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We release our second record, COPPIES002. Another hand stamped white label EP, collecting tunes from thecommunity, for the community. This time with tracks by Kerr Wilson, Salomo, illousion and APRS. Kerr starts on A1 with his "The Key To My Heart". He showed the first version of the track to Robert around 4 years ago in a memorable summer spent together. We made the promise that this will be pressed on record one day and, here it is! Thanks Kerr! It's a melancholic late-summer tune that makes you tear up and feel like the warm euphoria won't last forever, but it will surely return if you're patient. Salomo follows with a similar moody approach on "Say less (on the DF)", even though we can argue about the meaning of the title ;). illousion builds more tension on the flipside with "Masc or Mask". Entering dubby, rolling terrains with more high intensity drum patterns for later moments of the night. APRS is closing the EP with "I Want to Speak" on B2, maybe the counter argument to Salomos desire of a less noisy dancefloor. He crafted a minimal, loopy trip that drags you down the rabbit hole and won't iet you go til the party is over. COPPIES002 is available on vinyl only with digi download option

Natural Goofy makes his debut on Unearthed with a raw four-track vinyl cut shaped through analog machines, instinct, and lived moments across Europe and Asia. From late nights in Barcelona to concrete mornings in Berlin, Early Hours EP captures warmth, tension, and that fleeting energy between movement and memory.

Now based in Spain and running Planka Records, Nando delivers a sound that is dry, emotional, playful, and deeply human — no plug-ins, no edits, just hardware and moments recorded as they happened.

Terrestrial Funk welcomes Parisian producer Raymond D. Barre with a fun exploration into FM Synthesis. Bouncing in that sweet sweet midtempo zone all six tracks squelch to your heart’s delight. Simply put, “light-hearted and good vibes electro acid tracks”, as Monsieur D. Barre described them when he demoed the tracks to Terrestrial Funk two years ago. But they’re much more. Perfect programming brings that slow swing, wonky warped vocals on songs like ‘Broken Nose’, and the bells that chime in the releases final song ‘Mes Bêtes’ leave you in a paradox of fulfillment and desire. That’s the best part, you can flip the record back and listen to the release right over. DJs and home listeners alike are in for a treat with this one. Heck, get yourself two copies and mix every track back to back in the club. We guarantee it’ll go off.

With Picture About You, Recut opens a new chapter, blending the heritage of house music, acid textures and underground electronic culture into a contemporary vision for today’s dancefloors. Rooted in the essence of club culture, the EP explores hypnotic grooves, evolving patterns and the timeless dialogue between the DJ, the sound system and the crowd, where emotion, movement and energy become a universal language. The title track, “Picture About You”, reflects Recut’s artistic identity through the lens of his personal history and family roots. An important part of this story comes from his uncle, known as Mr. Steve, who in 1975 founded one of the pioneering independent radio stations in Southern Italy during the early years of independent broadcasting. His connection with radio, disco culture and the first generation of Italian clubs embodied a spirit of discovery, sharing and musical exploration that continues to shape Recut’s approach to music.

Musically, “Picture About You” unfolds through a hypnotic and emotional groove, blending old-school character with a contemporary perspective. A timeless club track where past and present come together in Recut’s own musical language. “Hey Jack” is a powerful dancefloor weapon driven by unstoppable grooves, hypnotic acid lines and captivating arpeggios. Built for peak-time moments, it pushes the energy forward with a relentless rhythm designed to ignite the crowd.
“Subwave” takes the journey into a deeper and more massive dimension. Driven by powerful low-end pressure, evolving dynamics and explosivetransitions, the track builds tension throughout its progression before releasing its full impact on the dancefloor. Closing the EP, “Neon Flux” delivers the final impact: fierce, electric and uncompromising, a track designed to push intensity beyond the limit and leave a lasting impression. Recut Music — Fun for DJing!

We are Excited to announce - The Department of Almost with our first full-length LP - Second Office. The Album
will be released via WSNWG on October 9th.
„Developed over extended Berlin studio sessions in January 2026, the record brings together two artists whose
respective platforms, STOOR and WSNWG, have long embraced artistic exchange and open creative practice.
Moving between crafty dancefloor material and more reflective and exploratory compositions, the album
develops a shared sonic language that extends beyond their two unmistakable, longestablished artistic voices.
Across eleven compositions, deliberate dancefloor material is elegantly intertwined with calm and spacious
soundscapes. A propulsive current gives way to passages of suspension and introspection. While rhythm and
atmosphere gradually fold into one another, the record favours gradual transformation over dramatic gesture.
The album's quieter moments open up a more contemplative space, extending its emotional register without
departing from its forward motion. Beneath, a subtle and understated sense of distance evokes spacious
environments and glacial landscapes – topographies in cold light.“
We have setup a preorder with the first Single - Fingerprints - on Bandcamp. A limited special edition will be
released via WSNWG Bandcamp on September 4th - 12.00pm CET.
All Tracks Written, Produced & Performed by Speedy J & Rødhåd in January 2026 at WSNWG Studio in Berlin.
Mastered by Conor Dalton at Calyx Mastering Berlin Vinyl Cut by Lathesville Mastering Berlin
Cover Foto by Thomas Beutel


a A1 Cold Start 260114
b A2 Felt Temperature 260116.1
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 Cold Start [260114]
[b] A2 Felt Temperature [260116.1]
[c] A3 Fingerprints [260116.3]
[d] B1 Your Neighbours Dog [260123.1]
[e] B2 Double Shot (Floor Mix) [260119.1]
[f] B3 Borrowed Lime [260120.1]
[g] C1 Ulli’s Car [260125.2]
[h] C2 Series Of Events [260120.2]
[i] D1 Made In Finland [260123.2]
[j] D2 Wolken [260125.1]
[k] D3 Double Shot [260119.1]

[a] A1 | Cold Start [260114]
[b] A2 | Felt Temperature [260116 1]
[c] A3 | Fingerprints [260116 3]
[d] B1 | Your Neighbours Dog [260123 1]
[e] B2 | Double Shot (Floor Mix) [260119 1]
[f] B3 | Borrowed Lime [260120 1]
[g] C1 | Ulli’s Car [260125 2]
[h] C2 | Series Of Events [260120 2]
[i] D1 | Made In Finland [260123 2]
[j] D2 | Wolken [260125 1]
[k] D3 | Double Shot [260119 1]

CER015 sees Celestial Echo bring back one of the great modern soul 45s, Ramsey & Company – “Love Call”.

Coming out of New York in the late ’70s, Ramsey & Company was led by Mainor Ramsey, with the group originally playing the Catskills supper club circuit. Their only single was released privately on Ramsey’s own Ramco label, with copies sold at shows and barely making it into wider distribution. Like so many great soul records, it found its real afterlife much later, becoming a favourite across the UK modern soul and rare groove scene.

“Love Call” is the reason this record has carried such a reputation for so long. A beautifully arranged modern soul dancer, it has that perfect late ’70s balance of groove, song and musicianship. On the B-side, “Leg Grease” brings the funk.

Original copies are now almost impossible to find, often selling for serious money when it turns up and even the Lotus Land reissue has become expensive in its own right. This Celestial Echo edition puts the track back into circulation properly, cut loud and ready for the DJs and soul heads who have been waiting on a clean copy.

Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

Repress 2026
Two years after releasing the acclaimed Crash Recoil, Anthony Child aka Surgeon returns to Tresor with new LP, Shell~Wave. Retaining the minimal equipment list and studio-version-of-live-show-sets approach of the previous album in order to focus on the work itself, Shell~Wave is a deeply personal document of both where Surgeon is and has been, converging three decades of experience with a continued curiosity in the untested.
“To make this project, I had to dig really deep in terms of what my relationship was to techno; I’ve been involved with it for a really long time and there’s a lot about it I feel dislocated from, so I had to really think hard about what techno is to me. I often get asked “what is techno to you?” but I can’t answer that with words; this album is the answer.” From the complex, twisting track Infinite Eye to the caustic Soul Fire, the eight tracks that make up the body of the album are single-take explorations of the vast, hard yet minimal techno Child is synonymous with.
Neatly dividing the record in two, the emotional centre of the record comes in the form of Dying, a vibrating, beatless piece that with a mantra-like vocal loop steeped in reverberating effects. Further echoes of dub production appear throughout the record as tracks like Divine Shadow, and Empty Cloud have an almost ever-present mist of reverberation, driven by the appearance of a new delay unit in the equipment list; while much of the philosophy of Crash Recoil’s creation is present, the process and the instruments have changed as Child again switches up his approach to studio work.
This insistence on trying novel techniques doesn’t preclude returning to old ones, as this use of modern digital machines with live, hands-on takes that are as inspired by 60s producer Joe Meek and 70s reggae as they are by this year’s synthesiser expos.
“For me, it’s an interesting experience returning to old techniques again after 30 years. I’m always exploring and finding myself back at the beginning. Connecting the present with the past.”
This philosophy of ‘time travel’ is inherent to the music itself as the synchronised loops repeat while the delay and effects branch out, forming unique eddies; distinct quantum moments within the circular whole; the future leaking through the spaces between the sounds. All of the concepts on the album are perfectly communicated through the painting by Taiwanese artist Jazz Szu-Ying Chen which suggests the movement of water, sound waves, and the chitinous shells of sea creatures.

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark.

The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows.

Palms Trax returns to production with his first release since 2019. The first single off his upcoming 2 track EP 'Soft Trance, Hard Gossip' is a journey through bold basslines, ear tingling acid lines and hopeful synth lines. It feels measured in its temperament for a listen on the bus home whilst punchy enough to earn its place across festival and club sets this summer. The title track Keys To A Printed Garden captures him at his best, moving deeper into a lush, melodic setting that stretches beyond the dancefloor while never fully leaving it behind. The track is built around warm deep house grooves, hazy nu groove textures and subtle IDM notes. The record unravels with a dreamlike smoothness. Swirling synth work, jazz-inspired saxophone lines and soft lo-fi textures give the record an immersive, almost weightless quality, while moments of glitch and ambient drift push it into more experimental territory. Even at its most reflective, steady percussion and rolling grooves maintain a subtle club-rooted pulse, balancing emotional depth, introspection and atmosphere with movement, rhythm and understated precision.

Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.

Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.

One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.

The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.

With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.

Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.

Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.

Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.

His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.

A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.

Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.

‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.

Nearly two years after "Superpaesaggio," Futureslowdubdisco rematerializes with a new album rooted in deconstructed rhythms, suspended atmospheres, minimalism, emotional tension, and ethnic echoes. Simone Ticconi and Francesco Colagrande, true explorers of sound, first delve into dark and shadowy ravines ("Shaman"), then descend into ocean depths ("Wendigo"), and make their way through impenetrable forests ("Natureconnection"), finally reaching the slopes of an active volcano ("Manitou").
The adventurous journey is rounded out with two more danceable remixes by Virtual Reality and Adelmo.
The crowning achievement is the artwork created by Awer, which pairs with the previous work by Flavia Mastrella.
Postmodern library music of great pathos. Giosue' Impellizzeri.

FUTURESLOWDUBDISCO is a project born from the meeting of producers Simone Ticconi and Francesco Colagrande. The duo explores sonic territories that combine downtempo, minimal techno, and dub. A blend of deep and hypnotic atmospheres, capable of moving between the contemplative dimension of listening and the pulsating energy of club culture, for an unforgettable rhythmic, ethereal, and psychedelic journey.






e B2 NATURE CONNECTION [VIRTUAL REALITY RMX] (min 4.41)
[f] B3 SHAMAN [ADELMO RMX] (min 4.58)





[e] B2 NATURE CONNECTION [VIRTUAL REALITY RMX] (min 4.41)
[f] B3 SHAMAN [ADELMO RMX] (min 4.58)

With Cycles, Tomos explores the different phases of a relationship through a boundless blend of jazz, disco, dub, broken beat, and deep house. Each track captures a specific moment in this cycle—from the spark of first feelings to heartbreak, seduction, and the beginnings of a new start.

Throughout the EP, trumpets, saxophones, and flutes intertwine with dub echoes, broken beat rhythms, and driving disco basslines. Tomos’s precise production ties these different elements together to create a record that moves seamlessly between the energy of the dance floor and the warmth of early evenings.

Following the success of his previous EP, Soul Feels Good, on Noire & Blanche, Cycles continues the exploration of the boundless musical universe that has become Tomos’s signature—a blend of warm instrumentation, groove-driven production, and a collage-like approach deeply rooted in his early French house influences.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Polarity Records returns with its eighth release. After years of experimentation with live performance, new technologies and evolving setups, Luca Piermattei returns his focus to studio production.

Natural Recording Vol.2 marks a new phase in his artistic trajectory: a more essential and distinctive sonic language, balancing emotional depth, harmonic sensitivity and a stronger focus on musicality, dynamics and performance-inspired arrangements. A refined approach where every element finds its place with intention.

2026 Repress
30 years of Fuse means 30 years of road paving.

An ode to the past and a hint to the future, Fuse shares this milestone with its original guests from 1994 all the way to its fresh party goers of the past years as a promise to keep its dance floor focused on quality music and timeless moments.

In over a quarter century, the Brussels club has stood the test of time by rooting itself in ageless music and employing pioneering artists - large or small, international or local - to command the decks of Belgium's longest running dance floor. A celebration of this legacy and the renewed imprint is in order, coming in the form of a 30 track compilation of techno's best and brightest from around the world. One track for one year, this collection of recordings highlights the status quo of enduring club music, beginning with a nod to the past: a re-release of Jeff Mills iconic 'Step to Enchantment' from 1993. This glance to the past quickly shoots us forward into the current state of techno with legendary artists like Planetary Assault Systems, DVS1, Steffi, Rodhad, Donato Dozzy, DJ Nobu and many others who headlined the club in recent years. Cementing itself as a respected escapist institution, Fuse also calls on its growing local scene to prove why Brussels continues to remain a reference in the scene even outside of its own borders.

Sankora presents "Luna Sobre El Mar" on Sankora Records

Marking the very first release on Sankora Records, Belgian duo Sankora introduces its musical identity with Luna Sobre El Mar, an inspiring debut that captures the essence of contemporary Afro House.

Blending African rhythms, Latin influences and organic electronic textures, Luna Sobre El Mar unfolds through warm percussion, hypnotic grooves and an unforgettable melody that lingers long after the music fades. On the flip side, Padà Wá offers a deeper, more percussive journey, driven by infectious rhythms, organic textures and soulful energy.

Faithful to the vision of Sankora Records, this debut release celebrates musical storytelling, cultural influences and the universal language of rhythm. Pressed on a stunning Red Gold & Black Marbled vinyl, it marks the beginning of an exciting new chapter for both the label and the duo.

Français

Sankora présente "Luna Sobre El Mar" sur Sankora Records

Première sortie de Sankora Records, le duo belge Sankora dévoile son identité musicale avec Luna Sobre El Mar, une première réalisation qui capture toute l'essence de l'Afro House contemporaine.

Mêlant rythmes africains, influences latines et textures électroniques organiques, Luna Sobre El Mar séduit par ses percussions chaleureuses, ses grooves hypnotiques et une mélodie envoûtante qui reste immédiatement en tête. En face B, Padà Wá propose une approche plus profonde et percussive, portée par une énergie organique et des rythmes irrésistibles.

Fidèle à la vision de Sankora Records, cette première sortie célèbre le métissage musical, l'émotion et le langage universel du rythme. Pressée sur un superbe vinyle Red Gold & Black Marbled, elle marque le début d'une nouvelle aventure prometteuse pour le label comme pour le duo.

The Trip Within EP moves through atmospheric and introspective soundscapes, carried by tribal grooves that draw you into an ecstatic, immersive experience. There are no roles to play, no resistance, no distance between what is felt and what is allowed to exist: only the strange clarity of standing face to face with yourself, embracing the contradictions, fragility, and strength that live within.

Teal return on October 2 with Love Comes Thru, the trio's nine-track debut album. Expanding their emotionally resonant blend of downtempo trip-pop, the record reaches into street soul, dub, and experimental grooves, marking a confident new chapter for the group.

At its core, Love Comes Thru is a reflection on the quiet strength of love—not through grand gestures, but through the steady presence that carries us through uncertainty, change, and connection. Written over the course of a year of bi-coastal collaboration, the album became a testament to the bond Teal share as artists, friends, and family.

From the lush synth landscapes of "Aries Moon" to the footwork-inspired pulse of "Time Is Blind," the album explores themes of patience, vulnerability, longing, and intimacy. Standout singles "Kissing in a Dream" and the title track lean into left-field street soul, while stripped-back, 808-driven tracks like "Change Your Mind" and "Anomaly" demonstrate the power of restraint without sacrificing momentum. Building on the group's love of ambient improvisation, Love Comes Thru also features instrumental pieces with percussion by Brandon Valdivia (Mas Aya/Lido Pimienta).

The album closes with the sensual "Bubbling," bringing the journey full circle with a reminder that love ultimately comes through in its most embodied, physical form. Love Comes Thru is presented in a deluxe, limited-edition matte-finish, double-embossed jacket with a printed inner sleeve. Available on LP and digitally through Rubadub, In Sheep's Clothing, and Forced Exposure beginning October 2.

Wewantsounds is delighted to continue its Ziad Rahbani reissue program with Ana Moush Kafer, a classic album by the Lebanese legend Ziad Rahbani, recorded at his By-Pass Studio in Beirut during the height of the Lebanese Civil War in 1985. Showcasing Rahbani’s signature blend of Arabic music infused with touches of jazz-funk and bossa nova, the album has attained cult status over the years. Originally released on cassette, it has never before been available on vinyl. Newly remastered, this edition features the original Relax-In cassette artwork from 1985 and includes new liner notes by Mario Choueiry of the Institut du Monde Arabe in Paris.

Ziad Rahbani, who passed away in 2025, remains one of the most influential figures in modern Arabic music and a cultural icon in Lebanon. A musician, composer, pianist, producer and playwright, he helped modernize Arabic music over five decades. The son of composer Assi Rahbani and singer Fairuz, he shaped her late 70s–80s recordings producing Wahdon and Maarifti Feek, while building a major solo career with classics such as Abu Ali and Houdou Nisbi, which have become cult favourites for a new generation of DJs and music lovers.
Released in 1985 in Lebanon, Ana Moush Kafer stands as one of Rahbani’s key achievements. Recorded at his By-Pass Studio during the Lebanese Civil War, it blends Arabic melodic traditions with jazz-funk, bossa nova and Western arrangements. Originally cassette-only, it became one of his most revered releases. Throughout the album, Rahbani’s writing reflects the turbulence of wartime Beirut with a blend of sharp social observation, political satire and melancholy. It captures a moment in Lebanese cultural history where experimentation, satire and popular song intersected, giving the album its enduring influence among music lovers.

Sung by Rahbani and Sami Hawat, alongside Beirut-based musicians, the album features both Western and traditional Arabic instruments. It balances refined arrangements with lyrical irony, social commentary and political reflection, which remain deeply resonant in today’s context in Lebanon.
One of the highlights of the album is the song “Shou A’ada Ma Bada,” with lyrics by Joseph Harb, which reveals a clear bossa nova influence, while the closing track, “Al Mokawama Al Watania Al Lobnani,” offers a deeply human view of war, avoiding patriotic cliché in favour of a nuanced perspective rooted in lived experience.
As Mario Choueiry observes in his liner notes, “Ana Moush Kafer stands as one of the high points of modern Arab political songwriting, yet transcends its historical and geographical context through the universal relevance of its themes and the timeless quality of its music.”
Forty years on, Ana Moush Kafer remains a landmark of Arab music. Wewantsounds presents it on vinyl for the first time, newly remastered and featuring original artwork. This long-awaited reissue restores one of Ziad Rahbani’s most important works to circulation, reaffirming its place as a defining statement in modern Arabic music.

a 1. Ana Moush Kafer 5:03
b 2. Shou Hal Ayyam 5:46
c 3. A'anitham 4:37
d 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] a1. Ana Moush Kafer [5:03]
[b] a2. Shou Hal Ayyam [5:46]
[c] a3. A'anitham [4:37]
[d] a4. Shou A'ada Ma Bada [3:45]
[e] b1. Yessa'ed we Yea'en [5:05]
[f] b2. Bi Halyawmayn [3:46]
[g] b3. Bharf Esheen [1:12]
[h] b4. Bhaneek [5:34]
[i] b5 Al Mokawama Al Watania Al Lobnani [3:06]

[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]

[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]

[a] a1 | Ana Moush Kafer [5 03]
[b] a2 | Shou Hal Ayyam [5 46]
[c] a3 | A'anitham [4 37]
[d] a4 | Shou A'ada Ma Bada [3 45]
[e] b1 | Yessa'ed we Yea'en [5 05]
[f] b2 | Bi Halyawmayn [3 46]
[g] b3 | Bharf Esheen [1 12]
[h] b4 | Bhaneek [5 34]
[i] b5 | Al Mokawama Al Watania Al Lobnani [3 06]

With 'Songs For Tova' Dolly introduces a brand new producer called Afik Naim. This rough diamond was pulled out of a cave near Jerusalem. He has a cinematic experimental take on what you would call Techno but he is rather hard to classify to be honest. Exactly what we like, somebody who stands out with his typical sound pallet! Another perfect player on this 'Songs For Tova' team is the never disappointing Kassem Mosse with a killer remix to wrap up this high class 4 tracker!

For UnExposed Records first vinyl release, Uruguay’s Marcos Coya wanted to show the world a different side of his artistic approach. In a world of monotonous copy/paste, Marcos wanted to bring something unique to the table. A compilation of spacey, dreamy & emotional tunes custom built for the dance floor yet still experimental as well. Deep grooves & long developments. No fluff. No overbearing bangers. True underground production principles. Crafted for those with a refined palate.

The A-side is dedicated to Marcos Coya’s four to the floor production work. This sonic expedition begins w/ a bang: the record’s title track “Moon Trippin”! A showcase of freaky melodies accompanied by groovy percussions which bolster a vocal of Prince speaking his mind about the true essence of creating musical art & his disdain for mainstream music industry critics.

“Delirium” closes out the A-side w/ a dreamy acid house tune adding an emotional touch to the record. After hours material. A real step forward for Marcos and his production work. Leaning heavier than ever into trusting his melodies. Taking a bit more risk with his approach by creating something you’ve never heard from him on any of his nearly 20 vinyl releases over his career.

For the B-side we shift over to a more breakbeat approach with 2 absolute heaters. B1 introduces the track Hearthug has claimed to be one of the tracks of the year: “Rage Dog”. Rage Dog is a Marcos Coya signature track due to its rock & hip hop influences developed during his adolescence. Marcos even purchased new synthesizers specifically to improve this track & its melodies. The cherry on top is the vocal from Rage Against The Machine’s front man, Zack de la Rocha, which adds a rebelliously political undertone to the record, something UnExposed & Marcos both are very proud to address w/ passionate conviction during this time of war and injustice.

We close out the record with “D.N.A.”, the most experimental piece of art on this vinyl release. A wild combination of breakbeats, guitars, melodies & crazy vocals. The perfect bizarrely fascinating conclusion to this wild trip to the moon and back.

Early support from heavy hitters such as: DJ Koolt, Anthea, Velasco, KT, Hearthug, Mario Liberti, Daïf & many more!

In celebration of the 40th anniversary of Talk Talk's iconic "It's My Life" album, it has been cut at Half-Speed by Matt Colton at Metropolis Studios, overseen by Talk Talk drummer Lee Harris and Charlie Hollis, son of Mark Hollis, giving the album a greater depth. Originally released in February 1984, "It's My Life" is the band' second album and followed the 1982 release of their debut "The Party's Over" which initially received moderate success in the UK reaching number 21 in the UK chart and finding some global success.

By the time they came to writin and recording "It's My Life" the band had gone from the four piece to a three with Simon Brenner leaving the band. The album initally found considerable international success. "Such A Shame", the album's first single was a top 10 hit across Europe and the album's title track entered global Top 40's including in the US.

Andreas Tilliander returns to Kontra-Musik in a grand style with his second TM404 album. Titled 'Acidub', this highly anticipated release is much more of an evolution than a repetition of the first superbly self-restricted album, where Tilliander even decided to use only one of the two Roland TB-303 waveforms. Acidub is a more playful and open listening experience, no doubt inspired by his extensive live touring with the TM404 concept. In fact, you can almost hear Tilliander's flock of acid machines breaking free from the restrained modus operandi. Every sound is like a migratory bird with a heart yearning for high altitude and favourable winds. The opening track Alinge paints a lucid picture of these acid birds leaving a cold industrial landscape behind, the flickering black shadows from their wings against the white smoke rising from a forest of chimneys below. The very last seconds of Alinge even echo of the place the silver birds are longing for, but that will remain a secret between Kontra-Musik and the avid listener. Sufficient to say, we can follow these birds of passage as they're heading south towards a warmer climate, fleeing the cold discipline of the North. Mutron Mantra, for instance, brings us to a rainforest full of serpentine lianas, giant leaves dripping with moist and green pools of water bubbling with organic life. Don't Defend Mascot guides us through a steaming savannah at dusk with hundreds of yellow eyes following our every step while Pade vividly describes the perils of the flight and the pace and courage needed to press on. In all, Acidub is a surprisingly exuberant follow-up to the more introspective TM404 album. But while the musical journey of this second album is quite different, the experience of sheer aural eminence remains the same. Andreas Tilliander has done it again, and Kontra-Musik couldn't be prouder.

Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.

Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.

A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.

Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.

Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.

With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.

Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.

Atone the mystery.

Released in 2000 on Tommy Boy, the album fi nds Capone and Noreaga leaning into their chemistry: Capone's colder, clipped delivery grounding Nore's wild-eyed charisma and off-kilter bounce. The record features heavyweight production and appearances from names like DJ Premier, The Alchemist, Havoc, L.E.S., Nas, Mobb Deep, Foxy Brown, and Carl Thomas, surrounding CNN with some of New York rap's most recognizable voices and architects. Highlights like "Bang Bang," "Invincible," "Queens Finest," and "Phonetime" keep the album rooted in hard drums, prison- call tension, borough pride, and that unmistakable CNN slang. Commercially, it made a solid showing, reaching No. 31 on the Billboard 200 and No. 8 on Top R&B/ Hip- Hop Albums, with "Phonetime" hitting No. 22 on Hot Rap Songs. The Reunion stands as a hard-nosed second chapter for CNN: a tough, guest-heavy, post- millennium Queens record that captures Capone and Noreaga reconnecting without sanding off the grime. This deluxe edition features the remastered original album with 3 bonus tracks.









i B3. Shows! (Interlude) [Feat. Timbo of M.U.]









[i] B3 | Shows! (Interlude) [Feat. Timbo of M.U.]

HIKARIGASASHIKOMU translates as ‘Light Shines In’, a Japanese phrase conveying a sense of hope in a difficult place. Opening new creative possibilities for Foodman, this astonishing album is an introspective yet hyperactive body of work, representing the clarity and light found after a period of self-exploration. While this is a deeply personal record, it also captures the now-universal sound of a brain stretched between 500 open tabs, multitasking into oblivion in a world in which attention deficit is a global media environment, not merely a privatized psychological malaise. Focusing more on the use of voice, the album incorporates Foodman’s own looped vocals, singing elements of Japanese children’s songs and playground rhymes, and his everyday thoughts. Despite its charm and innocence, this soundworld leaps around manically, fractures and dissolves. Foodman’s voice repeats, disassembles, speeds up and down and is bounced around deliriously, as sound elements call and respond around him. Structurally and vocally, influences are drawn from footwork, ghetto house, and baile funk, all of which are maximally abstracted into bursts of spiralling psychedelic effects.

After a long-awaited break from the format, Smokin’ Sessions returns to vinyl with a very special limited-edition pressing of Rowl’s Signal EP.

Since launching in 2007, Smokin’ Sessions has built a reputation for deep, bass-driven music and a vinyl catalogue that has become an important part of the label’s history. After quite some time away from pressing records, SMOKE046 marks the label’s return to wax — presented on limited-edition transparent blue vinyl.

At the centre of the release is longtime Smokin’ Sessions and Deep Heads artist Rowl, returning with four cuts rooted in the deep 2-step, garage and bass sound that has defined both his own productions and the label over the years.

Opening the record is Versa & Rowl – “If You (Rowl’s Grey Skies Remix)”, a weighty reworking of an unreleased Versa & Rowl dub. Raw, swung drums, deep sub pressure and a distinctly old-school UK garage atmosphere run throughout — a sound described in early feedback as a “future retro garage classic” with that early deep dubstep / 2-step crossover feeling. The remix has also picked up support from Mat The Alien, BunZer0, Deep Tempo and Richard Dorfmeister, amongst others.

“Signal” follows — a heavy, stripped-back 2-step roller built around swinging drums, commanding low-end and Rowl’s unmistakably deep production style. The track represents the classic Smokin’ Sessions sound while pushing it forward with the precision Rowl has developed over more than a decade of production. The track has received strong DJ support, including J:Kenzo, who called it a “Great track”, Synkro, BunZer0, Mat The Alien and others.

On the B-side comes “Sierra” featuring Bristol lyricist and vocalist P.A.B MC. Written and recorded together in Bristol, Sierra takes things into warmer territory: chilled two-step garage rhythms, dubstep-weight low-end and an almost astral atmosphere underpin P.A.B MC’s melodic, conscious vocal delivery. It sits somewhere between soundsystem music and reflective storytelling — equally suited to a late-night system or headphones.

Early response to “Sierra” has already included Synkro, who described the track simply as “Killer”, alongside further underground DJ support.

Exclusive to the vinyl is the instrumental version of “Sierra”, giving the full production room to breathe and making this pressing an essential version of the EP for DJs, collectors and anyone wanting to hear the depth of Rowl’s production without the vocal.

Rowl first appeared on Smokin’ Sessions in 2011 and has remained closely connected to both Smokin’ Sessions and Deep Heads ever since. His catalogue includes collaborations with Versa such as Lunar, Jupiter and Solstice, alongside his 2013 Cosmic Visions EP. His music has previously received support from Don Letts on BBC Radio 6 Music, Tim Parker on NTS, Synkro and J:Kenzo.

For the physical release, no corners have been cut. The record has been vinyl cut and mastered by Beau Thomas at Ten Eight Seven (Ten Eight Seven Mastering) — one of the most respected engineers in UK bass music and someone whose experience with low frequencies and vinyl makes him the perfect choice for a Smokin’ Sessions pressing.

The third release on Deep Diners is a special limited edition. Pressed on rusty red vinyl, Lo-Fi Soul Food returns in its original version, first released in 2012 on Palham Music. The release also includes two remixes by Sole Brother and Alex Nam.
A timeless original, reimagined for the Deep Diners catalogue — vinyl only, in a strictly limited edition. There will be no repress. So grab your copy now!

Deep frequencies beamed out from Brixton’s front line. Four highly sought-after cuts from Grant Dell’s back catalogue that need little introduction now gathered onto a single 12”. The record highlights the infectious and rolling house groove Grant became synonymous with in the early 2000s which is as relevant today as it was then.

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Recorded between 2002 and 2005 the record features ’So Good’ originally released on Jay Tripwire’s Spaced Out and ‘Acid Bubble Baby’ ft. DJ Deano on Stupendous. The other side see’s a reissue of Grant’s Chicago Transit Authority alias with ‘Still Disillusioned’ and also ‘Be Good Tonight’ originally released on his own label, Cove Records.

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Written and produced between 2002-2005 by Grant Dell except A2 featuring DJ Deano.
Remastered by Justin Drake
Pressed by Vinyl Presents
Distributed by Palace Vinyl

Digital here...

After a couple of years building WREKT in Ipswich, it feels like the right time to take things a step further.

Tom from Red Eye Records and I started WREKT to bring artists we love to Ipswich, alongside some of the best local DJs and MCs. So far we’ve had Grooverider, Bryan G, Fabio, Storm, Sully, MC Blackeye and YT, with Jumpin Jack Frost and MC Moose up next.

Now WREKT is becoming a label.

For the first release, I’ve teamed up with Coco Bryce for four jungle tracks covering different tempos and flavours. We called the project CBD — Coco Bryce & Digital. It was too good not to use!

WREKT started with the nights, and turning it into a label feels like the natural next step for Tom and me. We couldn’t think of a better way to kick it off than this release with Coco.

First released in a long-out-of-print limited-edition 7" box set, this album, now released on LP and CD, brings together 10 amazing, unreleased Studio One tracks, only ever released as extremely limited-edition hand-etched one-sided dubplates (most of these sold out in less than 2 hours!). Studio One Dub Plate Special brings together all 8 of these exclusive dubplate unreleased cuts, plus two more also never before released alternate cuts. Featuring Alton Ellis, Cedric Brooks, Brentford Road All Stars, Jacob Miller and more! From Alton Ellis' righteous uplifting 'Black People' to Brentford All Stars’ hypnotic cover of War's classic 'The World Is A Ghetto', groovy instrumental cuts from Cedric Brooks and The Soul Brothers, deep cuts from Alton & Zoot, George Phillip and Jacob Miller's wicked alternate cut of Dennis Brown's classic 'Westbound Train', all make Studio One Dub Plate Special a truly unique Studio One release

Uyama Hiroto, one of the most important artists behind Nujabes works, released his debut album 'a son of the sun' on 2LP after 12 years.

Uyama Hiroto provided "Letter From Yokosuka" for Nujabes "metaphorical music" released in 2003 and was featured on the title track of "modal soul" released in 2005.

A son of the sun" was released in 2008 and continues to fascinate many listeners to this day.

When you hear the name Need For Mirrors, you know you’re about to listen to something solid. Few DJs have created such successful and varied careers as Need For Mirrors’ Joe Moses, both behind the decks and behind the desk! Joe’s pioneering attitude earned him the reputation as one of DNB's leading DJs. Having created one of London’s most influential club nights Soul In Motion with Bailey, the two expanded further to create the Soul In Motion Records and agency as well as his own label Zoltar.

The 1st solo album Indigo by RM of BTS is officially available for the first time on vinyl. Indigo includes different tracks in collaboration with various artists that portray RM's prevailing thoughts. Contents of the album include a 12-inch Vinyl, Outer Jacket, 3 Premium Photo Boards, Booklet, Folded Lyric Poster, Instant Photo and Photo Card.

Sonor Music Editions proudly presents "A TEMPO DI JAZZ" by Maestro Piero Umiliani. This lost gem captures the formative years of Modern Jazz in late 1950s Italy - alongside the legendary Basso-Valdambrini recordings in the early 1960s, as well as the early years of Piero Umiliani's long and prolific career as a composer with over 190 soundtracks, 40 library albums, and 35 TV title themes recorded.

A TEMPO DI JAZZ includes seven original compositions by Piero Umiliani recorded in 1959. Here, at the age of 33, he lays a perfect ground with himself as a pianist, accompanied by some of the best Italian soloists at the time: Marcello Boschi on alto saxophone and flute, Ivan Vandor on tenor saxophone, Peppe Carta on bass, and the American trombonist Bill Gilmore. With plenty of room for improvisation, the sextet fuses Big Band moods with West Coast experimentation of Latin American rhythms and Modern Jazz ballads that sit perfectly between his soundtracks for the films "I Soliti Ignoti" (Big Deal on Madonna Street) from the same year that attained him international recognition, and his masterpiece "Smog" (featuring Chet Baker and Helen Merrill) from 1962.

Five compositions are outtakes from Piero Umiliani's mega-rarity "Tempo Jazz", released on RCA Custom in 1960, while 'Tema In Blues' has been published on the two - impossible to obtain - 45 releases "Moderato Swing" (RCA Camden 45CP 112) and "Tema In Blues" (RCA Custom 45 R3) from 1960 as well as the previously unreleased track 'Mezza Cottura.'

The music has been transferred and remastered from the original master tapes and lacquer cut in MONO, preserving the original sound of the recordings.

Amsterdam-based multidisicplinary arts collective and, in this case, ambient electronica-producing duo Wanderwelle created several of the biggest releases that Silent Season have enjoyed to date, this previously digital-only single being one of the very biggest. The public's been clamouring for a vinyl release of this one for an entire decade now, so the label have finally obliged. Four tracks here catch Alexander Bartels and Phil van Dulm in reflective but lively chilled techno mode and from the gliding depths of 'Leaving Port Logan' to the eerie siren song of 'A Watery Grave' there are shimmering subaquatic atmospherics aplenty but also pulsing, underplayed rhythms too. Liquid gold.

Cameron Stockman has risen from the Manchester rave scene to become a new school producer that builds on that background with other influences from US West Coast and 00s UK tech house. As such it's no wonder Chris Stussy and Enzo Siragusa have played his jams, or that Burnski has snapped him up for this new EP. 'Warm Welcome' begins with a slithering groove that works its way under your skin with zesty little synth expressions and rasping bass that never quits. 'Give It 2 Dem' heats up with naughty breakbeats and some bass that wouldn't be out of place on a jungle record, but here powering a future tech sound. RTK Tarantino shuts down with some classic neon organ chords and a quicker, throwback garage vibe that gets works. Effective stuff.

Diffuse Reality and Periphylla present Catastrofe Club - Un futuro tranquilo. With electric songs, sharp messages, and a touch of dark humor, Catastrofe Club deliver a record that is both caustic and deeply enjoyable. The album imagines a future where humanity has disappeared and, at last, a radiant peace reigns. Across 10 tracks, they combine post-rock, post-punk, darkwave, and electronic textures with cinematic atmospheres, rugged spoken-word vocals, and their signature blend of darkness and elegance.