improvisation, an old cinema now used for minute made story telling.
'Equipped with an m'bira, a xalam, a drum kit, a voice, percussion, house hold tools and an electric clavichord on 220 volt, they sit down and take off: Wrrrrrraaang!
'Singer and percussionist Mola Sylla is in many ways a musical explorer. Born and raised in Dakar, Senegal, he grew up in the tradition of the griots. Griots play conveying stories – sometimes decorated with music, theater and dance – which all play an important role in West African culture. His rhythm and melodic compositions differ from the western agreed schedules and provide surprising twists.
'Puerto Rican drummer Frank Rosaly has been involved in the improvised and experimental music scenes since 2001 when he became an integral part of Chicago's musical fabric, navigating a fine line between the vibrant improvised music, experimental, rock and jazz communities.
'Oscar Jan Hoogland is the sound of Amsterdam in person. He is an instant composer and inventor of his own instrument by joining a clavichord, a keyboard instrument from the 17th century, to 220 Volt electricity. As the last student of the late pianist, composer and improvisor Misha Mengelberg he tears like a tornado through the Amsterdam jazz and impro scene.
'Together they are Mother Tongue.'

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

2026 Repress

For their debut EP on Tectonic, Beatrice M. drops four deep, dubby cuts bringing weighted bass energy together with techno sensibilities and advanced percussive manoeuvres. Elegant but powerful tracks built for sound systems and curious ears!

Midnight Swim is an ode to the “softer” club sounds, repetitive aquatic grooves that remind Beatrice of their go-to sport: swimming. No phones, just back and forth in the cold water, settling into a mechanical groove. The opening track, Oval, carries its title from the appreciation of soft edges, little distortion, minimal rhythmic pattern.

Upon hearing Pinch’s tune 136 Trek, (itself a nod to Zinc’s 138 Trek), Beatrice decided to name a tune 132 Trek, to continue the lineage of their musical heritage. The tune was already called Trek because it was made after moving from France and spending their first months in London, and realising “everything is a bloody trek”!! 

The EP’s title track is about warm-up music and enjoying the earlier hours of the party - a quick immersion and then time for bed, rather than banging club tracks all night long. Beatrice likes to show up early at the club, watch it fill and then leave as it packs out. Midnight Swim is a dip into a roller. 

The last tune of the EP features Sub Basics, the first artist to have a vinyl release on Beatrice’s own label, Bait, and one of their biggest musical inspirations. Sub Basics’ immersive progressive sounds fit simultaneously in the deep techno world and the dubstep world. A beautiful in-between.

Originally from Sicily but living in Basel, electronic composer Marco Papiro confirms his eccentric and multifaceted personality. The sound articulation of his analog synthesizers flows into in an artificial hyperrealism of great thematic and expressive variation. The tracks unfold between ascending cosmic moments, more ecstatic meditative tones, symphonic planetary floods, exotic afrodelic and psycho-andean drifts. Papiro synthesises and converts echoes of acoustic wind instruments (oboe, recorders, bamboo flute), while the percussion lives on its own pulsating reality. The influence of certain folk traditions, as well as contemporary music, also suggests the more acoustic flavor of an ethereal minimalism (for voice and psaltery), making his music a continuous open sea of visions. Cover painting by Anton Bruhin printed on two different colored papers. Co-released with Les Giants.

2026 Repress

On Explorations 03, Sam Goku continues his journey into deep, left-field club music, delivering four tracks that drift between dubby house and finely tuned electronica. Warm basslines, spacious rhythms and subtle melodic details form the foundation, while his unmistakable Sam Goku twist adds an emotional, exploratory edge throughout. Designed for late-night floors as well as introspective listening, Explorations 03 captures a fluid, forward-thinking sound that feels both grounded and otherworldly—another refined chapter in Sam Goku’s evolving sonic universe on Permanent Vacation.

DDE Signature Tracks is a record label based in Bogotá, Colombia, curated by the team behind Discos del Espacio Record Shop.

For our fourth release, we proudly present The Boss EP by Gallegos — a four-track record that blends punchy rhythms, rolling basslines, and subtle melodic touches. Gallegos delivers a versatile selection of tracks designed for different moments of the night, from warm-up to peak-time transitions.

From the nostalgic tones of Fueled By Nostalgia to the driving energy of Turn Up Or Turn Back, the EP moves between moods while maintaining a cohesive sonic identity. The title track, The Boss, stands at the center with a confident, stripped-back groove built for the floor.

Closing the release, Colombian duo Rush City deliver an old-school leaning house remix of The Boss.

Out soon on 12” vinyl.

Some records are collections of tracks. Others are fragments of a life. I AM A CULT HERO is not a debut. It is a return to origin. Before Skylax Records. Before Los Angeles. Before the architecture of house music became clear. There was Sarcelles. Concrete towers. Invisible youth. Yet a coded multicultural energy where funk, soul, early hip-hop and primitive electronics coexisted before categories existed. Sarcelles was not Compton, but spiritually it was the same frontier.

95200 is not just a postcode. It is the birthplace of Hardrock Striker. 368 was the bus to the train station — the crossing line between isolation and possibility. Each journey toward Paris felt like entering another system. Those nights required discipline. Instinct. Strategy. Music was not distraction. It was structure.

Years later, Los Angeles revealed the hidden architecture behind those early intuitions. House music was not a genre but a living mechanism — built on vinyl culture, extended mixes, dubplates and repetition as language. That system had already been shaped and transmitted by pioneers such as Ron Hardy, Larry Levan, Frankie Knuckles, Electrifying Mojo, Hot Mix 5, Mark Kamins and Ron Murphy. Hardrock Striker did not imitate that language. He internalized it. The tracks on I AM A CULT HERO operate as transmissions.

Gospel For Dancers (95200 Mix / Dub) is vertical — ritual energy, lift and controlled expansion. Dance here is elevation. Erotic Loop (368 Mix / Dub) is horizontal — hypnotic repetition, circular bass motion and gradual immersion. Repetition becomes destination.

95200 and 368 are coordinates. Origin and transit. Memory and motion. Anchor and crossing.

From Sarcelles to Paris to Los Angeles to Skylax & now, back to the source.

This record closes the circle. Hardrock Striker has transformed origin into signal. Signal into structure. Structure into permanence.

A cult hero is not declared. A cult hero is revealed. Vinyl is the only truth.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

2026 Repress

As days prolong darker, walls come seeping in for the solitary resident. A collection of early Legowelt tracks, found on old dusty tapes assumed a long time gone. All tracks recorded between 1992-1997. First time ever on vinyl and fully remastered.

US outfit Garth only left behind a small trail of records, but this obscure 1980 7" still carries the peculiar charm of disco's stranger back rooms. Recorded between New York and Los Angeles across the late 70s, 'Special Part Of My Life' opens in warm, soulful territory through Henrietta Pam Garth's soft vocal glide, before J. Albert Garth gradually enters the frame and pushes the track somewhere more feverish and floor-facing. There's a lovely looseness to it all: the groove is slightly frayed at the edges in that very particular pre-digital way. On the flip, 'The Groove' heads somewhere far murkier, featuring wiggling synth effects and huge hovering atmospherics drifting over the top of the beat that gives the whole thing this faintly eerie quality which, honestly, makes it all the better.

SiriusB003 sits in that quiet zone between shadow and rhythm. Stripped back, subtle, and made to move without saying much.

Iacob, NØT TELLING, Miller, and Root. No filler, no noise — just pure intention on wax.

Curated by Jay Tripwire and Herman Saiz. Minimal, timeless, and strictly for the selectors.

With its second vinyl release, Phonoda Records continues the journey where the first chapter left off. Guided by the label's trusted artists, the needle descends into the deep and dub house underground, where echoing textures and hypnotic grooves blur the line between sound and thought. Lost in the endless universe of their own mind, the listener eventually finds their way back through the warmth of deep frequencies and pulsating basslines.


Released in collaboration with MixCult.

2026 Repress

Plastik People deals in house & garage done right. This latest drop is a split EP between Marc Cotterell and Dominic Balchin and opens with 'The Trumpet Track', which is exactly that. 'Baby Do You Feel Me' is unabashed vocal joy, while 'Oh Lord' sinks into deeper house with shapeshifting chords that keep you moving. 'Rhythm Of The Vibe' is a New York homage with shades of Kerri Chandler and we can't get enough of it.

Ginno’s debut on Synthology,

inspired by the analog sounds of the ’80s and classic electro, sees the artist exploring his own universe across these four tracks, transforming melancholy and tension into evocative and immersive soundscapes.

Synthesizers, machines, and hypnotic rhythms become the tools through which the dialogue between the human and the mechanical takes shape.

Four original compositions, a journey of personal exploration and creative freedom.

Each track reveals a different nuance of his sonic imagination.

Brouqade returns with a heavyweight contribution from one of Mexico’s finest: Sakro takes the helm, delivering a 12" that strikes the perfect balance between hypnotic depth and peak-time functionality. After months of building anticipation on dancefloors worldwide, becoming a secret weapon, these four tracks have finally found their way onto wax.

This EP is a masterclass in rhythmic tension and psychedelic storytelling. Sakro places the groove unapologetically at the forefront. The listener is submerged in a dense atmosphere defined by:
Rolling Basslines & Trippy Textures

Across the four tracks, Sakro explores the intersection of raw house energy and sound design. The nuances whether modular bleeps or unexpected percussive shifts, intensify the groove rather than distracting from it. It’s this specific blend of sophistication and grit that has already caused a stir in some Sets.

MCRV020 – Byeffect EP marks Overt's return to MixCult Records with four refined Deep Tech House productions that showcase his versatility through four distinct moods, each crafted with dancefloor functionality and musical sophistication in mind. Designed for both daytime sessions and late-night moments, the EP balances warmth, groove, and timeless underground aesthetics.

Ready opens with uplifting energy and infectious rhythm, while Alias moves into deeper, hypnotic territory through rolling grooves and subtle textures. On the B-side, Thermal delivers a more driving atmosphere with elegant sound design, before the title track Byeffect closes the release with playful house grooves, memorable melodies, and effortless dancefloor appeal.

Throughout the EP, Overt demonstrates an exceptional ability to shift between different sonic landscapes while maintaining a cohesive identity built on positive vibes, fluid movement, and carefully crafted grooves. Byeffect EP is another strong statement from one of MixCult's veteran artists, delivering a versatile collection equally suited for intimate listening and sophisticated club environments.

A portage is the stretch you carry across – the overland pass between two waters, where you shoulder the boat and the paddles and keep moving even after the current runs out. It isn't a break in the journey; it's part of it. TAMIZDAT's fifth release takes that as its shape: four artists carrying a single, measured groove from one shore to the next. Rooted in deep house, techno and minimal, Portage isn't built for the peak – it's an unhurried, warm, buoyant passage that stays light on its feet.

Genning is no stranger to this water — a MixCult regular since his 2018 debut, and his Sunlight EP was TAMIZDAT's second release. He returns from the heart of the family that shaped the label's dub-leaning sound.

Dot (Dotan Bibi) crosses over from Tel Aviv — an Israeli producer with roots in Detroit house. His Intergalactic Ride EP already landed on MixCult in 2024, and he returns here working out of his analogue home studio.

Overt has been a prominent MixCult voice since 2021, known for an ethereal, galactic juno sound that drifts easily into dub chords — records like his Simple Astral 12" mark him as one of the label's steadiest hands.

zekeN, the Romanian producer and one half of zekeniaN, brings more than fifteen years in electronic music: deep, energetic grooves, dreamy pads and percussive basslines that lean minimal rather than strictly rominimal. His zekeniaN project has surfaced on MixCult before; here he steps out on his own.

TAMIZDAT is a division of MixCult Records

ON MANZANITA RED COLOUR VINYL A heavyweight slice of Caribbean DUB! Between 2021-2023 Ruido reworked original Discos Fuentes masters with vintage gear, transforming Colombian tropical classics from the 60's into raw, energy-dubbed, remixed, and reimagined for today. An essential 45RPM for dub heads and tropical groove lovers worldwide.

With great joy, we are happy to present to you our next release, celebrating the milestone of reaching 40 vinyl releases.

"From Vision To Reality" will not be a simple release, but a collection of 13 tracks produced by 13 different artists, divided across 3 discs. The selection of tracks will be a mix of up-and-coming artists, established ones, and dear friends, many of whom are making their first appearance on the label.

Opening and closing the compilation are the first two hip-hop instrumental tracks ever released on the label, by Chester Watson and Dean Denali.

In between is a selection of different styles, ranging from melodic Broken Beat and Ambient to Electro, passing through Acid Techno and Goa Trance, featuring artists such as Josh Abrahams (from FSOM), Wedding Acid Group, Sohrab, ADSR, Enrica Falqui, and Parand, to name a few.

A special triple gatefold sleeve has been carefully designed, including printed pictures on the inside that show memories from our journey. Starting from the very early days in London in 2012, they bring back special moments shared with people and friends, or simply, for those who were not there, offer a chance to learn more about our history.

A 30 × 60 cm poster will be included, printed on both sides. The full artwork of the release will appear on one side, while the other will feature pictures of the 13 artists along with their biographies.

Limited to only 350 copies worldwide.

It is with much pride we present the seventh record on our in-house Palace Trax
label produced by none other than Troy Anderson aka Cityboy.
Troy is known amongst the discerning techno collector for his boundary-pushing 90s
releases on US label, 1200 Music and in recent times under his DFD moniker on
labels such as Down Low and We’re Going Deep.

Impeccable production and musicality is evident across the record. Tight percussion,
searing synth leads and well-tempered acid lines meld together into rolling techno
and electro. Each track ebbs and flows through moments of hypnotising rhythm and
pockets of bliss.

Troy got in contact with us off the back of PT006 (Joe DeWaal) and with Joe having
been inspired by Troy’s music while making the record, it seemed a synchronicity we
couldn’t ignore. We’ve all big fans of Troy’s music and thus the wheels were set in
motion for the seventh instalment on Palace Trax.

A note from Troy:
‘So the name "Cityboy" is actually a slang term used here in Texas by someone that
lives out in the country that makes fun of someone that lives in the city. These
country folk often say things like "Listen here cityboy, you might have been born at
night, but not last night" or something stupid shit like that. It's an inside joke
between me and Gerard Hansen). Since you are going with the Cityboy moniker we
should make use of that saying.’

Berlin's Hypersoft crew launch their new vinyl label with Clínica Electrónica by Italian DJ, producer and Evasione Digitale co-founder Andrea Dama. Following the start of their new residency at Panorama Bar, the label opens its catalogue with a strictly limited five-track EP recorded at Buenos Aires' legendary La Siesta del Fauno, bringing Dama's Berlin dancefloor sensibility together with the peculiar chemistry of one of the world's most extraordinary electronic music studios. Forged through extended jam sessions on an array of vintage analogue instruments, including the original Korg PS-3300, Moog modular and Yamaha CS-80, the spontaneity of the sessions translates directly into the finished tracks, where ideas mutate, collide and develop into unexpected forms. Switching gears between hypnotic, mechanical, groove-driven house, and stuttering, furious, off-kilter techno, Dama moves deep into more atmospheric territory, conjuring worlds that are at once lush, organic, paranoid and extraterrestrial. An analogue vision of a future past, built by machines that were already imagining it decades ago.

REBORN — Chapter I: The Big Bang is a conceptual double-vinyl album created to be experienced in sequence, with each track flowing into the next as one continuous journey. Moving through house, techno and electro house, the record gradually increases in energy while connecting cosmic creation to G. Felix’s own artistic rebirth. The physical edition contains the first 12 tracks of the chapter, but the story does not end with the vinyl. The sequence continues digitally through track 16.0, including a hidden composition positioned between 12.0 and 13.0. Inside the vinyl insert, listeners will find a QR code that opens access to exclusive material, visual content, behind-the-scenes information, the continuation of the narrative and Chapter II — The Dark Matter. Designed as both a record and a portal, REBORN combines music, visual art, symbolism and storytelling into a larger expanding universe. The album is intended to be heard from beginning to end, allowing every transition, message and sonic detail to become part of the complete experience.

After years in the digital space, ECOUL SND finally steps onto vinyl. Next Link System EP is ECOUL SND’s first 12” and the first solo record by founder Nicolas Barnes — a long-awaited step for the label and a focused statement of its sound.

Four tracks of minimal deep and deep tech, built around low frequencies, restrained grooves and spacious delays. The music moves patiently, leaving room for each element to settle and connect. The artwork follows the same sense of space and distance: cliff, water, and a narrow passage between them.

"Next Link System" sets the tone, "Not A Bad Place" opens things up, "Get My Soul" moves deeper into the dark, and "It Was" leaves a lingering trace after the final track.

Released in collaboration with MixCult Records.

A Collision of Worlds. A Convergence of Sound.

Czarface opens another portal. On Czarface Meets Frankie Pulitzer, the boundary between comic book canon and hip-hop reality dissolves. Frankie Pulitzer, also known in certain dimensions as FacePuller, is no ordinary collaborator, character, or catalyst. He is a hybrid entity: part human, part alien force, fully embedded in the expanding Czarface universe.

Following landmark team-ups with MF DOOM and Ghostface Killah, Czarface continues its “Meets” saga with a full-scale crossover event that pushes deeper into story and sound. Frankie’s presence is both lyrical and mythological, bringing a chaotic, shape-shifting energy that challenges and complements Czarface’s razor-sharp precision. Dusty drums, cinematic soundscapes, and razor-edged bars bring the classic Czarface sound, yet mutated.

The universe widens with appearances from Busta Rhymes, Method Man, and El-P (of Run the Jewels), each adding their own gravitational pull to the project, thus grounding it in hip-hop legacy while amplifying its larger-than-life scope.

Obelix is the brainchild of UK producers Richard George and Corine Trembath, whose timeless take on house and techno has long been cherished by underground heads and vinyl collectors alike.

With releases on Pacific Records, Mosaic and Stickman, their music occupies a distinctive space between early house and techno, raw, hypnotic and deeply musical, built around rolling 909 rhythms, expertly programmed 303 acid lines and the unmistakable character of analogue hardware.

Following an extensive dive into their DAT archives, Pariter presents The Lost Tapes, a collection of previously unreleased recordings made in the mid-1990s. Carefully restored and curated by Yossi Amoyal, the material retains all the rawness, warmth and analogue
character of the original tapes, offering a rare glimpse into a particularly fertile period of UK underground dance music.

The two part release is completed by Whatever, their sought after classic originally released on Offshoot, a timeless slice that stands alongside the unreleased recordings as an essential piece of the Obelix story.

The Lost Tapes documents a sound that has lost none of its power, raw, hypnotic and unmistakably timeless.

For our next release, we're proud to welcome Italian House veteran Tuccillo to the label with his new Make Me Feel EP, featuring rising talent Baka G. Blending timeless House grooves with deep, soulful textures, the EP delivers three carefully crafted tracks built for the dancefloor. Striking the perfect balance between experience and fresh energy, Make Me Feel EP captures the essence of both artists while staying true to the label's signature sound.

Obelix is the brainchild of UK producers Richard George and Corine Trembath, whose timeless take on house and techno has long been cherished by underground heads and vinyl collectors alike.

With releases on Pacific Records, Mosaic and Stickman, their music occupies a distinctive space between early house and techno, raw, hypnotic and deeply musical, built around rolling 909 rhythms, expertly programmed 303 acid lines and the unmistakable character of analogue hardware.

Following an extensive dive into their DAT archives, Pariter presents The Lost Tapes, a collection of previously unreleased recordings made in the mid-1990s. Carefully restored and curated by Yossi Amoyal, the material retains all the rawness, warmth and analogue
character of the original tapes, offering a rare glimpse into a particularly fertile period of UK underground dance music.

The two part release is completed by Whatever, their sought after classic originally released on Offshoot, a timeless slice that stands alongside the unreleased recordings as an essential piece of the Obelix story.

The Lost Tapes documents a sound that has lost none of its power, raw, hypnotic and unmistakably timeless.

2026 Repress

For its third release, Tremendo Recordings brings together long-sought-after tracks by Corrie, one of UK tech house’s pioneers, drawn from his early releases on Wiggle and Bosh. Increasingly hard to find in their original form, these records return as a tribute.

Taken from releases between 2003 and 2005, this selection captures a side of Corrie that feels immediately recognisable: bold, playful and unmistakably his own.

Human Endeavour returns with a new 12" from Don Khair, a name you haven't heard before, but should've. Moving between the ethereal and the belligerent, the EP thrives on opposition - contrasting views, moods and feelings that enrich its versatility and make it all the more essential. From midnight to midday, Don Khair captures whatever the hour calls for.

Nanel opens the doors to a new release in the catalogue, bringing an enigmatic two-track record to the wax. Rooted in minimal but rich with musical character, this release finds its strength in the balance between groove and melody. A continuous bassline lays the foundation of the A side, while delicate melodies and scattered vocal fragments slowly reveal themselves alongside crisp drums. On the flip, the journey becomes even more melodic, with warm chords, dreamy pads, and a steady bassline creating a deeper and more emotive atmosphere.

Kaveon launches on wax with an anonymous three-track transmission, drifting somewhere between the darker corners of minimal and the restless pulse of the UK underground. The A side moves patiently, carried by a deep, shadowy bassline, hazy pads, and groovy vocal fragments that give the track an almost cinematic tension. Turn the record over and the mood shifts gears - sharper, faster, and full of garage swing, with bouncing basslines, loose rhythms, and eccentric vocals bringing a playful edge to the floor.

Back after its first release, Life Enigma returns for a second chapter: a dark and warped dispatch from the void.

This time, the London-based artist of many aliases Zuul takes the reins, exploring moodier territory at the low end of the frequency. The result is three slow-burning, horror-flecked cuts that sit somewhere between electro and new wave, each driven by a sinister vocal. The release is rounded off by a more dancefloor-oriented remix from C.ru.z on the B2.

On the A-side, My Mind Is Mean is a driving, sub-heavy opener with menacing synths that do the title justice. It's Hell In There, It's Horror shifts into something more melodic and upbeat, with eerie textures and an ominous undercurrent.

And when we thought things couldn’t get any meaner, Ask Me sinks into haunted, mid-tempo bass hypnosis on the flipside, while C.ru.z’s remix leans further into its darker side with an even nastier groove.

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

Mutual Rytm welcomes new school tastemakers Klint and Hemka to sub-label Versus for imprint’s second drop. SHDW’s Mutual Rytm welcomes back two standout label alumnus for the second edition of Versus, a newly-launched conceptual sub-label focused around two artists whose sound works individually and in unity. Hemka made an impressive and well-received debut with her full solo EP back in 2025, while Klint appeared on ‘Federation of Rytm IV’. Both artists hail from France, and have crafted a well-earned reputation for their own distinctive approaches to sound design - pairing locked in grooves with cosmic synth escapes. Across the EP, each artist delivers three individual takes on techno to make for an essential collection of high-end cuts, exploring the label’s ethos of creative symbiosis between two artists on one shared release. Klint’s tracks lean towards minimal yet highly effective, dance floor-focused DJ tools, starting with the lithe, stripped back menace of ‘Prism’, before the sparse eeriness of ‘Dobermann’ keeps you looking over your shoulder while remaining trapped in the groove. Third cut ‘Romance’ is more bold and muscular, with contoured drums and icy pads ramping up the tension and energy. Hemka then dives deeper into a hypnotic and anthemic direction while introducing her own voice into the mix. ‘Leave It’ is textured, percussive deep techno with shadowy whispers, while ‘Breathe’ has a dark, grinning undercurrent and scintillating snares fluttering over the drums. ‘Mindness’ then pairs spoken word atmospherics with taught drum pressure and an ethereal backlit glow. In addition, Klint's digital only cuts ‘1112’ and ‘Blue’ marry minimal synths with meticulously defined drums that hit hard, while Hemka's ‘Push’ is an anxious percussive trip, contrasting with the introspective emotional core of ‘Live To Tell’.

Zonate welcomes Sancra for its seventh release. Hailing from Italy, Sancra's sound strikes a fine balance between dark, driving energy and groove for the dancefloor, coupled with the emotional elements that regularly feature in his work.

The A-side delivers two peak-time cuts that put this on full display. Beyond The Skies takes a darker tone, blending Sancra's unique neo-trance and techno style. The Truth Behind The Mystery leans further into euphoric territory, built around a catchy, emotive melody.

Flipping to the B-side, The Road For Heaven reveals Sancra's versatility - a breaksy electro cut layered with a growling vocal. B2 closes things out with a dystopian ambient track, as eerie as it is hypnotising.

In 2023, Kraków-based composer Martyna Basta and Los Angeles-based sound artist claire rousay were invited to Poland by Unsound for a short residency, where they spent a few days trading ideas and concepts, and brainstorming their first collaboration. Initially motivated to create lengthy, expansive pieces together, they also ended up experimenting with shorter vignettes, and ‘hotel room’ expresses these two extremes, featuring three long-form tracks and three brief, euphoric songs. “It wasn’t something we specifically planned,” explains Basta. “It just unfolded that way.” The most important stage of the process, however, was the period that followed the residency, when rousay and Basta began working on their sketches in isolation, trading drafts and sculpting the sounds independently before rousay handled the final mixdown. In the comfort of their own bedrooms, they were better able to reflect their individual creative routines, organically reaching a junction where their music felt truly unified. Even while they were in Poland, the duo joked that it might have been easier if they’d been holed up in separate rooms emailing each other.

Both artists have had an energetic few years: after steadily building a reputation for her diaristic and candid concrète experiments, rousay signed to Thrill Jockey in 2023, releasing the acclaimed ‘sentiment’, ‘a little death’ and the more eaze collaboration ‘no floor’; Basta, meanwhile, followed up 2023’s hallucinatory ‘Slowly Forgetting, Barely Remembering’ and her debut for Belgium’s Stroom imprint, ‘Diaries Beneath Fragile Glass’ with a studio album on !K7’s 7K sublabel: ‘Winged in Collapse’. The title of their collaboration reflects rousay and Basta’s hectic touring schedules in the wake of these releases, the constant feeling of displacement and the emotions that emerge when the environment is in flux. “I know we aren’t the only musicians traveling and creating work at the same time,” says rousay, “but being able to speak about that experience and all the things that come with it was comforting.” And the music itself, assembled from hypnagogic field recordings, spectral voices, electronics and filtered instrumental improvisations, sounds bewitchingly unmoored, not tied to a specific location but hovering around the uncanny space in-between.

Scratchy ASMR sounds introduce us to the opening track ‘zoom’, initially obscuring the duo’s elegiac harmonies. They are careful to let the various elements evolve at their own pace, with the fictile guitar drones melting into the foreground while Basta’s dissociated whispers and rousay’s illusory synths pick out the subtlest subliminal shades. It all builds to the piece’s dramatic third act, when layered chords ring out like organ blasts, enveloping the negative space. The shorter, more anxiety-provoking ‘denim’ is remarkably divergent, a dismantled folk memory pieced together from skeletal piano notes, vaporous choral echoes, haunting string plucks and pulsating feedback. Where the music aligns is in the mood itself, capturing a feeling that’s neither completely abstract nor fully referential. Not ambient exactly, ‘hotel room’ is a suite of soundscapes that gesture towards structure while repeatedly folding in on themselves.

On ‘Lost and Found’, wordless Autotuned ad-libs spiral around delicate guitar plucks and washing waves, coalescing into a faded Polaroid of opiated Americana, and on ‘Where Are You Now’, operatic squeals and corroded orchestral scrapes are juxtaposed with nauseous low-end tones. Evaporating until only industrial whirrs and music box chimes remain, the latter encapsulates the entire album’s chilling liminality, smudging saturated voices with casual electro-acoustic interjections before it erupts abruptly, transforming into a dense, pitch-skewed hymn. ‘hotel room’ plays like a surreal travelogue, teasing listeners with airy familiarities as it humidifies dry, awkward spaces. More a labyrinth of catacombs than a single, fixed chamber, it’s Escher-like – cryptic and seductive – and decked out with personal asides and intimate details that reward the most patient, curious listeners.

The first record in Crystal Mud's new CRYM series brings four dub techno producers together across five tracks — reaching from the Australian coast to Spokane, and out of the MixCult heartland.

Federsen opens the A-side with "Rouge Dub," a name long associated with vintage tape delays and Silent Season dub, then hands over to Klordop, whose "Silver Cord" comes from one of the most restless catalogues in the MixCult orbit. The B-side belongs mostly to Noosa Sound System, the Queensland producer who takes both his name and his unhurried dub from the coast; he opens with "Trope" and closes with the title track. Between them sits Gianni Cerri of Spokane, Washington, whose "Nine Mile Fall" shares its name with the falls just outside his hometown – a small, local marker pressed onto an international record.
Crystal Mud is a division of MixCult Records

Artlab continues the celebration of its 10th anniversary with the highly anticipated second installment of its commemorative vinyl series. Building on the momentum of the inaugural release, this follow-up collection further cements the cultural center’s status as a beacon for cutting-edge sound, bringing together a refined selection of artists who perfectly embody the club’s forward-thinking electronic spirit.

The journey begins on the A-Side with the legendary Voigtmann, who steps up to deliver "Casual," an electro-tinged, hypnotic bomer designed to lock the dancefloor into a steady, driving trance. Following this peak-time intensity, Mateo Dufour—undoubtedly a man of the moment—takes the reins with "Space Child." Infused with classy, mysterious house vibes, the track offers a sophisticated sonic texture that bridges the gap between deep atmosphere and rhythmic precision.

Turning the record over, Franco Cinelli commands the B1 slot with "Ecos Perdidos." A master of his craft, Cinelli presents a dub-infused, hypnotic number that explores deep, resonant soundscapes, perfectly showcasing the label’s commitment to underground innovation. To close out this second anniversary chapter, Revivis brings us "L.T.F.U." A classy, driving production that captures an infectious energy, making it an essential anthem for the summer season and beyond.

With this second installment, Artlab reaffirms its dedication to its multidisciplinary roots, providing a diverse yet cohesive listening experience that continues to define the next decade of its artistic journey.

Sub Culture returns with a highly anticipated repress. Following Gregory Shiff, the second release is dedicated to Davor Stosic, aka Dav. Dav needs no introduction. Over the years, the Croatian artist has helped define the sound of tech-house, skillfully exploring the many shades of house music, moving from deeper tech tracks to productions with clear progressive influences.The EP features four solid tracks originally released between 2003 and 2005, instant classics destined to stand the test of time.