Suche:c sound

MAUROMUSICA first appeared in 1999, when DJ Maurizio Schmitz introduced the name as an underground party brand shaped by long nights, afterhours and a deep passion for electronic music culture. For almost two decades, the project lived through intimate events and dancefloors before eventually going quiet for a number of years.

Now, MAUROMUSICA returns - not only as a party series once again, but finally as the music label Maurizio had envisioned from the very beginning. A long-held dream, brought back to life through a carefully curated first various artists compilation.

The first release brings together six artists from different corners of the electronic music world: Egyptian producer Raxon, German/French duo RE-ST, Italian artists JA:CK and Fedele, alongside Romanian producers Radu Dracul and Sublee.

Moving between warm-up atmospheres, emotional techno, afterhour moods and timeless club sounds, the compilation reflects the musical vision behind MAUROMUSICA - honest electronic music with character, depth and longevity.

Artwork comes from internationally acclaimed artist Tobias Rehberger, while the label typography was kindly provided by Buero New York.

Special thanks to Sven Väth for his continuous support and for championing Raxon's "Based In Space" in his sets for more than a year.

P.S. The handmade coloured vinyl edition of Raxon's "Based In Space" - limited to 100 copies - sold out within less than two hours. The track is now exclusively available as part of this compilation.

MAUROMUSICA first appeared in 1999, when DJ Maurizio Schmitz introduced the name as an underground party brand shaped by long nights, afterhours and a deep passion for electronic music culture. For almost two decades, the project lived through intimate events and dancefloors before eventually going quiet for a number of years.

Now, MAUROMUSICA returns - not only as a party series once again, but finally as the music label Maurizio had envisioned from the very beginning. A long-held dream, brought back to life through a carefully curated first various artists compilation.

The first release brings together six artists from different corners of the electronic music world: Egyptian producer Raxon, German/French duo RE-ST, Italian artists JA:CK and Fedele, alongside Romanian producers Radu Dracul and Sublee.

Moving between warm-up atmospheres, emotional techno, afterhour moods and timeless club sounds, the compilation reflects the musical vision behind MAUROMUSICA - honest electronic music with character, depth and longevity.

Artwork comes from internationally acclaimed artist Tobias Rehberger, while the label typography was kindly provided by Buero New York.

Special thanks to Sven Väth for his continuous support and for championing Raxon's "Based In Space" in his sets for more than a year.

P.S. The handmade coloured vinyl edition of Raxon's "Based In Space" - limited to 100 copies - sold out within less than two hours. The track is now exclusively available as part of this compilation.

Good Morning Tapes are back with a new album of lushest New Age sound-bathing x emotionally gooey trip hop from Andro Gogibedashvili aka Saphileaum.

Saphileaum has spent the past decade in passage between notable houses of atmospheric sorcery - Mule Musiq, Not Not Fun, Slow Life, Constellation Tatsu - and of course Good Morning Tapes, who now host their 3rd meeting, »Heavenly Hills«. A definitive chapter in his ten year saga, it is flush with symphonic strings and sky born keys, breezily urged by percussion that straddles chill out and folk zones. That said there’s also a Balearic - or should that be Black Sea? - appeal to its title tune, that lingers in the glistening wake of »Your Grace«, to the shimmering breaks of a parting piece »Alarko (Cosmic Eagle)«, falling into the space between Boards of Canada’s cult-inspired hauntological nostalgia and Shackleton’s hallowed ethno-dub.

»The tracks in the album were written with the inspiration of the kingdom of Shambhala in the Himalayas. I’m deeply fascinated and touched by it. Even the album title, holds the idea of its Heavenly nature and the tracks are like individual, elemental parts of it. The album is not a journey into Shambhala, but rather a play and a dance with its energy, image and presence in my world. »Alarko (Cosmic Eagle)« is dedicated to my grandfather, Temur Tsiklauri, and I dedicate the whole album to my country Georgia, which I deeply love«.

A divine transmission continues…

The signal never stopped — it just went deeper.

For the second chapter of JESUS LOVES SKYLAX, we return to the source: raw emotion, machine soul, and the sacred pulse of the underground. A continuation of the Todd Edwards spirit — not imitation, but devotion. On the A-side, Byron The Aquarius opens with “House Music Was Good While It Lasted (Goodtimes)” — a bittersweet sermon in sound. Dusty, looping, hypnotic — somewhere between lost tapes and eternal truth, echoing the soul of Detroit at its most intimate. UK craftsman Tom Carruthers follows with “Crank Up” — raw, skeletal, almost industrial in its tension. A direct lineage from early machine music, channeling the stark energy of Cabaret Voltaire through a house framework. No compromise. Just rhythm and intent.

Flip the record.

Blue Mondays deliver “Warm Up For Ron Hardy (Disco Mix)” — a fever dream built for the booth. Loose, emotional, and dangerously effective. A tribute not in name, but in spirit — the kind of record that lives between two worlds, where disco dissolves into house under strobe lights and sweat. Closing the EP, CNVX – “L’Amour (Floorfillers Remix)” hits with pure peak-time electricity. Acid lines twisting through the mix, driven and ecstatic — a modern weapon forged in the language of the underground. A direct nod to the timeless pressure of Floorfillers energy, built for dancers who still believe.

✝ JESUS LOVES SKYLAX ✝

He still does.

Disco Segreta proudly presents the reissue of one of the most elusive and sought-after gems of underground italo disco, Govindo’s “Ou Ka Vini Com Moin”.

Originally released in 1983 on the obscure “Gala” label and quickly withdrawn from the market, this hypnotic, space-tinged cosmic italo disco bomb remained virtually unknown outside a small circle of hard core italo disco collectors — until now.

Wriitten by Mario Baldoni aka Miro and recorded during a journey across the French Antilles, the track was laid down in Fort-de-France, Martinique, capturing a unique cultural and musical intersection. Its title comes from a typical Martinican Creole expression—”U Ka Vini Co Muè”—meaning “C’mon, come with me.”

The track’s lush arrangement, crafted by Gregorio “Greg” Puccio, is a quintessential snapshot of analog italo disco at its finest: Roland Juno 60, JX-3P, Korg PolySix / Poly800, and LinnDrum LM-1 create a dreamlike, deeply atmospheric soundscape.

For the first time, this edition presents the original 12” full-length versions (vocal/instrumental), alongside the shorter 7” vocal version, remastered directly from the actual analog master tapes, plus two new remixes: the Marcello Giordani Hypnomix – a future electro synth classic from one of Italy’s finest producers and the Miro’s Fort de France Sunset – a balearic downbeat contemporary reinterpretation by the original artist 42 years after.

Īlker Soylu returns with third instalment of his Mastering Black alias, marking a decade of Zwart Goud with a special edition LP titled X - an introspective yet adventurous document that blurs the lines between genres, time, and place.

X is a carefully crafted passage through contrast and cohesion. From dusk-lit highways to underwater reveries, this third chapter from Mastering Black unfolds as both continuation and evolution - a cinematic odyssey of sound sculpted inward and outward for introverts and extroverts, for you and me - for us.

Growing up just across the water from Italy, Clint Spiteri and Madeleine Baldacchino absorbed the shimmer of Italo disco long before Deadisko took shape. Their analogue pop celebrates the past while embracing the future. “1987” melts an addictive piano house groove with clean rhythms, a sleek and smooth sound with just a hint of romance. Cat-like, “La Costa” stretches before finding its funk-filled footing. Synth stabs are ruffled, teasing rhythm patterns opening avenues for melodies to bend, curve and race. The flip is introduced with the pop opulence of “This World.” Blue undercurrents are bolstered by Sean Kamati’s emboldening vocals, his smouldering voice accompanied by daring keyboard play. Brassy tones are veiled in smoke for “Ssunrise Drive.” Mechanical reverb is offered a human touch, organic warmth breaking through to an incandescent shine. Echoes of Italy that pulsate with the rhythm of Malta.

Techno House Connoisseurs are back with their 8th release by Bay Area producer Tranquil Elephantizer. This 3 track ep covers all the bases with equal parts tribal and acid culminating into that West coast sound you have come to love and miss. The A side starts off with the Silverwind Mix....deepish house music with flutes and mood for days teasing and drifting with tight percussion keeping the track grounded yet still dreamy. Long winded but in the best way. The 2nd track on side A is the Brother Lee Love mix which has a similar vibe but transitions into layers of crisp and subtle 303 acid lines all throughout. Wonderful end of night or middle of set escapism for side A. Side B has a lone track titled 5 Strobes mix that will get yours and the dance floor's attention. Panning and hypnotic with skipping percussion and spoken word....truly psychedelic west coast vibed out acid house.

To mark 25 years of Tsunami Records, Wunsch delivers a landmark release that celebrates the label's legacy while looking firmly toward the future.

For this special anniversary project, Wunsch brings together a powerful lineup of artists who embody the spirit and evolution of the sound: Black Forests (Arcanoid and Wunsch), The Rare Breed (Regis and Wunsch), Broken English Club, Giving Ground (Function and Wunsch), Microcorps, Rumenige, and Sabotak. Each contribution reflects a distinct voice, yet together they form a cohesive statement - raw, uncompromising, and deeply rooted in the underground.

This release is more than a milestone; it's a testament to 25 years of dedication, vision, and sonic exploration. From driving, industrial textures to immersive and atmospheric moments, the record captures the essence of Tsunami's identity across decades.

A celebration of past, present, and future - this is Tsunami at full force.

With “The Insanity Of Infinity” Hernán Cattáneo and Marc Romboy join forces for a deeply atmospheric and emotionally charged release on Systematic Recordings. The track brings together two artists with long-standing
international reputations and clearly defined musical identities: Cattáneo’s unmistakable sense for hypnotic, progressive storytelling and Romboy’s warm, driving and Detroit-influenced Systematic sound.
The original version unfolds with depth, tension and elegance, balancing melodic emotion with club-focused precision. Rather than relying on obvious peak-time formulas, “The Insanity Of Infinity” builds its own universe:
immersive, sophisticated and timeless, shaped by two artists who understand how to create music that works both on the dance floor and beyond it.
The release is completed by two strong remix interpretations. Frank Sonic & Drumcomplex add a powerful, forward-moving techno version with clear Systematic DNA, designed for darker club moments and peak-time
impact. Brian Cid brings his own hypnotic and progressive touch, expanding the emotional dimension of the original with a deep, atmospheric and cinematic interpretation.
Released as a strictly limited red colored 12” vinyl edition, “The Insanity Of Infinity” is a special collector’s piece and a strong DJ tool at the same time.

Berlin-based producer ZentaSkai returns with ‘Analog Assets Vol. 04’, a four-track vinyl-only EP focused on analog texture, dub-inflected atmospherics, and disciplined techno structure. Active since 1997 and operating Mask Records and its parent label, Zaijenroots, from his Berlin studio, he continues to refine a sound shaped by spatial control and steady, architectural pacing. Tracks unfold patiently, elements are introduced with intent, and nothing feels excessive.
Setting the tone with Cuddling Monsters’ partner, Laura Merino Allue, A1 features phased melodic textures and crisp percussion that gradually lock in the rhythm. A2 develops a filtered synth motif over a steady four-to-the-floor rhythm, revealing its full weight before pulling back. B1 is the most direct cut, driven by a firm, punchy beat and sharp rhythmic detailing built for peak-time focus, while B2 closes with rising string layers over a dub framework, balancing warmth and precision in a clean, measured finish.
With releases on Jerome Sydenham’s Ibadan Records and upcoming collaborations including Cuddling Monsters with Laura Merino Allue and a joint project with Thomas Grun for Rhythm Trax Austria, ZentaSkai’s work sits comfortably between minimal experimentation and functional dancefloor design.
Supported by artists such as Richie Hawtin, Joseph Capriati, Marcel Dettmann, Luke Slater, Laurent Garnier, and DVS1, he maintains a consistent presence within the underground without chasing trends.

Semi Delicious boss Demi Riquísimo and French underground staple producer Clint join forces once again on four track EP 'Soft Landing', following their standout 2025 collab 'Love State'. Another seamless merging of the two producers analogue sounds, they now dive deep into their complementary styles across this package. With the cuts teased across Demi's recent North and South America tours, and lead track 'Who Wants To Know' a standout from his latest Lot Radio set in NY, this release comes as another exceptional addition to Semi Delicious' catalogue of ever playful and club-ready records.

he all-time house music legend Roger Sanchez drops his brand new studio album ‘Spectrum’ - his first in twenty years. Previewed by three high-energy bangers - ‘Grinnin’ (with Fedde LeGrand), ‘Come My Way’ and ‘Temptation’ (with Low Steppa, featuring Ragdoll) - the record features the new focus track ‘How Do We Say Goodbye’, a collab with Karen Harding.

The globally celebrated and Grammy-winning DJ, producer and label head has been working on the album for years, much of it during his time in Shoreditch which has informed its euphoric UK summer sonic influences. But its diverse tracks reflect a spectrum of sounds, from pulsating club tracks to dancefloor fillers, through to more emotional moments and atmospheric elements. Lyrically it’s also the result of translating his personal experiences into song.

Roger says, “I’ve been working on this for the past six years, so it’s definitely a labour of love. During that time I got the chance to travel around the world and work with some amazing vocalists and songwriters to help me bring this project to life. I’ve got flavours from the UK, Spain, the US - all of this is part of the spectrum for. This project is about music and frequencies and light: so everything from the light to the soulful to the club-ready infrared, the emotionally-weighted ultraviolet. That’s what ‘Spectrum’ is all about for me.”

The new focus track ‘How Do We Say Goodbye’ was created with the topline extraordinaire and always in-demand collaborator Karen Harding, whose all-star credits include work with MNEK, Armand Van Helden, Rudimental, Wilkinson and many more. It’s a massive highlight of the album, with Karen’s soaring vocal class bringing both an irresistible hook and a touching sense of nostalgia, while Roger’s dynamic production ascends from a trance-like ambience into an electrifying drop.

Beyond the singles, ‘Spectrum’ also features a diverse array of other talents spanning multiple genres and nationalities. These include Melanic C, Kele Le Roc, Chico Castillo, Kelli-Leigh, Carnao Beats, Donae’O and more. It’s a guestlist which lives up to the anticipation for the record.

‘SPECTRUM’ is available as a special 3LP limited-edition pressed on red transparent vinyl.

“Beautiful. Feels like every corner has been lovingly created. Highly recommended" Jamie Cullum, BBC Radio 2

“Incredible. One of my albums of the year” Dom Servini, Jazz FM

“What a beautiful message” China Moses, Jazz FM

“Completely envelopes you” Soweto Kinch, BBC Radio 3

“An uplifting, articulate soundtrack which instils hope and uncontaminated warmth” Backseat Mafia

“Scrimshire delivers a superior example of the style thanks to his musicality and inventive imagination” Jazzwise

“He has stepped up: a stronger musician, and a braver one, with nothing here that plays as filler” UK Vibe


DJ Support: Cerys Matthews, Gilles Peterson, Gideon Coe, Zakia, Jamie Cullum, Patrick Forge, Maflada, Dom Servini, Tony Minvielle, China Moses, Yolanda Brown

Drawing on influences from Charles Stepney to David Axelrod, into expansive folk-soul and jazz from the 60s, Bring Our Light To Every Corner is a deep and enchanting masterpiece from Scrimshire.

With captivating features by Dwight Trible, Idris Rahman, Faye Houston and Indian classical legend Mahesh Kale, the album holds together a suitably diverse set of ideas in a seamless journey full of heart.

Mit der neuen Ausgabe der Vintage Sounds Vinyl Collection kehrt ein echter musikalischer Schatz zurück - diesmal ganz im Zeichen der Bossa Nova. Diese liebevoll kuratierte Zusammenstellung präsentiert 16 zeitlose Klassiker, die den unverwechselbaren Klang Brasiliens geprägt haben und bis heute weltweit für entspannten Groove und federleichte Eleganz stehen. Auf dem Album versammeln sich die wichtigsten Künstler einer Ära, die Musikgeschichte geschrieben hat: Joao Gilberto, Baden Powell, Silvia Telles, Quincy Jones und natürlich Antônio Carlos Jobim, dessen Kompositionen bis heute als Herzstück des Genres gelten. Freuen Sie sich auf unvergängliche Perlen wie "Chega De Saudade", "Garota De Ipanema", "Desafinado", "Corcovado", "A Felicidade", "Soul Bossa Nova", "O Barquinho" oder "Meditaçao" - alle sorgfältig ausgewählt und auf hochwertigem Vinyl neu erlebbar gemacht.

Música para Plátanos takes its name — and much of its inspiration — from the group’s recording studio, situated in the heart of a banana plantation on the humid north shore of Tenerife, Canary Islands. The ever-present sight of the green, sun-drenched fields surrounding their weekly sessions seeped directly into the music: improvised jams that are playful, layered, and deeply connected to place.
This release gathers a distilled selection from those sessions — a kind of “greatest rotten hits” distinct from their ongoing Imaginary Island Music volumes.
The album functions as a living archive bringing together a distilled selection of recordings spanning more than five years: from dusty, long-forgotten sessions to evolving tunes that have become staples of the band's live sets but have never before been committed to record. These long-form sessions served as a petri dish for the Lagoss sound, allowing their experiments to putrefy into their chaotic signature strain of cyber-exotica, unstable kosmische or heavily-corroded dub.
The title obvs nods to Brian Eno’s Music for Airports, but the logic is inverted. Instead of clean, ambient drift, the record inhabits a dense and fertile environment: polyrhythmic structures, Latin-infused electronics, and shifting counter-tempos that feel weighted by the local humidity.
Ultimately, Música para Plátanos is as much about the process as it is the place. Like the plantation outside, the music is subject to the elements; the tracks change shape depending on the heat of the day, what we drank, what we ate. It’s an unstable, honest harvest of sound—shaped by the weather and the state(s) of mind alike.

Originally released by Time Capsule in 2021 and long out of print, Stories From Another Time 1982-1988 returns in an upgraded edition following years of demand and rising collector prices on the secondhand market. Widely regarded as a modern cult classic, Mário Rui Silva’s visionary recordings blend acoustic folk, cinematic soul, spiritual jazz and saudade-filled Lusophone rhythm into a deeply timeless and universal work that transcends genre and geography.

This new edition features half-speed mastering cut at Metropolis alongside an expanded 4-page insert with a tribute essay and unseen photographs following Silva’s passing in 2024.

Double LP + 4-page insert

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The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva. For fans of Naná Vasconcelos, John Hassell’s Fourth World ambient, Eduardo Mateo’s psychedelic folk and Cameroonian electronic music visionary Francis Bebey.

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.

Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves which gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism

Alt Dub boss Federsen once again joins forces with cv313 and Echospace Detroit to deliver a second instalment in their ‘Altering Dimension’ series, once again merging hazy textural sonics with delicate dub leaning aesthetics.

Detroit’s dub techno lineage continues to evolve as cv313, Stephen Hitchell of Echospace, teams up with Federsen for Altering Dimensions Part Two, another collaborative EP set to land on Federsen’s Alt Dub imprint.

A defining figure in the genre, cv313 has long shaped its language through seminal works like Seconds to Forever and the Dimensional Space LP, fusing enveloping atmospheres with tactile rhythmic structures. Alongside him here,

Federsen whose music can also be found on Echospace Detroit as well as Grayscale, Synchrophone, Lempuyang and Avant Roots, has carved out a distinct voice rooted in precision and analogue-rich depth. Altering Dimensions Part Two again captures the intersection of these two perspectives, linking Detroit’s enduring sonic heritage with a refined, forward-facing approach to dub techno.

‘First Dimension’ opens the release, laying down heavy doses of sub bass, bubbling percussion and ever evolving, murky dub echoes amidst a crisp, stripped-down rhythm section.

‘Second Dimension’ follows and leans into vacillating atmospherics, a swaying bottom end groove and hypnotic, subtle evolution that’s synonymous with the cv313 sound.

‘Third Dimension’ kicks off the b-side next, further embracing this introspective and immersive style as textural elements shift and mutate atop intricately modulating percussive hits, bubbling synth tones and weighty low-end percussion.

‘Fourth Dimension’ then concludes the release, reducing things down to bare bones of hypntic dub, embracing a beatless construction the composition relies on spatial depth, nuanced delays and an underlying tension that decays

LAAK returns with a limited new stamped vinyl release on Austere Recordings — deep textures, hypnotic rhythms, and raw underground energy pressed to wax for true collectors and selectors alike. Built for late-night systems and immersive listening, this release captures the unmistakable atmosphere and intensity that define both LAAK’s sound. Limited copies available — don’t sleep on this one.

Irish label Il Corpo returns for its third outing with a hard to pigeon hole 10” from 710 Exit. 2 tracks that sit on the electro end of things but with a generous nod to the sound of Detroit, early UK breakbeat, soul and the deeper realms of electronic music. Close To The Sun feels like more than just a cosmic position. A solid 808 foundation and loose percussion sit beneath a bed of synth lines and soaring pads that are guaranteed to stir the soul. The signal for nostalgia is strong but there are plenty more twists and turns to keep the listener engaged. Warped guitar and soul samples make Strat an infectious workout brimming with experimentation and originality. Effected chords take on an almost vocal quality which talks over the casual, understated funk on offer here. Ever changing tones draw you in and make it hard to distinguish between guitar, synth or human. A unique E.P. which will find its way into the sets of varying selectors at this summer’s gatherings.

We welcome Blade back to Metalheadz for his second release, the 4 track 'Times Gone Bye EP' arriving on Metalheadz Platinum vinyl.

Drawing influence from across the spectrum, from foundational artists to contemporary producers, Blade channels those reference points into a sound that feels rooted in the past but firmly present. There's a looseness to his process that gives the music its character, something that has remained consistent throughout his discography over the last 15 years.

Anthea and Oshana’s tandem label UNIT-Y is back with a steezy new output by Lucio. The artist’s music sounds like Dj Hell would accidentally start peak-ing from a very good designer dr*g at a dirty electro-tech-squat-party somewhere in Rotterdam in the early 2000’s … ruff stuff.

DOGMA marks a new beginning for Coloray. As the name suggests, the project explores the endless search for meaning in a world that does not always offer one. Across 11 tracks, the artist reflects on queer romance, grief, youthful hope, and melancholic joy. Emotional, chaotic, and imperfect, DOGMA mirrors both the artist and the messy reality of a life unfolding. Rather than forcing rigid structures, the album embraces looseness and human presence. Live recordings and improvised songwriting take center stage- every lyric was written in the moment, and the tracks remain intentionally raw to preserve their imperfections.

In this way, the album is both personal and political. It calls for belief in keeping humanity alive and for dismantling the societal dogmas that push artists away from the core of their creative identity. DOGMA is an honest journey of self-authorship, unfolding through the sounds of new wave, disco-punk, electro, and ambient music.

Now, following great acclaim for Volume 1, CTR is proud to unveil another equally eclectic Post-Punk Era Selection Compiled by Jason Boardman ( Before I Die Records) Celebrated Manchester club-night curator & record Label Owner , DJ & digger - supreme.

A second compilation of late 1970s / early 1980s Post-Punk era bedroom & small studio innovations & DIY Inspirations - Featuring more rarely & never heard cuts from that period. Including tracks from the enigmatic Prana, Blank Students, Janet Armstrong & The Native Hipsters ..A rich vein .

Jason Writes Of Volume 2 :
"It was a delightful shock that No Ones Listening Anyway Volume One was so well received - thanks to everyone one who bought & enjoyed it. This led to John asking me to collate Volume Two, so here it is.

This time all the material was recorded & released in the UK between 1978 & 1984.

I was conscious that there was minimal female energy on Volume One so have tried to rectify that here on Volume Two. I have also tried to make it as varied as possible with none hit wonders, oddities, collectables, under the radar B-sides & a couple of previously unreleased on vinyl selections."

New Jon Savage Compilation release alert! Jon Savage's SF Sike 1966-72 (Double Vinyl) Limited Edition. Heavyweight Luxury Gauge Sleeve-Stock & Inners.

The real sound of San Francisco 1966-72." It was the new gold rush, but with drugs, music and freedom the goal. " (Jon Savage -The Guardian August 2012)

A limited edition double vinyl 18 track album celebrating the great pop music and idealism of that time & featuring Moby Grape, Skip Spence, Ron Nagle, Country Joe & The Fish & much more

Full contextual & track-by-track sleeve notes by Jon Savage. Ephemera & archive material from the period.

UK electro producer Emile Facey aka Plant43 doesn't leave it long between releases and so it is that he's back with a new EP on his own label, which once again heads to the outer edges of our galaxy. This latest electro cruise gets underway in smooth fashion with 'Glide Ratio' that rides on frictionless breaks with bleeping synths passing by as your eyes glaze over. 'Perfect Mask' has a more defined kick to it and plenty more sugary pads and pixelated arps, then 'Glowing Undertow' rides on rubbery drum patterns with nice brushed metal snares and glassy chords that reflect the light of the distant sun. 'Octagon Path' offers contrast with a darker sound and more menacing low end. Pure class as ever.

People Pleasers label head Shep' is back with a new EP while his last from July is still doing plenty of damage. Dealing in more of his lithe, trimmed down minimal tech, this one kicks off with 'Continental Beak Fest', a playful yet jacking groover with a charming personality driven by whimsical synth lines. 'Suburban Unicorn' features light but deep chords, dancing on a rubbery groove that's hooky as hell. Over on the flip, 'The Bullet Proof Fringe' assumes the more stern character usually associated with this sound, laced with an emotive vocal amid the darker grooves. Finally, 'Salad Spinner' on the B2 is back to the good times with celebratory vintage-tinged synths and cheery vibes. Refreshingly smiley tech.

West Coast tech house had long since taken shape by the time it made its way over to the UK at the turn of the new millennium, and that's in part because of the pioneering work of the Casa Del Soul crew. The "DJ-first, producer-second collective" was founded in Denver in 1999 by a bunch of artists including DJ Darrell Foxx, who put out several records that laid out the blueprint for this raw, gritty sound across several EPs. His debut, 'The Collective EP', was one of them - two live-session, warehouse-ready tracks of low-slung and stripped-back tech with swing in the drums and dust in the percussion. The original DAT tapes were lost in a blizzard, which meant original copies have become ever more scarce and pricey on the second-hand market... until now. This fantastic remaster brings them back to life with the same distinctive rawness that made them favourites with Doc Martin and Tyrant (Craig Richards and Lee Burridge) the first time around. Utterly essential.

UK dub techno heavyweight and Mosaic label head Steve O'Sullivan has explored plenty of fertile ground with Berlin-based Fletcher, and now they're back to do it again, but this time include Swedish artist and former Rubadub employee Sean Dixon in the team for the third part in the Mosaic versus series. 'Distance' (O'Sullivan vs Dixon) is a mid-tempo roller with clipped dub chords and swirling pads, while 'End To End' (also O'Sullivan vs Dixon) is more tight and direct, with kicks that sound like a bouncing basketball and implicit swing that immediately gets you hooked. 'Breakout' (O'Sullivan vs Fletcher) has a darker minimal dub edge and icy hi-hats over a warped bassline. A real hat trick of top dub techno weapons.

Rahaan is a through-line to the earliest days of the scene in Chicago when he was playing house and disco across the city. That heritage shines through everything he does even decades on, and his catalogue now includes way over 100 credits as a producer, remixer and writer. Here he drops a trio of different cuts on Soul Service, starting with 'Pim Of Poms', a dubby Afro sound that unfurls at mid-tempo with a loose-limbed groove. 'Work It Out' is a throwback with big instrumental energy, dramatic builds and a belting vocal that is steeped in soul and funk, before 'Ms Head' is a loopy, wonky jam that keeps turning back on itself and ramping up the tension each time.

2026 Repress

Samurai Music heralds a new seam of spacious, rhythmically curious exploration with the launch of the Saibai sub label, opened in mesmerising fashion by Brendon Moeller.

The overarching premise of Saibai is to nurture a more delicate, meditative inversion of Samurai's physical, dense sound, leaning less on the dynamics of the dancefloor while holding true to the intricate drum play and dubby principles that bind the label's sound together.

In this open-eared, inquisitive environment, Moeller is the perfect fit as an artist with decades of diverse offerings across all kinds of dubwise manifestations. On SAIBAI1, the US-based, South Africa-born producer stretches out with a live-sounding drum palette and exquisitely rendered synth work loaded with detail, character and organic flourishes. It's a light-footed approach with plenty of air flowing through the mix, but there's considerable weight in every notch of the production, not least the imposing channels of sub bass coursing beneath the frequency range.

SAIBAI1 is a feast for the senses, wholly immediate and front-loaded with fascination, setting the perfect tone for Saibai as a platform for charming, immersive electronics that take a fresh diversion from the fundamental core of Samurai's sharply defined sonic focus.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

The Hacker teams up with Rein for ‘We Come Alive’ on Rekids. French producer The Hacker joins forces with vocalist, songwriter, and producer Rein for ‘We Come Alive’ on Rekids, arriving 19th June 2026. A longstanding figure within the underground, The Hacker helped shape the early electroclash movement through his analogue-heavy sound and influential releases on labels including Turbo Recordings and Dark Entries, while Rein has built an international reputation through a darkwave-influenced sound that blurs underground and crossover electronics, alongside releases on Boysnoize Records and live appearances with Front 242 and Nitzer Ebb.

Built as a tribute to the dance floor “We Come Alive” explores the feeling of liberation and connection that only exists late at night. Think an Alison Moyet-inspired vocal over stripped-back machine funk somewhere between LFO and Kraftwerk.” - The Hacker & Rein

The Hacker & Rein’s ‘We Come Alive’ pairs sharp, angular rhythms with punishing low-end pressure as acid lines twist through scintillating percussion and jacked-up drums. Amid the machine-heavy intensity, Rein’s vocals cut through the mix with clarity and emotion, lending a euphoric edge to the track’s raw, strobe-lit energy.

Originally released in 2005 and now repressed due to high demand, Da Sunlounge's ‘1972' EP remains an underground classic 20 years later. The tracks continue to appear in deep house and tech house DJ charts and influential sets around the world to this day.

The track ‘1972' features a tightly crafted groove that blends tech house elements with a gritty, bumping house sound, enhanced by sampled jazz elements.

‘Elvis' is a playful, bass-driven deep house track that flows smoothly with rich chords and spoken word samples.

'Whore House' is a club-ready banger built around cheeky spoken word samples, gritty hooks, and a funky, bumping bassline!

In an engrossing lattice of polyrhythmic beat science and deep atmospheric meditation, Samurai Music is thrilled to welcome Marco Shuttle to the fold for the Sumud EP.

Since his early years locked into the 00s London techno scene, Marco Sartorelli has developed as an artist entirely on his own terms. Through the rush of new ideas and cross-pollination that has characterised cutting-edge techno over the past 20-odd years, Sartorelli has travelled as Marco Shuttle from one considered stylistic concept to the next. On his own Eerie label and across expansive releases for respected outposts such as Spazio Disponibile, Incensio and Astral Industries, he's taken an exploratory approach to rhythm and spatial design while always drawing on intentional thematic frameworks, creating distinctive and immersive dance music in the process.

As Samurai Music continues to celebrate the rich seams of inspiration where deep techno and drum & bass intersect, Sartorelli's malleable, mysterious strain of drum work fits right in and sets a captivating tone for the label's operations in 2026. 'Sumud' is a steely drum mantra dealing in fractured patterns with the primal patina of the early Artificial Intelligence era, while 'Las Dunas de Taroa' leans on gently pulsing melancholia undulating at a half-time pace. 'Iso 50' taps into raw, analogue minimalism once more, evoking the sound of Roman Flugel's Ro70 records in their icy, alien formation. Completing the set, we're guided towards the tense electronica of 'Polylayering What I've Got', where uneasy melodic chimes interlock with intricately programmed drum machines.

There's a distinct sense of golden-era, mid-90s electronica coursing through Sumud EP, but Sartorelli shrouds the classic tools at his disposal in his subtle signature atmospherics, pushing towards a plain of expression that transcends time.

New 10th anniversary fully remastered special silver-vinyl edition of Soul Jazz Records" ground-breaking Venezuela 70 featuring Vytas Brenner, Pablo Schneider, Angel Rada, Miguel Angel Fuster and many more. Venezuela 70 was the first ever compilation of its kind to take a look at the fascinating music scene created in Venezuela in the 1970s, a stunning blend of Funk, Latin Rock, European electronic experimentalism, Jazz and more! Venezuela during the 1970s was both a modern cultural and economic powerhouse in Latin America, rich from vast oil supplies. Situated at the northern part of South America, with neighbouring Colombia to its west, Brazil to its south and a north coast bordering the Caribbean. The country"s position and wealth led to an explosion in cultural activity during this time. Taking musical influences from all these surroundings as well as healthy doses of American musical sounds, the 1970s saw the evolution of a new generation of creative Venezuelan artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of creating a stunning "melting pot" mix of underground rock, synthetic electronics, funk, jazz and Latin American while simultaneously exploring their links with Venezuelan roots music, creating a new sound.

The Austrian imprint Fortunea Records took a little break to fill up their batteries and comes back now this summer with a release by the Bavarian duo Decent Rides. They are around for a couple of years and are also the masterminds behind the label Interloot Records.

On the ‚Like We Do‘ EP they are your guides for a versatile house infiltrated tour. The title-track is an energetic floorfiller with modulated synth sequences and heart stomping drum patterns. Definitely the killer app on this wax.

The second track on the A-side features the tune ‚Mind Maze‘. A funky bouncing bassline, reverberant almost siren sounding tones, staccato vocal samples and high accentuated hats make you blister your feet from your high intensively dance moves.

On track B2, the duo adds further "Colours" to the record. This melancholic deep house tune exudes a beautiful, somber, and yet captivating atmosphere that is impossible to resist. This track could be very effective when played during sunrise or sundown.

And finally, they round off this release with cosmic dub sounds and shimmering chords. "Lembo" invigorates the senses. Every beat on this tech house track is an invitation to let go and feels you the pulse of the underground scene.

Go check this out!

Limited to 200 records. There will be no repress!
Mastering by Patrick Pulsinger.

Speak to Orlando Higginbottom, aka TEED, and themes of love and obsession with electronic music quickly emerge, rooted in a childhood shaped by classical training and underground dance culture. His project Totally Enormous Extinct Dinosaurs, initially a joke, grew into a global success, taking his melodic, vocal-driven dance pop to clubs and festivals worldwide. Since relocating to Los Angeles in 2015, the city"s sounds and "pre-gaming" nightlife culture have inspired his upbeat, club-focused DJ-Kicks mix. The compilation includes new exclusive tracks by TEED alongside exclusives from Joe Goddard, Jacques Greene, Austin Ato, Casino Times, and Oscar Farrell.