British producer Ed Davenport lands on Studio Barnhus with four fresh ones built for long nights and well-tuned sound systems.
“Carry On” gets things rolling in suitably hazy fashion, a dopey tech-house shuffle circling around a soft, mysterious piano figure and trancetastic vocals by Tee Amara. “Green Wave” keeps the bounce going with warm chords and an easy spring in its step, before “Mezzh” puts the bass right up front and heads straight for the big room.
“Lift (Dub)” closes the record by nudging things into more acidic territory, never losing the loose, playable feel running through the EP. The digital edition includes the original “Main Pass” version of “Lift”, easing off the acid while letting the melodic side shine through a little more.
FLOOD’s “Late Night Callin’“ has been making the rounds on dance floors for quite a while now, yet it was never released as an actual record. KROF is changing this now, making the galloping tune with its cheeky vocal available on vinyl.
Alongside the original mix, the record includes an updated version of the track which takes a more straight-forward direction and adds some old-school techhouse flavor to it.
With “Gotcha“ and “U Love Me?“ on the B-side, two dace floor-ready house tunes based around groovy basslines and playful percussion complete the package.
Phenomena begins with two artistic voices that seem to speak different languages. Barcelona-based producer R-010 (Lucas Rojo) approaches composition through rhythm, space and electronic transformation; Madrid-born vocalist and multidisciplinary artist Venerandi through texture, breath and the expressive possibilities of the human voice. By the time the album reaches its final moments, that distinction has quietly disappeared.
Rather than functioning as a meeting point between two individual practices, Phenomena gradually
becomes a third language—one that belongs to neither artist alone. Voice no longer sits above the music
but moves inside it, dissolving into layers of synthesis, percussion and guitar until performance itself
becomes another malleable sound source. Likewise, electronic production never behaves as a fixed
environment; it constantly adapts, absorbs and responds, allowing acoustic gestures and digital
manipulation to reshape one another in real time.
This continuous transformation defines the record more than any particular genre ever could. Echoes of trip hop, bass music, psychedelia and experimental electronics drift across its surface, yet they are never
presented as stylistic markers. Instead, they appear as temporary states within an ecosystem that remains
in constant motion, where dense rhythmic passages collapse into suspended atmospheres and moments
of stillness carry as much weight as those driven by pulse.
The presence of Matteo Caro (guitar and percussion), Pablo Gorostiaga (guitar) and Alessio Rodolico
(percussion) further expands this dialogue. Their contributions are not decorative additions but structural
ones, gradually dissolving the distinction between composition, improvisation and production. Instruments
emerge, mutate and disappear inside the same sonic fabric, making it increasingly difficult to distinguish
what was performed from what was transformed.
With Phenomena, Lapsus Records presents a work that feels less interested in crossing genres than in
questioning the borders between artistic identities themselves. The album never asks the listener to decide
where the human ends and the machine begins. Instead, it quietly suggests that, after enough careful
listening, the question itself may no longer matter.
Do you know what time it is? It’s Prime Time, the new EP on Punctuality from mischievous French duo Pureblast . Marking the label’s twelfth release, the record serves as a bold statement of intent from the Parisian pair and demonstrates why they’re quickly earning a reputation as one of France’s most exciting live acts.
Across the EP’s five tracks, Pureblast weave together a broad spectrum of influences while remaining deeply rooted in the duo’s singular vision. Every cut is fat, pumping, gritty and playful, ready to turn heads and hips on the dancefloor.
Side-stepping easy genre classifications, Prime Time is modern rolling prog at its most energetic. Tightly wound low-end, pummelling drums and restless basslines drive each track forward with purpose, while sa+ga’s vocals are manipulated and distorted to humanoid perfection. The result is something distinctly personal beneath the machine funk: robotic yet seductive, gritty yet playful.
Deep listeners will spot nods to tranced up breakbeats, Ray of Light-era big beat, Detroit electro and contemporary UK techno with psy-fluenced synth swirls and texture. Far from pastiche, these influences are absorbed into the Pureblast machine and transformed into something entirely their own.
Gritty, pumping, sexy and playful. It’s Pureblast, it’s Prime Time.
credits
Not many can match V.I.V.E.K when it comes to pushing sound system culture.
With over two decades worth of releases, dances and low-end pressure, the Southall-born, System Music label owner announces the imminent arrival of his debut album, ‘The Escape To Nowhere’.
Spanning eight deep and meditative tracks, ‘The Escape To Nowhere’ is a fully realised exploration of dubwise tradition, reimagined through V.I.V.E.K’s unmistakable expert approach and unbound from one specific genre
Drawing from a lifetime immersed in bassweight heritage and club-ready experimentation, the record distils his musical journey into a fully formed and immersive statement, featuring the haunting vocals of Dandelion and Dego Ranking, experimental percussion and a meticulously sculpted low-end design.
‘The Escape To Nowhere’ will mark the 50th release on System Music, a landmark that underscores both the label and artist’s enduring commitment to forward-thinking bass music firmly rooted in culture and craft.
The Brussels-based collective re#encounter will release its debut album, Angels and Demons at Play, on September 18, 2026, via W.E.R.F. records. With gnawa grooves, cumbia, griot storytelling, Afro-Caribbean rhythms, and ecstatic jazz improvisations, the nine-piece ensemble crafts a distinctive, spiritual, and above all, danceable jazz idiom.
At the heart of the album lies trance. Hicham Bilali's gnawa, Kaito Winse's relentless energy, Paula León's cumbia roots, and the spellbinding jazz improvisations of Lúcia Pires and Joos Vandueren intertwine with Falk Schrauwen's Afro-Caribbean rhythms. Together with Robbe Latré, Ismaïl Akharraz, Ayoub Boufous, and Anaïs Moffarts, they create a musical encounter where differences are not erased but harnessed as a creative force.
On Angels and Demons at Play, Hicham Bilali's gnawa grooves enter into dialogue with the voices of Kaito Winse and Paula León. They weave stories from the griot and cumbia traditions-tales of ancestors, cosmic journeys, and djinns. Flute, saxophone, and trumpet craft soundscapes and melodies rooted in existing traditions, while drums, percussion, and bass drive the whole forward with tight, hypnotic rhythms.
With this, re#encounter aligns itself with the spiritual jazz idiom of artists like Sun Ra, Pharoah Sanders, Kahil El'Zabar's Ethnic Heritage Ensemble, and Shabaka Hutchings, but always from a distinctly Brussels-based perspective. The result is a homegrown form of Afrofuturism: music that draws on deep cultural roots while simultaneously looking ahead.
Die EP ,PERFECT HOUSE" von MX Lonely ist der Nachfolger ihres hochgelobten Debütalbums ,ALL MONSTERS". Nach dem Erfolg ihres Albums (gelobt von Pitchfork, Stereogum, Alt Press, POST-TRASH und vielen anderen) kehrten sie zu den Songs zurück, die sie während der Arbeit an dem Album geschrieben hatten, und hauchten den Stücken Leben ein, die nicht auf die ursprüngliche Platte gepasst hatten. Sie haben einen schweren, düsteren Alternative-Rock-Sound entwickelt, der gleichermaßen von Schönheit durchzogen ist und von Stereogum als ,die Art von Indie-Rock, die wir in den 90ern als ,angular` bezeichnet haben und die in eine regelrechte Fuzz-Riff-Eruption ausartet" beschrieben wird. ,ALL MONSTERS" war ihre erste komplett selbst aufgenommene Veröffentlichung, auf der die Band - Synthesizer-Spieler und Sänger Rae Haas, Gitarrist Jake Harms, Bassist Gabriel Garman und Schlagzeuger Andy Rapp - einen lebendigen, unmittelbaren, analogen Sound eingefangen hat, der das Gefühl ihrer Live-Shows verkörpert und gleichzeitig ein länger andauerndes und nuancierteres Erlebnis schafft als je zuvor. Für die Zukunft wollen sie weiterhin auf Tour gehen und eine Community aufbauen, die auf gegenseitiger Katharsis basiert. Auch wenn sie sich der Selbstreflexion verschrieben haben, möchten MX LONELY letztendlich andere in ihre Welt einbeziehen.
Adam Freeland’s return continues with the relaunch of Marine Parade and the release of the Twister EP, marking his first solo material since 2007.
“Twister” draws on Freeland’s love of psych rock, drone, leftfield techno and breakbeat, combining raw bass, polyrhythmic grooves and cavernous dub hits before building into a hypnotic drone-driven climax and cinematic guitar finish. On the flip, “Kiligurl” pairs pulsing drone and broken rhythms with spring reverb for an organic dub feel.
The EP follows Transhuman, Freeland’s collaboration with Spooky’s Duncan Forbes, and marks the next chapter for Marine Parade, the influential label that helped pioneer the edgier side of breakbeat in the 2000s. After closing in 2009, the label’s return follows Freeland’s decade living off-grid in California’s Mojave Desert and his work with The Acid alongside Ry X.
Breakbeat Paradise Recordings proudly welcomes back one of the undisputed heavyweights of the international funk and breaks scene, Basement Freaks, for another scorching edition of the Toxic Funk series.
The brainchild of Greek producer George Fotiadis, Basement Freaks has spent more than two decades building a worldwide reputation for infectious grooves, heavyweight beats and dancefloor-destroying funk. With releases on labels including Jalapeño Records, Bombastic Jam, Good Groove Records and many more, Basement Freaks has become a staple in DJ sets around the globe and one of the most respected names in modern funk.
Opening the release is Got That Funky Stuff, an irresistible slice of raw party funk packed with chunky breakbeats, killer basslines and soulful samples that are guaranteed to get any crowd moving. Flipping over, Life For Dat Sweet Ting keeps the energy flowing with another irresistible groove, combining vintage funk flavors, rolling drums and signature Basement Freaks swagger into a certified dancefloor weapon.
Whether you're a funk DJ, breakbeat selector or simply a lover of timeless grooves, Toxic Funk Vol. 25 delivers two expertly crafted cuts that showcase why Basement Freaks remains at the very top of the global Nu Funk scene. Another essential 7-inch for collectors and DJs alike, and another dose of pure funk from Breakbeat Paradise Recordings.
The Garden, experimental punk duo made of twin brothers Wyatt and Fletcher Shears and their new album Bootleg is available on vinyl and CD via Epitaph Records. Recorded in Los Angeles and produced by Wyatt and Fletcher, the 14-track album is packed with The Garden"s eclectic instrumentation and visceral production work. Formed in 2011 by twin brothers Wyatt Shears and Fletcher Shears, The Garden built their signature "Vada Vada" style from the raw foundation of bass, drums, and eerie electronic textures. Their minimalist approach delivers an explosive, genre-defying sound that is equal parts chaotic, precise, and unmistakably original. Blending an uncanny, arthouse-inspired visual identity with fearless creativity, The Garden has become one of alternative music"s most influential cult acts, beloved by Tyler, the Creator and Mac DeMarco. Renowned for their explosive live performances, they"ve cultivated a fiercely dedicated global following while inspiring a new generation of artists and fans drawn to their singular creative vision.
Built with the immediacy that comes from limitation, iPhone Grime is almost exactly what it says on the tape case. Pulled directly from the portable communication device of Front Left Life's Louis Payne, iPhone Grime is the perfect distillation of raw ideas through a simple medium. When producers can drown in the infinite possibilities of the DAW vortex, a simple phone app can steer you swiftly to the sharpest results. Snippets of real world sound captured on the mic ground these quick-fire beats in a time and place, dynamic and street-level like grime and early dubstep was when it was being imagined on PlayStation games and filmed on ropey phone cameras.
Payne is undoubtedly bringing perspective to his sketches, having forged a connection with London's club scene through his part in the widely hailed Front Left Life parties in Catford, at Venue MOT and elsewhere. With a roll call of guests that cuts a sharp line through the best of bassweight club music right now, his taste and knowledge precedes his first steps into the production arena. Rather than puzzling out the path to a thousand likes for a hardware jam reel, he's opted for a direct line between his brain and the beat at the end of it.
You can hear the naivety behind vocal loops like the one nagging away on 'Follow That', calling to mind the first time you ever tried making a Fruity Loops beat. But these are no amateur throwaways — the technology has moved on and Payne's instincts guide him towards legit constructions that could easily do damage in the club. Sometimes they exist as no more than an eight bar loop, while others like 'Wind It Up (Dream Dealers Version)' or 'Extra Dimensional Being' stretch an idea out. Throughout it all, the looming throb of square wave bass glues the record together and anchors the grime dimension of Payne's job lot of phone jams.
Payne's work is all his own, and the snatches of real life around the beats anchor this music in his own London life. But, like previous shifts in technology and accessibility, iPhone Grime also raises an important prospect—that anyone with one of these apps, a Bluetooth speaker and an idea can bring music out of studios and into the world. History has already proven, when that happens the possibilities become thrillingly unpredictable.
Isaac Kniveton (fka Keplrr) steps out with Daydreaming, a four track deluge of psychedelic club projections for Call Super and Parris’ can you feel the sun imprint.
Having boasted a notable reputation as Keplrr for labels like Control Freak and Midgar, Isaac Kniveton now embraces transition. On Daydreaming, his debut release under his own name, he maintains an unclassifiable sound with newer purpose; a sound that cascades in brighter colours. It’s a renewed sense of focus and subtlety that produces some of his most arresting work to date.
The ornate funk of opener Flutter angles for the wide-eyed, a cosmic stepper that pins tight drums to a weightless melodic base. Love Groove’s inebriated swing trips out further, a steady cut that binds vocals from GRACE founder Katiusha with entangled melodies. Symmetry’s wayward rhythm ups the ante with subtle rave tension, gently rising as its circular bassline swells. On closer Molecule, he locks in for an exploratory dive, offering shades of Detroit and twisted theremins.
A fascinating new era for Isaac Kniveton that finds solace in can you feel the sun’s forward-leaning club manifesto.
A new pandemic is making its way to you—from New York to Berlin. A bond destined to last for centuries, this release carries that same timeless energy.
Deep bass, hypnotic rhythms, and subtle percussion come together, pulling you deeper and deeper into the progression. A journey built on tension, movement, and atmosphere.
Soul Ex Machina continues the SEMPLATE series with its third installment, welcoming Sibla for a three-track EP rooted in the foundations of early dubstep and shaped by a strong jazz sensibility. Named after its opening track, "The Seekers" explores spacious arrangements, refined musicianship and carefully sculpted low-end, drawing a natural connection between soundsystem culture and contemporary harmonic language.
"The Seekers" opens the record with rolling jazz-inflected drums, deep dub weight and a dim, immersive atmosphere, unfolding with patience and quiet confidence. "Paper Bags" shifts the mood through harsh textures, subtle dissonance and restrained percussion, building tension without sacrificing space or balance. Closing the release, "Pace" settles into a driving stepper rhythm, where flowing grooves, precise basslines and understated melodies bring the EP to a focused, purposeful finish.
Ibiza-based Jazz N Palms is back with more musical dispatches from the calmer side of the island that follow on from his Ses Rodes album in 2022. That record was focused on a double album assembled, as if over a Cartesian grid of space-time. While one record was about space/the environment, the other was following the times of the day. This 7" expands that with more music inspired by magical island spaces.
These tracks were recorded in Magrana Studio in Ibiza with three new musicians and, after the post-production, the mixing was made with the help of Ben Westbeech and his beautiful Unfairchild II, an amazing Californian reproduction of the holy grail of tube compressor that has been present in Abbey Road studios since the 60s.
Opener 'El Valle' ('the valley') captures the different shades of light that pass over Ibiza, from early spring light to the arrival of looming clouds and the first thunders of a summer storm. It is the organ which serves as the main character to convey those sensations and the passing from light to dark as a live, loose and dusty groove bounces below. On the flip side, 'La Costa' simulates cruising on the open sea, riding choppy swells as waves lap at the boat and you gaze at the passing landscapes. Only drums and bass have been used to convey the feeling, and the result is a wonderfully uneven, ever-evolving and funky groove full of life.
Setting a high standard for its inaugural release, new record label Sounds of The Blind Prophet announces SBP001, a powerful 12” vinyl collaboration uniting label founder Blind Prophet with worldwide Dub stalwarts Fikir Amlak and Vibronics.
The A-side, “Now Is the Time,” pairs LA-based vocalist Fikir Amlak’s commanding lyrics on community and self-reliance with a high-energy steppers riddim built by Blind Prophet and Vibronics. The flip delivers two raw dub cuts mixed direct from the board by Vibronics at his legendary Dub Cupboard Studio in Leicester, UK.
Embodying the core essence of modern Dub culture—conscious lyricism, driving percussion, and chest rattling bass—SBP001 marks an undeniable opening statement for Sounds of The Blind Prophet.
,DOGGOD" ist das 2025 erschienene dritte Album des kalifornischen Trios L.A. Witch und erweitert den bisherigen Garage-Rock- und Psychedelic-Sound der Band um deutliche Post-Punk- und Goth-Rock-Einflüsse. Inspiriert von Bands wie Joy Division, The Cure und Krautrock verbindet das Album treibende Basslinien, atmosphärische Gitarren und dunkle Melodien mit der charakteristisch mystischen Ausstrahlung der Band. Inhaltlich beschäftigt sich ,DOGGOD" mit Liebe, Hingabe, Unterwerfung und Spiritualität. Der Titel spielt mit den Begriffen ,Dog" und ,God" und setzt sich mit bedingungsloser Loyalität, Selbstaufgabe und gesellschaftlichen Rollenbildern auseinander. Zwischen romantischer Sehnsucht, düsterer Vorahnung und hypnotischen Rhythmen präsentieren L.A. Witch ihr bislang vielschichtigstes und ambitioniertestes Album.
Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.
Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen"s sound is indelible. Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig"s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity"s capacity to create both beauty and devastation. Dis Fig has a preternatural ability to ground massive sounds with tactile rhythms and her instinctually connective voice. The album is a staggering display of innovative songcraft and unfathomable emotion-a musical world like no other.
Die südafrikanische House-Variante Amapiano geht bei ATFA mit "Teenage Dreams" in die dritte Runde. Nach TENO AFRIKA und DJ BLACK LOW schnappte sich das in New York beheimatete Label das 2019 gegründete Produzenten-Duo NATIVE SOUL, die mit "Teenage Dreams" ihr Debüt geben. Der Titel ist passend gewählt, schließlich sind Kgothatso Tshabalala und Zakhele Mhlanga (DJ Zakes) mit 19 bzw. 18 Jahren sozusagen selbst gerade erst den Kinderschuhen entwachsen. Obwohl die beiden in Pretoria aufgewachsenen Jungproduzenten zur Generation 'Ma2000' gehören, also nach Beginn der Demokratie geboren wurden und die Apartheid nie erlebt haben, überzeugt "Teenage Dreams" mit einer künstlerische Reife, die das jeweilige Alter der beiden Soundtüftler weit übersteigt. Die zwölf Tracks auf dem Debüt sind überwiegend moody, instrumental und mit Drums "made from basslines which stick out like a pocket turned outside of pants" versehen. Für Fans von BURIAL und MR. FINGERS!
Light Touches Records is devoted to shed new lights on hot rarities, unknown grooves as well as forgotten classics.
As the attention to the older volume is rising, Light Touches camp pushes things further with four uncompromising tunes.
On A side, “Do It This Way” is an intense lost disco roller with oniric string machine and thundering bass, while “It’s True” goes deeper with a relentless Philly groove with psychedelic tones. On the flipside, “Jus’ta Funky Jam” opens things up with some killer groovy arrangement, and “Dance With You” closes the release with a dreamy, mellow jazzfunk tune.
All tracks have been carefully edited without overdubs, in order to bring the spirit of classic disco manipulators to today’s dancefloors!
Opening the release is Bonifaz ‘Encore’ a sample heavy slice of filter-house with a sprinkling of French touch,
laid out across five and a half minutes with with a chuggy bass line, dubby synth stabs and an amalgamation of
choppy vocal chants all dynamically evolving and unfolding throughout amongst a crisp, robust rhythm section
that carries the groove throughout.
On the flip side, Uit de Hoogte offers up 'Whooop!' built around a acid-tinged synth hook with envelope
fluctuations through, sweeping resonant synth flutters, heavily swung drums and intricately processed vocal
lines resulting in a high-octane workout perfectly primed for the peak time hours on the dance floor.
The Liber series was always about the dancefloor. Dark rooms, loud systems, repetition, pressure and the point where the machinery takes over. Liber Eleven continues that idea. The tracks have been remastered and are now available again on CD, vinyl and download.
This is The Black Dog in full techno mode. Hypnotic, physical and built for big systems, with enough strange corners to keep things interesting when the lights go down.
The Liber series started with Liber Kult, Liber Temple and Liber Nox, followed by Liber Dogma and Liber Chaos. Eleven picks up that thread and carries it forward.
No nostalgia trip. No archive dusting for the sake of it. Just The Black Dog making techno...
FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.
FORBIDDEN’s legacy is one of being the youngest, hungriest and most ambitious of the Bay Area brethren that has launched metal paradigm-shifters from Metallica to Machine Head. With a reconstituted lineup, guitarist Craig Locicero and bassist Matt Camacho, have crafted an hour-plus masterpiece of thrashy predilection, emotive musical movements, and prog-scraping sonic ambitions. From the intensity of opening track, “Single Point Failure” to the philosophical shades of 9-minute closer, “Flower of Life”, this is FORBIDDEN not merely stretching beyond the steely foundations of 1988’s classic Forbidden Evil or the quantum leap of 1990’s Twisted Into Form, but the sound of a band with a new sense of scope and purpose. Produced by Zach Ohren (Machine Head), Forbidden isn’t merely a revival for quintet whose membership has included players from Machine Head, Voivod and Imagika, but full-blown reinvigoration and purgative endpoint for this Bay Area metal institution.
Dusky return to Anjunadeep with their forthcoming studio album ‘Signals’. The London duo first debuted on Anjunadeep in 2011 with their critically acclaimed album Stick By This. Expanding the boundaries of deep house and UK club music, the record marked the beginning of Dusky’s rise as one of the scene’s most respected acts. Their breakout track ‘Careless’, released via Aus Music, further cemented their reputation, amassing more than 14 million streams and becoming one of the defining UK house records of its generation. In 2014, the pair launched their own imprint, 17 Steps, which has since hosted releases and remixes from artists including Nathan Micay, LTJ Bukem, Interplanetary Criminal, Denham Audio and Shed. Since then, Dusky have released two further studio albums, Joy and Pressure, alongside a string of acclaimed singles. Their music has earned support from Pete Tong, Danny Howard and Sarah Story on BBC Radio 1, as well as widespread backing from leading DJs including Jamie Jones, Peggy Gou, Gorgon City, TEED and TSHA. While 'Signals' represents a natural continuation of the Dusky story, it also ventures into more reflective territory than previous releases. The album's wider range of influences and more contemplative mood offer a fresh perspective on the duo's sound, while also paying subtle homage to their acclaimed debut album ‘Stick By This’. Featuring multiple collaborations with vocalist Rromarin, alongside a contribution from Nadeem and Pritt, 'Signals' reflects a creative process that unfolded over many years. Some tracks grew from ideas first sketched long ago, while others emerged more recently, giving the album a sense of both history and momentum. Across its 13 tracks, 'Signals' balances Dusky's club-rooted instincts with downtempo offerings. Tracks such as 'Next Life', 'Kadhalan' and 'Lab' showcase the duo's signature combination of bold basslines, driving rhythms and emotional resonance. Elsewhere, 'Elm' and 'Bindweed' slow the tempo and draw on the warmth of soul, the deeper edges of disco and richly textured live instrumentation.
Time to turn on and turn it up, theres a brand new Carlton Melton in the offing… its been a good couple of years since the West Coast space/sike travellers have dropped new music.
‘Phantomize beyond the window, into the portal, the panes of eternal returns, wooden spirals, roots into the realms of everything and nothing, the reason beings’
With Anthony Taibi fully ensconsed in the metaphorical Melton Dome, this four piece is ready to soar, go deeper and wider into the sike psyche than on previous recordings, now fully recording live with drums, bass, guitars and keys...recorded at 3D Light in Freshwater, CA by Anthony Tiabi in 2025, and mastered by the inimitable John Mcbain in 2026.
We have a single LP of 40+ minutes spanning 4 tracks, that have textures, and waves and patterns to lull you into some fever dream of motorik psych! Touchstones like Träd, Gräs Och Stenar / Kandodo / Guru Guru / Eno & Fripp / Birds of Maya / Parson Sound come into view.
There are moments of gentle ambience bordered by speaker shredding guitar soloing, whole passages of Krautrock inspired jams that have form and focus.. you blink and your live flashes before you, the record ends, you want more..
There are moments of gentle ambience bordered by speaker shredding guitar soloing, whole passages of Krautrock inspired jams that have form and focus.. you blink and your live flashes before you, the record ends, you want more.. Carlton Melton masterfully blend hypnotic, long-form psychedelic jams with drone and Krautrock influences.
Band:
Rich Millman
Andy Duvall
Clint Golden
Anthony Taibi
Announced to celebrate summers solstice.. released on the Autumn equinox.. with a full UK tour to boot..
Numa Crew are back with a full release at 140 bpm. A journey through the crew’s diverse range of styles, each with its own unmistakable character. It kicks off with ‘Philly Blunt’, a track conceived and created for the dancefloor, pure dubstep, with a wobble bass that cuts through a driving groove and carries with it many nuances of dub. Track number two, ‘Big Champion’, is produced by Lapo with contributions from the crew’s two MCs, XL Mad and Ninjaz MC. The riddim blends old-school jungle and grime and features vocals in both Jamaican patois and Italian. There are no boundaries of any kind within Numa Crew! Nor are there any boundaries to be seen on track 3, ‘Easton Riddim’, produced by Lapo and Ago, which seamlessly blends two styles very dear to the crew: UKG and reggae. It will be the perfect platform for many MCs to showcase their skills. To round things off, undoubtedly the craziest track on the EP, ‘Run Tune’ – produced by Ago and Leon P. A frenzied arpeggiator and dark atmospheres take us on a journey through sub-lines and distorted vocals.
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
For their eagerly awaited third album, the Parisian trio Howlin' Jaws have teamed up with Swedish producer Kalle Gustafsson Jerneholm (bassist with The Soundtrack Of Our Lives and producer for Foals, The Hives, Jose Gonzalez and Junip) and have taken a major step forward, affirmingthe universal appeal of their explosive yet elegant psych-rock. This new album, Living The Dream, crystallises just about everything we'd ever dreamt of hearing from Howlin' Jaws. Here, more than ever, their dreams take the form of unifying choruses, transforming grief ("Troubled Mind") or separation ("Do What You Gonna Do", "So Sorry") into genuine bursts of hope. Rich in texture (with the Omnichord and Mellotron featuring on the spellbinding "Miss You" and the twilight-tinged "Up On The Roof" respectively) and in wit (led by the biting "Living The Dream"), the eleven-track album is equally diverse in its range of influences. Disco looms large on "Terminal Buzz", country creeps in on "Sunset Laundromat", whilst the fiery "Maximum Speed" is a joyful reminder of King Gizzard & The Lizard Wizard's trippy flights of fancy. The trio are stunning when they're in full swing, but just as impressive when they slow the tempo down. Behind its layers of cosmic keyboards, "Time Has Come" immediately sets the scene and subtly invites introspection. Like an echo at the end of the journey, "That Kind of Pain" rubs shoulders with the stars of the French Touch (the Air school), letting the strings of the Stockholm Philharmonic Orchestra burst forth amidst its melancholic swells. All in all, whether he simmers his albums like an omelette or a beef bourguignon, Howlin' Jaws proves he's never short of imagination.
Third time’s a charm, or possibly an anomaly. Johannes Volk returns to Running Back for another five exercises in perception, memory and dance-floor physics.
Following Extra Dimensions and Lightweave, this third instalment finds Volk continuing his particular way of making machine music feel strangely human and vice versa.
Shining Force starts somewhere above ground. Gliding across an unfamiliar planetary surface, optical illusions and physical anomalies slowly interfere with the senses. Unknown landscapes,
peculiar vegetation, nature behaving unnaturally: techno as field research. Switching From Bicycle to Spaceship does exactly what it says on the tin, more or less: trading pedal power for propulsion as a deceptively simple groove gathers speed, sheds gravity and quietly leaves the atmosphere behind.
Hidden In Dark belongs to a more immediate kind of archaeology: fog, strobes, bodies and those inexplicably intense emotions that only seem to exist on a dance floor at the right (or wrong) hour.
Back Alley Dancers turns the telescope around and looks backwards. Vocal fragments, pitched, delayed, reversed and removed from their original meaning trigger half-memories of youth, and of
encountering music and culture before you quite understood what any of it meant. Familiar feelings in unfamiliar shapes.
Finally, Drumatury dispenses with introspection and gets down to elementary forces. Morphing bass drums meet a Chicago jacking snare-roll massacre. Drama becomes drumaturgy. Or the other way around.
Five tracks, several states of consciousness, one Johannes Volk. No protective equipment supplied.
Portuguese musician and expert experimentalist Diogo steps up for Heion Records second outing. Diogo signs two originals for his Healiocentric EP, joined by a remix from legendary Wild Bunch selector and producer Milo Johnson, aka DJ Nature whose roots in New York’s late-80s underground shaped his raw blend of early house. The EP opens with "Healiocentric" unfolds as a deep atmospheric journey where modular synthesis meets live instrumentation and tuned percussion. Arpeggiated sequences glide through hovering brass-like tones and modulated pads with effortless positivity, riding a syncopated landscape of rim shots and broken beats.
"Traums" dives deeper into Diogo's intricately woven world. Monochordal spoken word samples drift sparingly across organic clicks and rich analogue textures, conjuring a jazz-like atmosphere that rewards careful listening. Lush pads echo the craft of artists like Two Lone Swordsmen or Ricardo Villalobos, but the steady thump of a 909 kick and a fluid bassline leave no doubt: this is a deep-of- night heater for the enlightened dance floor. DJ Nature closes the EP by taking "Healiocentric" on an inspired tangent into disco-techno territory. Acoustic beats anchor a minimalistic take on acid funk, while a near-naive piano line sets Chicago house against Berlin school repetition. Gated noise, field recordings, wah-wah electric piano pads and classic house organs complete the picture. Cannon fodder of the highest order.
Following the success of the inaugural all-Jiri Jiri edition, Batov Records returns with the second instalment of its Give Me Disco series, once again curated by label co-founder and globe-trotting selector DJ Kobayashi. Rather than revisiting familiar disco classics, Give Me Disco Vol. 02 digs deeper, bringing together four dancefloor discoveries from across Europe and Asia, including two previously unreleased tracks available here for the first time.
Spanning Portuguese jazz-funk, Norwegian cosmic oddities, Japanese-inspired psychedelic disco and cinematic groove, the EP reflects the breadth of Kobayashi's record bag - a carefully assembled selection of tracks that have soundtracked his DJ sets for years alongside exclusive material rescued from the vaults.
Opening the record is The Bam Jam Band's brilliantly understated "Theme", a soaring slice of jazz-infused disco from Portuguese musicians Sérgio Alves and Pedro Tenreiro. Originally released only as a now long-sold-out 7 inch on Mad About Records, the track has become one of Kobayashi's trusted secret weapons, championed by discerning selectors including Darryn Jones and Red Greg. Built around Alves' dazzling synthesiser work, "Theme" finally gets the wider audience it deserves. The EP's first exclusive arrives courtesy of D. Apal, instrumentalist and member of Norway's Flammer Dance Band. His only solo release, issued on the band's Lysketrekk Records, has become a cult favourite among adventurous record collectors. Batov now unveils the previously unreleased "60 Meter'n (Rytme)", an extended instrumental dub that strips away the vocals to let the handclaps, cavernous bassline, dub effects and wonderfully eccentric synthesisers breathe, transforming an underground favourite into an irresistible dancefloor weapon.
Side B opens with YĪN YĪN's "Tokyo Disco", taken from the band's acclaimed third album Mount Matsu on Glitterbeat Records. Long-time admirers of the Dutch quartet, Kobayashi has championed them since first hearing the breakthrough pairing of "Dis ̄ kô Dis ̄ kô" and "Dion Ysiusk" on Bongo Joe. Since then, he has hosted the band twice on Soho Radio and supported them live in London. "Tokyo Disco" perfectly captures YĪN YĪN's distinctive blend of Japanese-inspired psychedelia, Southeast Asian influences, post-punk funk and shimmering disco grooves, making it a natural fit for the Give Me Disco series.
Closing the EP is another exclusive from Jiri Jiri, whose contribution helped launch the series on Vol. 01. Ahead of their forthcoming album later this year, the duo unveil the previously unreleased "Spaghetti Western", a wonderfully off-kilter fusion of Morricone-esque cinematic atmosphere, taut funk rhythms and the soulful modern groove of SAULT. Equal parts soundtrack and dancefloor curveball, it provides a fitting finale while offering another tantalising glimpse of what's still to come. With two exclusive cuts sitting alongside two carefully chosen modern classics, Give Me Disco Vol. 02 is another lovingly curated snapshot of DJ Kobayashi's musical universe: borderless, groove-driven and unapologetically built for adventurous DJs, discerning collectors and open minded dancefloors alike.
Pleasurewood return with 'Electric Telepathy', their second full-length LP offering Simla Space Funk, Psych-Library and Vintage-Cinematic Raga-Rock grooves.
This new offering from the band embraces more of their vintage Hindi Cinema soundtrack influences — "Chump Change", "The Hoverfly" and "RAMMM" could easily fit into the middle of an R.D. Burman score, each with their incongruous synthesis of different genres, infectious percussion, classical modes and funk chops.
There is also a slight sweep across a too-slow-to-disco tempo and feel with the moody Johnny Guitar Watson-esque slow burn of "Good Falcon" up to the nonchalant four-to-the-floor of "Last Dance Saloon" with its lyrical warning of digital over-saturation in our social-media saturated world and a foreboding of the mini-monoliths sat in the palms of our hands that in a Kubrickian way threaten to cosmically absorb us all as a species into their individual jet-black abysses.
And then, coming into focus like a sweet slice of disjointed, lo-fi, 8 bit space disco, "Mojave Desert" is a slacker-strut with telephone vocals dub guitars, dry cosmic synths and futurist Farfisa organ driven by an almost Acid-Jazz meets Post-Punk Bass line. The song is autobiographical in its account of an excursion along the 29 Palms Highway reflecting on an escape from the City of Angels not so far away, up into the stark psychedelic desert realm.
There is a lot to unpack in this record and yet more to discover so it will be best to allocate 40 minutes in a comfortable dimly-lit room with eyes closed and maybe a cognac in hand, to have a deep-dive into its well-travelled and esoterically funky grooves.
DJ Support: Mad Matts, Jimpster, Rainer Truby, Craig Smith, Giles Smith, Shane Johnson (Fish Go Deep), Lars Berhenroth, Leo Luscher, Ricky Chong, Rafa Santos, Buti Mabutana and many more
FORMA002 sees label co-founder Glenn Davis back with a deep original production that also does real damage on the dancefloor. Flip over for a true masterpiece remix from Trinidadian deep with his trademark Caribbean rhythms and deep sonics. When you know..
Glenn's deep driving baseline, jazzy chords and synth stabs elevate you to a hypnotic house nirvana. A love for deep atmospheric and melodic house music creates an instant classic from the Dublin producer.
Trinidadian Deep takes the original Davis production, adds his Caribbean magic with layers of live percussion, vocals, organs and sub bass that needs to be heard on a proper club system. Don't sleep on this one.
Underground heroes to worldwide pioneers. Deep cuts from the world's largest archive, pressed on heavyweight, collectible vinyl. Here is a list of names that defined techno, afrobeat, minimal, tech-house and alternative electronic music - all still top of their game.
The A-side features a typically robust Ricardo Villalobos remix of Beck, made accessible by the vocal lead and distinguished by an astonishing 14 minutes of playful drums and sound design that only Villalobos could create.
The AA-side opens with three pioneers co-creating a bass-heavy tech-house banger, with a tinge of guilty pleasure. Katy B on vocals, with Four Tet and Floating Points on production duties. Two further pioneers, Jeff Mills and Tony Allen, follow it up with a deep, brooding organ jam built on layers of intricate, varied percussion. To close, we hear a different side of Villalobos in collaboration with Max Loderbauer of the experimental jazz and electronic music scene. Built on original acoustic recordings, it is reframed with serene delicacy.
This is our deepest release yet.
Limited run. Follow the sound.
a A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) 14:36
b B1. Four Tet, Katy B, Floating Points - Calm Down 4:04)
c B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
[a] A1: Beck - Cellphones Dead (Ricardo Villalobos Remix) [14:36]
[b] B1. Four Tet, Katy B, Floating Points - Calm Down [4:04)
[c] B2. Jeff Mills, Tony Allen - Locked And Loaded [7:47]
[d] B3. Ricardo Villalobos, Max Loderbauer - Recat [7:15]
Following on from back-to-back hit albums, Bristol beatmakers The Allergies keep the heat coming with Beneath This Sun. The sample-heavy LP deftly mixes up musical styles, like one of the duo’s dynamite DJ sets.
Soul-stompers ‘Bye Bye Baby’ burn the floor, while double bass banger ’Dig It Up’ adds a boom to the bap that’ll have ’90s hip-hop heads throwing their hands in the air.
Other standout moments are stolen by the earth-shaking cinematics of psych-rock-meets-rap epic ‘Resistance’, featuring Knytro – The secret weapon MC for stadium acts like Chase & Status. And ‘Leave Me Alone’ – a dancehall-on-steroids breakup record brought screaming to life by self-proclaimed "sound system baby" Aziza Jaye.
More new faces to The Allergies camp include tongue-twisting Dutch mic master, BlabberMouf. And rising stars from the Bristol scene, HybridMP & KAI, who shine with their radiant jazz-hop lament ‘Lost My Soul’.
Grooved throughout, built for dancing, no filler. Solid.! Liro on Bosom LTD with four deep, dubby cuts. Viaje Circular opens loose and circular, percussion looping under a warm bass. Ritmo Atemporal tightens up, minimal touches, hi-hats doing the work. La Pausa on the flip, dub chords, space to breathe. Los Tatas closes heavier, more percussive drive.
Soon after their 1978 debut on the Brian Eno-produced »No New York«, a compilation that defined the No Wave scene, James Chance's group Contortions had already evolved – getting sharper, tighter and just plain faster. Despite the loss of keyboardist Adele Bertei and bassist Geoge Scott (who refused to sign a new contract demanded by Chance and his then partner, band manager Anya Phillips) Contortions were firing on all cylinders, and their first full-length album, 1979's »Buy«, is a marvel of hot-wired energy.
Led by the brash yelps and free-sax squawks of Chance, Contortions spit out fiercely rhythmic tunes charged by the wiry guitar lines of Jody Harris and the dizzying slide guitar of Pat Place. With drummer Don Christensen slipping in pointillist beats and David Hofstra's infectious basslines, the songs on Buy crackle with both precision and abandon. Opener »Designed to Kill« shoots sparks of sound in all directions, while »Contort Yourself« is a nihilistic dance number wherein Chance instructs listeners to twist into knots, physically and mentally. "It's better than pleasure, it hurts more than pain," he snarls, later imploring, "You better try being stupid instead of smart."
Heavily influenced by the showman funk of James Brown (whose »I Can't Stand Myself« the band had covered on »No New York«), Contortions coined a downtown dance-punk sound that had immediate influence on subsequent No Wave bands – including Place's Bush Tetras and Bronx trio ESG – as well as the burgeoning disco movement. On »Buy«, Contortions' self-invented template is imprinted so hard into the grooves that it sounds like they're about to break, capturing a combustible band in all its fiery fury.
"After a couple of years shaping her sound in the studio, Budino lands the "Signal EP", a record that grew out of the desire to make music for her own sets. Citing the journey she aims to create in the club as a key inspiration, she certainly put in the mileage, with a booking schedule tirelessly spanning all points of the compass. Although this is her first label-released original record, it's no novice effort: ALT027 shows a confident artist, fully in control, with a distinct vision and the technical expertise to bring it to life. On opener "Stay More", a trippy trance rendition, the sturdy kick and distorted sines leave ample room for mid-bass acid lines to roam freely. In its company, a myriad of risers, gated white noises and delayed fills appear - signifiers within the artist's palette, as will become apparent. "Wireless" features similar crafty sub movement, but this time the drums are infused with conga patterns and other exotic slices of battery. Because of the zest these rhythms bring, the track can keep building for several minutes until a synthesised lead emerges. When that finally happens, the affair really takes off. On the other side, "Alpha 7" rides the call-and-response dynamics between different formant and deep-vibrating leads, its shimmering arpeggios and atmospheric pads adding colour. Closer "1031" provides an organic touch with its live guitar bass pulse and enigmatic, eerie vocals. Amidst ever-evolving micro-frills, a sturdy square lead thrusts it forward. The groove, again, is endlessly seductive. This characterizes Budino's skilled approach: it's often so hypnotic it feels unclear whether the themes materialise from the surrounding, seemingly fluid compositions - or dissolve into them. In any case, these are multi-dimensional cuts you will love getting lost in on a nearby dancefloor."
