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– Meow, Doc! Are you serious?!
– Hopefully, now we'll be able to program the cognitive processes of different creatures.
– The intranasal mutagen?
– With consciousness, too!

Spacelunch devoted all of his spare time to developing the virus. Once in the body, its molecules activate: they replace the configuration of neurotransmitters and start evolving independently. A small dosage of vapours reactivates brain navigation, whereas readings are taken from a nano-oscilloscope and sent to a tablet for further analysis. Augmented reality has long gone beyond virtuality, ladies and gentlemen!

The simulation of the collective mind has undergone a series of public tests initiated by enthusiasts from the Venus Biomolecular Institute. After a data leak from the lab's journal, the dangerous technology could have fallen into the hands of Aerospace Corporation, but luckily was intercepted by the Meta-Warp operational unit. Putting the development on pause, they shut down access to any information about the project. It remained unexplored, but the Professor's inquisitive mind wanted to understand the discovery that could change the future.

The infamous "All Stars" series on End Of Dayz are back this 2024 with a selection of 4 of the most hard workers producers and djs the last times. Linear System deliveries "Dubbing" a hard and deep squizo party shaker, Not A Headliner comes with a funky percussive game as "Mystery Box", Anika Kunst arrives into the last sinapsis of your brain in her "Introspective Trip" and Decka will make the delights of the hard UK Techno lovers with "Vented. Lethal weapons as we like it in the End Of Dayz heardquarters.

Fate is a funny old thing. One day in 2011, DJ/producer Tom Trago found himself sharing a train journey with Steven Van Lummel, a DIY musician, artist and co-founder of PIP, an underground nightclub and cultural hub in The Hague. Over the course of a rambling, open-ended conversation, the idea of making music together came up; a few weeks later, Trago travelled to van Lummel’s place – a former industrial unit that was now home to a rotating cast of artists and musicians – and didn’t leave for a month.

Cossetted away from the outside world in van Lummel’s loft, with multi-instrumentalists Janneke Nijhuijs and Wieger Hoogendorp joining them to create a musical four-piece, MEGA WEGA was born. Over the course of four weeks, the quartet embarked on an almost continuous creative session punctuated only by impromptu parties and mixing sessions. Life-long bonds were made and over 70 tracks recorded before the mundanity of day-to-day life came calling.

For one reason or another, the project never saw the light of day, with tracks sat gathering dust on hard drives for the best part of a decade. During the madness and loneliness of the COVID-19 pandemic, Trago rediscovered the tracks. Delighted by what he heard, a collective decision was made to add finishing touches and release the resultant album on van Lummel’s PIP Records imprint. Further instruments and vocals were added over two days at Hoogendorp’s studio, before mutual friend Tom Ruig got on board to mix the album.

So, what can you expect from Haunted, Mega Wega’s debut album? First and foremost, it’s the sound of pure creative expression – the distillation of a freewheeling, no-holds-barred, spontaneous musical journey variously inspired by the do-it-yourself ethos of musical counterculture, shared inspirations and influences, epic jam sessions, distant stars (Wega, sometimes known as Fidis or ‘the harp star’, is one of the brightest in the night sky), imaginary journeys across dusty deserts, and the comradeship of four new friends.

Enchanting and alluring, it’s an album that gleefully denies lazy categorization and ploughs its own eclectic, atmospheric musical furrow in vivid sonic detail. It’s a collective exploration of heady musical eclecticism unified by saucer-eyed vocals, low-slung bass, loose-limbed beats, sweaty percussion workouts and hazy electric piano motifs.

Haunted begins with the woozy and hallucinatory slow-burn soundscape of ‘Get Things Done’ – an effects laden shuffle akin to lying flat on your back tripping under an intense desert sun – and ends with the creepy, mind-mangling post-punk funk of ‘Brain Carpaccio’; in between, you’ll find spaced-out, low-tempo lo-fi soul (‘Move Around’, ‘Haunted’), tactile synth-powered boogie revivalism (‘Make Me Work’), deep and off-kilter opioid jazz (‘Copenhagen’), intoxicating psychedelia (‘Last Night on Earth’), piano-laden dream-pop epics (‘Shake Or Fall’), and Latin-infused, percussion-powered hedonism (‘Chopping Heads’).

Born out of spontaneous collaboration and immersive, almost endless recording sessions, Haunted is an album shot through with imagination and boundless energy, captured for posterity by four friends and collaborators at the top of their game.

EYA Records SIDE
Jeku - Phase Lock
JJ Fortune - The Nightmare

System Error SIDE
Kurilo - Break A Leg
Wrong - C.ru.z


With COLLAB02 System Error continues in the spirit of collaboration and joins forces with London based EYA Records. As big fans and supporters of EYA ourselves this turned out to be a no brainer and the collaboration flowed effortlessly when working on our joined selection for this split EP.

On the EYA side we find “Jeku - Phase Lock” a dreamy but driving midnight city ride kinda tune that you just wanna blast out when cruising through the city or over a crowded dance floor. Next we have “JJ Fortune - The Nightmare” a truely haunting house tune reminiscent of last Halloween keeping things weird and spooky all while steadily punching a hole into your speakers(in a good way!).

On the System Error side we have “Kurilo - Break A Leg” this track slow but steadily will fill up and revive any dead dancefloor from the ground up again. Catchy, not cheesy vocal samples riding on a mad beat that will take you straight to the front of the DJ booth. And if that was not enough yet “C.ru.z - Wrong” provides a bouncy but dark dancefloor weapon to also get the last person from the couch to the dancefloor, this one means business!

We are incredibly happy to announce Fasme’s return to Nocta Numerica ! Three years after the release of 'Stretched World', Fasme is back with 'Stretched World PT2’, an EP in his inimitable style, which juggles between Electro, Acid and Braindance.

LTD repress !

With their new EP on their own label, Italian duo Orion deliver a record full of lowkey atmospherics, textures and sublime frequencies. 2 original tracks and 2 remixes from italian artists Primal Code and Luigi Tozzi.

“Lie” opens the record with those classic emotional elements coming out from a long cloudy day in the studio.

As previously heard on their Smoke Machine live podcast “Orange” plays with layers, cinematic pads and hypnotic drums.

On the flip Primal Code’s “Lie” version encapsulates their dreamy and tribal approach with an intricate acid bassline that will take you on a journey.

Luigi Tozzi’s dark and loopy remix is something for your brain. Subtle hypnotic melodies and roaring low frequencies are the main elements for this club version of “Lie”.

“Owelle”: frenchified word derived from the English expression “Oh well”. Repurposed by Valérie Siron as her pseudonym to reflect her work ethos: serious, but without making a fuss.

Surfacing from Geneva’s club culture with a graphic design background, Owelle’s drive to synergise the audio and the visual power her expression of creative identity. Her compositions are imagined and built without boundaries, albeit replete with nods to previous genres ranging from early 2000s breakbeat, braindance and broken beat techno.

Intrigued by sensory immersion, Owelle further laces her art with interactive tools including programming, sound spatialisation and installation. Diving into a spatiotemporal journey, subtly incorporating their uses into her musical works. By blending her passion for diligent sound designing, field recordings and psychedelic vocals is how Owelle presents her approach to experimental music. Owelle’s creativity offers an intrinsic connection of her tailored rhythms and melodies to birth an original hybrid of sound and visual art.

The music within this record questions the importance of sound in relation to the individual’s environment. To blur the border between noise and aesthetically pleasing. To ride the waves between discomfort and delight and to find the potentially hidden role of situational awareness and relating it to musical endeavours derived from the emotions within.

Following up last year’s Acrobatic Thoughts album, Panoram delves even deeper into his own musical universe with Keep Looking Where The Light Comes From. We find the producer in confident form, exploring the fuzzy fringes of beauty and chaos. The result is an album that sounds even more like himself and yet surprising at each turn.


Opening track Feathers sounds like only Panoram can, buzzy arpeggiated distortion takes flight somewhere in the direction of a distant multiverse where Animal Collective and Boards of Canada soundtracked Koyaanisqatsi. But the psychedelic drift is all Panoram’s own, conjuring a stark sense of the uncanny with the repeated phrases. The digital guitar and vocal loops of I Can Only Repeat Your Love are practically on the brink of collapsing in on themselves, to the point where the structure begins to shift like a collapsing monument. Flat Stones nods towards ASMR, as flute and woodwind tones caress the ears and a whispered voice teases out an altered state.


It’s this dreamlike mood that pervades the whole album, a maximal effect that’s wrung from minimalist compositions. The Wide House picks up the baton from Laurie Anderson to trip gently through different states of awareness, while the piano patterns of Blank Sheep float through the synth ambience like ideas entering an empty dream. There Is A Hole Here is another mutant loop that unravels as it proceeds - the rhythms turn into a pulse, and despite what the lyrics say, it does indeed mess around with your brain.


Panoram balances dance tropes, classical composition, ambient drones and a washed out, fuzzy twist on avant garde pop, and manages to transform it all into a uniform whole that fits all those puzzle pieces together. Yet such is the assuredness of Panoram’s production that it sounds effortless. At this point, the music is more like a midwife, manifesting your future self‘s enlightened consciousness with surreal effect.

Having featured on the Diamonds in the Night series with the epic “Midnight Opera”, it was only a matter of time before Lukas Zeringis, better known as Zakmina, had his own 12” on Bordello A Parigi. Following appearances on Correspondant, Future Boogie and XXX, the Lithuanian born musician arrives with two tracks that break the mould. A speeding rhythm sees “For U” race out of the stocks. Bright strings arc before a generous break and this old-school rave anthem reveals itself in all of its brazen glory. Glowsticks at the ready for this seven minute romp into sweaty ecstasy. The flip is inhabited by a completely different animal. “Take Me Back” comes to life with blissful notes before rasping rhythms give way to a rumbling arpeggiator. Sailing strings are countered by squalid acid undercurrents as Zeringis finds a sweet spot between braindance bleep and soulful electronics. A seriously strong debut.

Lilas Records Unleashes Third Installment, Featuring Pioneering Talent: Tarek Charbonnier and Krif — Lilas Records, the vanguard of underground house music, proudly announces the release of its highly anticipated third project. The brainchild of label founders and revered "Into the Woods" residents, Tarek Charbonnier and Krif, this latest offering transports listeners on a sonic journey echoing the vibrant essence of their signature London sets. Their distinctive soundscapes have thrived within the enigmatic embrace of warehouses and clandestine party spots.


Hailing from the heart of London but now firmly rooted in Montpellier, Lilas Records' latest release is a testament to the duo's unwavering commitment to shaping the future of electronic music. Drawing inspiration from their illustrious careers, Charbonnier and Krif's original productions are set to captivate audiences, uniting diverse elements into an immersive auditory experience.


In an electrifying collaboration, Lilas Records enlists Romanian DJ luminaries Cristi Cons and Nu Zau to reimagine these cutting-edge compositions. With an illustrious history in shaping the electronic music landscape, these maestros bring their distinctive flair to the table, ensuring a riveting reimagining of Charbonnier and Krif's groundbreaking work.


Limited to an exclusive run of 300 copies, this release has already garnered fervent support from a distinguished roster of industry heavyweights including Raresh, Reiss, Ramona Yacef, NTFO, Enzo Siraguza, Silat Beksi, and more. Lilas Records' third offering stands poised to make an indelible mark on the global underground music scene.

The Stallions compilations have become a benchmark of Bosconi's position as one of the leading house and techno labels operating out of Italy. This third instalment marks a shift in sound which also comes full circle to the music that first inspired founder Fabio Della Torre as a DJ and producer around the turn of the millennium, when punchy electro production was driving European house and techno into new zones.

All the artists featured on Vol. III are Italian, holding true to Bosconi's commitment to supporting local talent from Florence and across the country. Amongst the familiar faces is Della Torre's own Minimono collaboration with Ennio Colaci, which indulges a proudly manic palette of tweaked bleeps and dirty low-end. Elsewhere, recent additions to the Bosconi fold include veritable legends Alexander Robotnick and Marco Passarani, who infuse their unpredictable approaches to electro-techno and italo disco with ear-snagging synth-pop and driving analogue box jams respectively to create vibrant, impassioned dancefloor monsters.

The Mechanical Man is an alias from Nicola Altieri, who leans in on a classic Italo arpeggio to create a seductive club sound which builds on his recent Bosconi EXV EP, while Cixxx J switches from the mood of his own Bosconi appearance for a new alias Queen Of Coins and a pivot towards heads-down electro-techno-trance with a whiff of International Deejay Gigolos. Lapucci builds on the promise of his 2021 Bosconi 12" with a sentimental fusion track which lands somewhere between old school Italo house, the snappy pulse of EBM and crisp 00s-era electro house. Meanwhile modern day Italian techno legend Lucretio of The Analogue Cops makes his first appearance on Bosconi with the playful video game stylings of 'Gradius'.
A great deal of space on Vol. III is given over to emergent talent, ranging from Miguel Herr's twitchy detroitian synth-pop braindance and Twovi's vocoder-charged electro funk to DJ Rou's jacking ghetto house flavour. Giammarco Orsini and Jacopo Latini appear as Data Memory Access and deliver an emotive, punchy strain of machine soul. Feel Fly rounds the compilation off in bombastic style with an epic, cinematic workout which draws on Moroder-inspired drama without losing the forthright peak-time focus which binds the whole collection together.

Even the artwork on Vol. III serves as an opportunity to celebrate Italian creativity, as pioneering crypto artist Niro Perrone builds on his accomplished work in the field of NFTs and a background in music production to respond intuitively to the vibrant, synthetic sound of the compilation. For all the futurism in the music though, there remains a strong sense of human feeling which has marked Bosconi out since the beginning. The label remains as inspired and inspiring as ever, celebrating the fertile crossover when people manipulate technology to express themselves in an honest, playful way. Independent of wider trends or fashions, Bosconi remains true to its own idiosyncratic passions, and so Bosconi Stallions Vol. III stands proud as a compilation like no other.

I Talk To Water, the fifth album for Kompakt by Danish producer Kölsch, is the artist’s most personal statement yet. While all the trademarks that make his music so popular and powerful are still present – lush, melodic techno; swooping, trance-like figures; sensuous, shivery texturology – I Talk To Water is also a deep and intimate rapprochement with family and history, a beautiful, finely detailed document of loss and memory, and a tracing of the long, unbroken thread of grief that runs through our lives once we’ve lost those we loved.

The emotional core of I Talk To Water, then, is a cache of recordings by Kölsch’s father, Patrick Reilly, who passed away in 2003 from brain cancer. With time rendered elastic by the pandemic and its associated lockdowns, its sudden, alienating shifts in everyday living, Kölsch found himself reflecting on his father’s passing and ongoing spiritual presence, thinking about how best to memorialise such a significant figure in his own life. Those recordings opened a gateway, of sorts, for Kölsch to move through – a way to bring past and present together and entwine them in a sensitive, poetic manner.

Kölsch’s father was a musician – “touring in the sixties and seventies, in the Middle East especially, he was doing the whole hippy trail, playing guitar, and wrote some songs over the years,” he recalls. “But all in all, he decided to focus on family rather than pursue a musical career.” Reilly kept playing and writing music over the years, though Kölsch hadn’t listened to the material for some time: “I’d never had the guts to listen to it, because I just felt too fragile listening to his voice. It’s such a tough thing to go through.”

During the pandemic, though, Kölsch listened through the fragmented body of work that his father had produced over the years. “I decided I’m gonna finally release my dad’s music twenty years after his passing,” he reflects. “This whole album is about the process of loss, and for me it’s been one of my main driving forces in my musical life, the whole emotional aspect of whatever I’ve done has been based in that feeling that he’s not there anymore.”

Recordings of Reilly appear on three songs across I Talk To Water. His guitars drift pensively across “Grape”, offering a lush thread of melody that Kölsch wraps with clicking, driftwood rhythms and droning, melancholy bass. “Tell Me” is a lovely three-minute art song, a sadly beautiful reflection, minimally adorned with gentle keys and a muted pulse. And on the closing “It Ends Where It Began”, Kölsch lets his father’s acoustic guitar take centre stage for a lament that’s unexpectedly folksy, a guitar soli dream, which Reilly originally recorded in 1996. “He actually recorded it for my first album that never came out,” Kölsch reveals, “and I had it sitting around forever. That is purely him.”

These three imagined collaborations between father and son are poised and delicate. But their relationship also marks the gorgeous music Kölsch has made across the rest of I Talk To Water, from the itchy yet lush “Pet Sound” (titled in tribute to one of Reilly’s favourite albums), the flickering synths and yearning vocal samples that slide through “Khenpo”, the ecstatic shuddering that marks “Only Get Better”, or “Implant”’s slow-motion pans and subtle reveals.

There’s also the title song, where Kölsch is joined by guest Perry Farrell (Jane’s Addiction, Porno For Pyros), singing a mantra for internal reflection: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrell’s appearance brings another timbre, another spirit to the album, aligning neatly with his recent interest in electronic music. “He was completely taken by this idea of talking to water,” Kölsch says, thinking about the ways we collectively lean towards the natural world as a comfort and a listener, a guide through mourning, a way to map out the terrain of the heart. This mapping is something that Kölsch has proven remarkably adept at through the years; dance music for both body and mind, but also both for the here-and-now, and for the hereafter.

“I Talk To Water”, das fünfte Album des dänischen Produzenten Kölsch für Kompakt, ist zweifellos das persönlichste Statement des Künstlers bislang. Während alle Markenzeichen, die seine Musik so beliebt und kraftvoll machen, immer noch präsent sind – üppige, melodische Techno-Tracks; schwebende, tranceartige Elemente; sinnliche, fiebrige Texturen – ist “I Talk To Water” auch eine tiefe und intime Annäherung an Familie und Geschichte. Es ist ein wunderschönes, fein ausgearbeitetes Dokument des Verlusts und der Erinnerung, und es verfolgt den langen, ungebrochenen Faden der Trauer, der durch unser Leben läuft, sobald wir diejenigen verloren haben, die wir liebten.

Der emotionale Kern von “I Talk To Water” besteht aus Aufnahmen von Kölschs Vater, Patrick Reilly, der 2003 an Hirnkrebs verstarb. Durch die Pandemie und ihre damit verbundenen Lockdowns, die plötzlichen, entfremdenden Veränderungen im Alltag, fand Kölsch sich in Gedanken an den Tod seines Vaters und seine fortwährende spirituelle Präsenz wieder. Er überlegte, wie er eine so bedeutende Figur in seinem eigenen Leben am besten verewigen könnte. Diese Aufnahmen öffneten ihm sozusagen ein Portal, um Vergangenheit und Gegenwart miteinander zu verbinden und sie auf sensible und poetische Weise zu verweben.

Kölschs Vater war Musiker – “er tourte in den sechziger und siebziger Jahren, vor allem im Nahen Osten, auf dem Hippie Trail, spielte Gitarre und schrieb im Laufe der Jahre einige Songs”, erinnert sich Kölsch. “Aber alles in allem entschied er sich, sich auf die Familie zu konzentrieren, anstatt eine musikalische Karriere zu verfolgen.” Reilly spielte und schrieb jedoch im Laufe der Jahre weiterhin Musik, obwohl Kölsch das Material lange Zeit nicht angehört hatte: “Ich hatte nie den Mut, es anzuhören, weil ich mich einfach zu zerbrechlich fühlte, seine Stimme anzuhören. Es ist so schwer, das durchzustehen.”

Während der Pandemie hörte sich Kölsch jedoch durch das fragmentierte Werk, das sein Vater im Laufe der Jahre produziert hatte. “Ich beschloss, die Musik meines Vaters zwanzig Jahre nach seinem Tod endlich zu veröffentlichen”, reflektiert er. “Dieses ganze Album handelt von dem Verlustprozess, welcher für mich generell eine der Hauptantriebskräfte in meinem musikalischen Leben ist. Der ganze emotionale Aspekt von dem, was ich getan habe, basierte auf dem Gefühl, dass er nicht mehr da ist.”

Auf “I Talk To Water” sind Aufnahmen von Reilly in drei Songs zu hören. Seine Gitarren ziehen nachdenklich durch “Grape”, bieten einen üppigen Melodiefaden, den Kölsch mit klickenden, treibenden Rhythmen und dröhnendem, melancholischem Bass umwickelt. “Tell Me” ist ein schönes dreiminütiges Kunstlied, eine traurig-schöne Reflexion, minimal geschmückt mit sanften Tasten und einem gedämpften Puls. Und auf dem Abschlusstrack “It Ends Where It Began” lässt Kölsch die akustische Gitarre seines Vaters im Mittelpunkt stehen, ein überraschend folkiger Klagegesang, den Reilly ursprünglich 1996 aufgenommen hatte. “Er hat es tatsächlich für mein erstes Album aufgenommen, das nie veröffentlicht wurde”, enthüllt Kölsch, “und ich hatte es ewig liegen.”

Diese drei erdachten Kollaborationen zwischen Vater und Sohn sind ausgewogen und zart. Aber ihre Beziehung prägt auch die wunderschöne Musik, die Kölsch im Rest von “I Talk To Water” geschaffen hat, angefangen bei dem nervösen, aber üppigen “Pet Sound” (benannt als Hommage an eines von Reillys Lieblingsalben), den flimmernden Synthesizern und sehnsüchtigen Vocal-Samples in “Khenpo”, den ekstatischen Erschütterungen in “Only Get Better” oder den langsamen Schwenks und subtilen Enthüllungen in “Implant”.

Es gibt auch den Titelsong, in dem Kölsch von Gast Perry Farrell (Jane’s Addiction, Porno For Pyros) begleitet wird, der ein Mantra für die innere Reflexion singt: “I talk to water / Searching for myself / Looking for answers / Oceans of you.” Farrells Auftritt bringt eine weitere Klangfarbe, einen weiteren Geist in das Album, der gut zu seinem jüngsten Interesse an elektronischer Musik passt. “Er war völlig fasziniert von der Idee, mit Wasser zu sprechen”, sagt Kölsch und denkt darüber nach, wie wir kollektiv zur Natur als Trost, Zuhörer, Führer durch die Trauer neigen, um die Gelände des Herzens zu kartieren. Diese Kartierung ist etwas, in dem Kölsch im Laufe der Jahre erstaunlich geschickt war; Tanzmusik für Körper und Geist, sowohl für das Hier und Jetzt, als auch für das Leben danach.

2024 Repress

ZentaSkai unveils stunning, high-concept house album on Mask Records.


ZentaSkai undertook a period of research into the underlying structure and organisation of the human brain before writing ‘The Architecture Of The Mind’. The Berlin-based artist then took what had been learned and kept it in mind when writing the music that marks Mask's first album release. It comes with extensive background notes on each track, and an operational manual of sorts - notes from the artists as to the effects each piece will have on those who hear them.
"The message conveyed by this album is that life itself is filled with music, but our egos often prevent us from being in harmony with this symphony. Inner chaos and silence can be challenging to bear, leading us to seek solace in external noise. We have constructed a barrier between our inner and outer worlds, causing us to lose touch with the rhythm of harmony. However, by embracing the illusion of separation and dancing to good music, we can rediscover harmony with ourselves and our environment. To fully experience the essence of the album, it should be played loudly on a proper sound system or high-quality headphones. By immersing themselves in the music, individuals can engage with its transformative power and potentially find a deeper connection with their own minds and surroundings." - ZentaSkai.

The gorgeous 'Mind Mapping' opens up with deep and dubby drums and lush harmonies that soothe you to your core, '030' then has more raw, heavy drums with many layers of glowing synths, glassy melodies and organic found sounds. 'Fügung' keeps the deep and introspective moods coming before the crisp tech of 'Flow Dreaming' ups the ante with more drive and layers of vocal whispers, hi-hats and smeared dub chords.


Elsewhere the likes of 'Quiet Reflection' lean into the groove with swirling pads and one-word vocal sounds drifting through the air over propulsive drum loops, and 'Boiling Range' suspends you in deft synth loops amongst the stars over a prickly house beat.
The superb synth craft and well-designed grooves continue through the dusty deep house of 'Karl-Marx-Allee' and minimal dub of 'Dynamic System' before the elegant melodic techno of 'Apeiron' and dreamy synthscapes of 'Parallel 30' close the album in a reflective fashion.


This is a deeply evocative album with a fully realised concept that is as thought-provoking as it is immersive.

Y'all ready to mangle peoples heads??? Most of you are, but not YOU,-YOU know who you are, get out of here with your NU Garage chipmunk vocal Bass-Hop shit...

Mr. Cool aka Louie Fresco aka El Cabrone has some heat right here.
Get it- heat, cause he's from Mexico City, and cause the ep is Picante.

Pride is some dank ass bassment shit right here.
Percussive grooves for days, mind melting sounds and a nice tripped out vocal to round it all out.
Pride has a modern minimal shuffle, and that swingy greasy percussion that the Mexicans do
so well,its even low rumble that hits just right in the booty.

A perfect combo of blended brains and brawn!

On the flip we have the K-Dot. I hope it's referencing some new drug that is microdot acid and K combined in a mind warping 250Mg tablet.
This song sounds just like that, mind bending, face melting grinding madness, it rolls and rolls and evolves and evolves.
Put that record on and just watch people make twisted faces and dance like they are puppets getting their strings pulled.

Mr. Cool nailed this, and I question his sanity, and life choices. Nobody normal makes music like
this.

If you don't like this record now, you probably will in 18 years when it's the jam all over again cause a 65 year old Raresh drops it at Sunwaves 309.

Mind you if we keep this global warming shit up, all our vinyl gonna melt. Live in the moment and buy records now.

Bar Musica is a brand new label that promises to inject plenty of charm and originality into the underground house and techno world. The first release kicked up quite a storm from label owner Bartolomeo, and the second release features a trio of great originals by J Paraguai, with a remix from long time electronic talent Bruno Pronsato.

Rumba is up first and is a full fat, corrugated house track with tribal percussion, punchy drums that swing down low and Afro vocals. It is a dynamite groove with roughshod tin pot hits that are carefully treated and bring a lovably wild side to the track. Thesoundsays founder and Berlin based New Yorker Bruno Pronsato has been on the fringes of the underground for more than a decade with inventive EPs and LPs on labels like Hello repeat and Bosconi. His remix is stripped back to a forceful and rubbery techno groove. Blistered synths rip up the middle and spooky voices, trippy effects and manic loops all make it a freaky late night or after-hours tune that will send floors wild.

Ble is then another J Paraguai, and this one is again unhinged and urgent, with intense synths exploding above shuffling, tightly knotted minimal drums and sweeping pads. It's pure WTF music for brave DJs and dancers and is a truly original production.

Then last original Atles is rugged and impactful in the way in combines house and techno into new ideas. It is stripped back to little chopped loops that bury deep in your brain and have you in a trance in no time. As such, it rounds out a fine EP and keeps this exciting new label going off in great style.

Turkish Dogukan Acar (Fluctuosa) debuts on Analogical Force with the 4-track EP called 'Wetware', a straight winner for fans of braindance and improv electronics. Proper stand-out release! Mixed by Salih Topuz and artwork designed by Geometric Love (UK). Recommended!

Ratkiller steps into daylight for a brief moment with two tracks of fizzy experimental shenanigans. Let it fry your brain. Step by step. On & on!

Ratkiller is one of many projects by Estonia's outsider don Mihkel Kleis.

Incoming, a massive EP from Anderson.

After his recent easter eggs EP, this four tracker is a blend of trance, breaks, drum & bass and experimental electronica.

Starting off the A side with the ‘Jelly Bean (Virus Outbreak Mix)’, this monster of tune will rattle your subs (and brain) with his crunchy kicks and trancey sequencing. This track will blast you off into oblivion eventually bringing you right into A2, ‘Level Quest’, a trancey chugging progressive tune building energy from the moment the first kick ignites.

After a much needed break, the B1 puts you in an immediate trancestate lasting just a few minutes and before you know it you will be blasted into drum and bass land with ‘Tasteful Nudes’ closing out the EP.

See you on the other side..

Pink Marbled

Limited 50 copy press

Australian producer JXTPS brings his deeply heady and unquestionably groovy techno to Palinoia with his Hypogean EP. Having previously released on Planet Rhythm and Voodoo Down (and sending me other tracks for a few years now), this four-track vinyl is purpose-built to melt brains and move feet on all dancefloors. While the A-side keeps it largely functional, funky is the star of the flipside.

First ever vinyl release of Jodey Kendrick's first album from 2007 by his +10 moniker, "Grace" was thought out with a Chicago vibe in mind in the hope that Ron Hardy might play some of it but mostly showcases Kendrick's already distinctive braindance skills. Selected by Aelfric Michael Avery from 500 tracks given by the prolific artist, each of these timeless picks was already foretelling of a budding talent on the rise. To be (re)discovered without further ado.

Bart Skils comes in strong with a career highlight offering, ‘Roll the Dice’.

We can always rely upon the Dutchman to craft a breath taking dancefloor heater. ‘Roll the Dice’ sees him level up again. The title track is driven by his sharp reverb-heavy bottom end that’s coloured by a brain spangling vocal sample that counts down in Arabic to thrilling effect. From a raucous tour of South America to Space Miami, it’s highlighted every gig he’s played.

Its accompaniment is ‘Into the Clouds’, a dreamy Balearic-tinged slice of techno that featured in all of Adam Beyer’s Ibiza sets last summer.

Adam Beyer re-links with Green Velvet for their first collaboration in five years, as the muscular ‘Simulator’ takes effect.

Hot off the back of ‘Legend’, an early 2023 highlight, the boss continues his inspired form streak. ‘Simulator’ sees Beyer and Chicago legend Green Velvet re-unite for their first musical outing since ‘Space Date’ in 2018, produced with Layton Giordani. The title track stands as one of the most beloved Drumcode releases of the last decade and reinforces the special musical synergy between Beyer and the Cajual Records founder.

Their latest union is no less memorable. A rugged techno beast, it’s characterised by a distinctive industrial groove, brain melting oscillating effects and one of Green Velvet’s deft vocal lines - ‘constant stimulation inside the simulation’ - which speak fittingly of our times.

A mammoth track that’s been doing the business everywhere from the Ultra events in Miami, Johannesburg and Abu Dhabi, to Awakenings.

Pressed on Limited Edition NEON Green Vinyl with its own Sleeve.

We are delighted to present to you a very special release. Gregor's anthemic „Quiet Distortion“, the titletrack of his album back in 2016, received a very special peaktime remix treatment by Bart Skils. Gregor and Bart have been friends for a long time, so it was a no-brainer to be excited, when Bart told us he is working on a remix. Barts meteoric rise in recent years, kicked off by his fantastic productions and his pivotal role in the Drumcode artist roster, are only the next step in his constant career and the reward for his hard work as he continues to deliver remarkable work as a producer and DJ as well. His version of Quiet Distortion highlights Gregor's songwriting qualities by featuring the original melodies and pushing them to new levels by adding Barts irresistible trademark drumming and also a dramatic arrangement, guaranteed to set every dancefloor on fire!

Dam-based don Retromigration steps into the big leagues letting loose his debut album on WOLF Music. An LP that has long been in the works and for good reason too. Fourteen expertly executed tracks that range from hazy beats and jazz-tinged broken rhythms to club-ready groovers, deep excursions, soulful footwork and even some jungle energy. A flavour for every occasion and damn it tastes good.

With an envious run of releases on the likes of Handy, Healthy Scratch, wewillalwaysbealovesong and WOLF in a relatively short space – Retormigration is hot property and it’s clear to see why. A distinctive style and energy permeate his tracks with a breadth of influences on offer, from hip hop, to jazz, soul to funk. You just know a long player from this player is going to cover all bases.

His debut LP, Straight Foxin’, is a carefully curated and crafted journey showcasing the creative explosions firing off in Retromigration’s brain. Joining the dots between genres, taking elements from here, ideas from there – twisting and turning yet never out of place. Take the opening three tracks, all tied together by a deep fondness for jazz but served up in different styles, ‘Kunta’ with that hazy beatsy blend, ‘Formant’ leaning into the realms of broken beat and DnB and ‘Be Someone’ cruising with the off-kilter house.

Elsewhere there’s prime examples of Retromigration’s signature sample-laden house with deeper cuts like ‘Mada’ and ‘Bouncer’, sitting side by side with more soulful explorations such as ‘New Cribs’ and ‘ITWT’.

Not one to be pigeonholed, another course of Retromigration’s expansive taste gets served up with four high energy hits. The bouncing footwork flavours of ‘Kush Love’ ft. Passion Deez and ethereal excursion ‘What If’ lead into a captivating nod to the heydays of jungle and DnB on ‘Mild Fever’ and ‘Bad Knees’ respectively.

Straight Foxin’, mad flexin’ – Retromigration has laid down the law with this LP, a debut album done right.

Speicher 125 is a most auspicious collaboration between two great, inimitable voices in techno: Kompakt co-founder Michael Mayer, and Magazine’s own Barnt. They’ve both been productive of late, Mayer with his “Brainwave Technology” EP in 2021, Barnt with his first release on Kompakt, "ProMetal Fan Decor Only Product" in 2022. Of course, they’re also busy with their respective record labels, and international DJing schedules.

You may already have heard their first track, which appeared on Michael’s "&" album from 2014, the psychedelic “Und Da Stehen Fremde Menschen”. For Speicher, though, they set their sights firmly on the peak time dance floor – the result is two stunning cuts of techno euphoria.

On “Teller” Barnt and Mayer unleash a synth storm, tense and thrilling. Percussion piles up against the incessant buzz, but before too long we’re submerged in waves of dense texturology, making the track an object lesson in tension and release. “Duration” is a bittersweet anthem about "life long love". A moving voice tells us about "faith in life" while gleaming, synths, choral swarms and snares shower down from above to form an epic tale about duration and devotion.

Weirding the groove and updating the emotions, Speicher 125 is a monster.

Speicher 125 ist die Zusammenarbeit zwischen zwei unnachahmlichen Stimmen des Techno: Michael Mayer, Mitbegründer von Kompakt, und Barnt von Magazine. Beide waren in letzter Zeit nicht unproduktiv, Mayer mit seiner "Brainwave Technology" EP, Barnt mit seiner ersten Veröffentlichung auf Kompakt, "ProMetal Fan Decor Only Product". Natürlich sind sie auch mit ihren jeweiligen Plattenlabels und internationalem DJing beschäftigt.

Vielleicht hast Du schon ihre erste Kollaboration gehört, die auf Michaels "&"-Album von 2014 erschienen ist, das psychedelische "Und Da Stehen Fremde Menschen". Für "Speicher" haben sie den Peak-Time-Dancefloor ins Visier genommen - das Ergebnis sind zwei atemberaubende Stücke voller Techno-Euphorie.

Auf "Teller" entfesseln Barnt und Mayer ein Synthie-Gewitter, spannend und mitreißend. Die Percussion türmt sich gegen das unaufhörliche Summen auf, aber schon bald tauchen wir in Wellen dichter Texturen ein, was den Track zu einer Lehrstunde in Sachen Spannung und Entspannung macht. "Duration" ist eine bittersüße Hymne über "lebenslange Liebe". Eine bewegte Stimme erzählt uns vom "Glauben an das Leben", während schimmernde Synthies, Chorschwärme und Snares von oben herab eine epische Geschichte über Ausdauer und Hingabe prasseln.

Speicher 125 ist ein Monster, das den Groove neu erkundet und die Emotionen auffrischt.

Brains is the first full length by Anton Pieete in 5 years, and the first release under his given name since 2016. A gentle gorgeous journey of an LP on Wake Dream (ran by Orpheu The Wizard). TIP!

Born into a family of sound designers and making his own initial steps into a life of music in the late nineties in trash and hardcore metal bands and via an inherited drumcomputer into techno and minimal in the early 2000’s, Anton switched to the Darling moniker in 2016 with a series of kaleidoscopic retro-futurist releases on Voyage Direct and Safe Trip.

With Brains, Anton Pieete comes full circle and takes the next step, putting a lifetime of musicality, recording experience into a highly musical album, having given himself room for exploration, not being fixed on an end goa. The 11 songs on Brains are filled with emotion, some sweet and hopeful, some gloomy and restless.

Cover illustration by Jorge Velez

A trio of tracks inspired by ‘90s rave mark Roberto Capuano’s first Drumcode offering in two years.

The Napoli-born DJ, producer and sound designer has been a semi-regular contributor to Adam Beyer’s labels stretching back almost a decade. From the Inner City-referencing ‘Vertigo’, to the elegant techno on ‘Wilford’, part of DC150th release, and the 2020 collab ‘Mad World’ with good friend Luigi Madonna, his tracks have always been characterised by impeccable quality and a timeless sonic palette. Reinforcing his breadth, he’s also responsible for one of Truesoul’s greatest tracks to date, thanks to the 2015 classic ‘Never Stop’.

‘When The Lights Go Down’ EP continues the brain scrambling techno approach he displayed on ‘Mad World’, with all cuts featuring throughout the summer, including supports at Tomorrowland, Awakenings ADE, EDC Vegas, and Movement Detroit.