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Luritja artist Keanu Nelson traces the afterglow of Wilurarrakutu with a two-track 7”, cut from the same home-studio haze with producer Yuta Matsumura. The pair continue their singular weave of community-rooted storytelling and elemental electronics, shaped with the gear at hand.

Hints of YouTube hip-hop and emotionally charged piano ripple through ‘Place Where I Go’, a dubbed-out reflection on the daily realities of life in Papunya, Nelson’s desert home. ‘Kapi Ngalyananni’ finds Nelson singing in language, a mesmeric water song bridging the personal and ancestral, with elevating chords, clapsticks, and Matsumura’s parched melodica lines.

These remote dispatches carry a vital new voice from the heart of the desert, where tradition and sonic experimentation delicately converge.

Left field gangster synth jazz with a deep house nu boogie banger on the flip. BYRON THE AQUARIUS made their STAR CREATURE debut with a few remixes on Belgrade's IGOR JADRANIN's "CONTEMPORARY MOVEMENT" EP earlier this year. The A Side hits that squelchy synth bouncey stank face that’s heavy in the bass but light on the feet. The B Side collabs with STEVEN KLAVIER on vocals which one may recognize from his disco-forward collabs with KENNY DOPE, SOUL CLAP, KON, ELI ESCOBAR, and more.

“NO FUTURE. Una generación sin promesas, solo pulsos.”

La Tercera referencia del sello DIALECTO PERIFERICO ya esta disponible en formato físico de 12”. En ella estan los artistas: Dark Vektor, Large-scale aggressor aka Amper clap, Vema-Diodes, Spectrums Data Forces, ODR Lups Digga y Bocabeats & Ricchezza.

NO FUTURE es un manifiesto sonoro desde el colapso. Seis artistas, seis visiones que traducen el vértigo de vivir sin horizonte en beats industriales, sintetizadores quebrados, ritmos insurgentes y distorsión emocional.

Desde la melancolía sintética de Barrika’s Sunset hasta la ironía explosiva de Bullish, el álbum atraviesa el electropunk, el footwork, el techno y la abstracción electrónica para levantar una arquitectura de ruido, rabia y lucidez. Aquí no se canta al mañana: se le niega. El futuro está cancelado. Lo que queda, suena así.

personal rec.`s next strike with Tito Wun, the uptempo moniker of Cool Bap producer & Groove Attack Record Store Owner Twit One, from Cologne City. A three Track journey with soulful bits and pieces in an uplifting driven manner. Clap your Hands and Boogie!

B2 Recordings is one of those labels that is deeply entrenched in proper house circles. Its latest comes from Bengoa who keeps it nice and chill on 'I Won't Love You' (feat Mimi X FY). The drums are low-slung, the chords are breezy and warm. 'Bibi's Funk' then layers in some lively percussion that adds a nice texture to the swaggering, slo-mo grooves. 'Listen' picks up the pace with some electro-charged rhythms and corrugated bass funk and then 'Exiles' leaves you with another classy, spacious sound with persuasive claps and big splashy cymbals.

Nick Bike has been at it again, crafting high-grade club cuts that always make an impact. These two have already been well road-tested with great effects. 'Party People (Night & Day)' is the first and is a brilliant collision of some funky, soulful disco classics into one new and strident sound with irresistible claps and vocal hooks. On the flip is the scorching 'Every Night (Hold Me Tight)' which is just timeless and super smooth disco-funk with a persuasive charm. Two no-brainers here that will bring next-level fun to any set.

It’s always a pleasure to welcome Scottish producer Milton Jackson back on Freerange and this time he joins forces with a trio of Detroit heavyweights to deliver the Fire Emoji EP. Brian Kage is a producer / DJ, founder of record label Michigander and has released on esteemed labels such as FXHE and Planet E. Here, Brian is on co-production and mastering duties and helps bring a raw yet musical quality to all four tracks. HazMat Live is a Detroit native known for his unique approach to music and live performances having graced records and live shows with the likes of Kenny Dixon Jr, Amp Fiddler, Bilal, Soul Clap and Delano Smith. Finally, Jon Dixon adds his own inimitable touch to the release with his deft keyboard work. Jon Dixon not only leads the Underground Resistance live acts Galaxy 2 Galaxy and Timeline but has also performed with everyone from Jeff Mills, Carl Craig and Mike Banks through to Goldie, Leon Ware and Dwele.

Lead track Fire Emoji is probably best described as a serious stomper. A paired back club tool which pumps hard and will keep the energy levels simmering on any dance floor worth its salt. Echoing vocals and reverb-drenched hits add a trippy edge whilst an extended break adds extra drama and tension to the arrangement.

The Sunsetters lightens the mood with a euphoric slice of chunky, deep house which acts as the foundation for HazMat Live to deliver his epic synth solo, accompanied by lush strings, deep pads and punctuating 909 snares.

Wanna C U fuses US and UK Garage sounds to form a taught, muscular club groove which will lock you in with it’s fat stabs, swinging beats and repeating sampled vocal hook.

A noughties classic, an earworming anthem, an eventual schoolyard ringtone favourite; Roman Flügel’s once inescapable ‘Geht’s Noch?’ celebrates turning 21 on Running Back, refreshed and remixed by a scene-spanning set of artists paying keen tribute to its absurdist energy.
Casually released as part of a Cocoon Records compilation in 2004, ‘Geht’s Noch?’ rose from the depths with the support of Sven Väth, becoming an international phenomenon, conquering and uniting the dominant scenes of minimal and electroclash alike. Some have said it laid the foundations for the ‘Dirty Dutch’
house scene, albeit from over the border in Germany.
Well known for injecting much-needed levity into the contemporary club landscape via her Live From Earth parties, DJ Gigola adds additional firepower to ‘Geht’s Noch?’, inducing a planet-shaking kick drum, before sending the track’s signature bleeps into nonsensical Morse code for even greater pleasure. Another rave
culture connoisseur, Luca Lozano, offers two alternate takes; his ‘Technocs’ mix rolls deep with additional cowbells, robotic voice commands and stadium-sized claps. Meanwhile, the ‘Gehts Garage Remix’ draws a savvy connection with the original’s as-yet-untapped UK funky potential.
Peder Mannerfelt, who straddles the line between innovation, functionality, humor and seriousness quite like its original author, takes ‘Geht’s Noch?’ to truly wuthering heights. His remix builds unexpected drama and catharsis around the enduring riff, before a collaboration with studio partner Par Grindvik as Aasthma
spins the club out with a glossy, anime-tinted take, full of whimsy and colour.
And while the digital release of Geht’s Noch? also spans interpretations from Audion, Domnik Eulberg & Moguai, this vinyl release presses Steve Angello vs Who’s Who remix to wax, that which helped take ‘Geht’s Noch?’ out of the underground and into the stratosphere. Twenty years on, and Flügel’s offbeat hit is
always ascending. Love it or hate it, ‘Geht’s Noch?' will still get you good.
Words by John Loveless

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

Three acid techno cuts to suit the situation, especially if the situation is a blacked out warehouse with a strobe where only the pulse of the sound system matters.
The A side: "Tech 97" weaves undulating pads through sustained tension, shadowing the acid riff until it breaks into a hypnotic workout where calculated moments of release command the floor.
The B1 "Manic Mix" pushes boundaries with an urgent buildup of the 303 and metallic high hats, culminating in pure dancefloor abandon - snares and claps cutting through the darkness.
The B2 "Calm Mix" explores deeper territory with dubbed-out vibes. The acid riff maintains its spectral presence against the rhythm, while ethereal chords spiral outward creating an almost nautical motion beneath the surface.

Louis Philippe und The Night Mail sind zurück mit einem neuen, fesselnden Album, auf dem die Songs wieder einmal makellos sind. Die Reise geht dieses Mal weiter, weg vom Klassischen, hin zum Unerwarteten. Neue Synthesizer und Claps machen das Ganze unmittelbar und plötzlich, während Stimmen wie aus luftiger Höhe und scheinbar spielerisch-furchtlos durch das Album rufen. Neben den üblichen Geschichten, die man sich so erzählt, gibt es eine geheime, parallele Version der Pophistorie, die von den wahren Enthusiasten und Eklektikern geschrieben wurde. Von jenen, für die ein Dauerbrenner wie Pet Sounds nicht nur Anlass zu endlosen Behauptungen über seine Außergewöhnlichkeit war, sondern auch mündete in einer Aneinanderreihung harmonischer Reichtümer, die bis ins einundzwanzigste Jahrhundert reicht. In diesem alternativen Universum ist Philippe Auclair alias Louis Philippe, anglo-französischer Singer-Songwriter sondergleichen, seit vier Jahrzehnten eine bewunderte Größe. Philippes musikalische Anfänge liegen als Pop-Protagonist und Haus-Produzent bei Mike Always legendärem Label él Records. Von hier aus führten ihn seine Ausflüge in den Shibuya-Sound und zur Zusammenarbeit mit Leuten wie Bertrand Burgalat, Dave Gregory von XTC, Sean O"Hagan von High Llamas und Stuart Moxham von Young Marble Giants bis hin zu seinen jüngsten Abenteuern mit The Night Mail. The Night Mail kamen vor zehn Jahren zusammen, um ein Album mit dem unterschätzten Post-Glam-Genie John Howard aufzunehmen. Nach diesem einmaligen Projekt verbrachten sie ein paar Abende in London, um als Begleitband für Robert Forster und Louis Philippe zu spielen, und schlossen dabei eine Allianz mit Letzterem, die 2020 zu ihrem ersten gemeinsamen Album Thunderclouds führen sollte. Angesichts der Komplexität, den reichhaltigen Sound dieses Albums auf der Bühne zu realisieren, holte Philippe seinen langjährigen Partner, musikalische Koryphäe und Multiinstrumentalist Danny Manners an Bord.

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

Elipsis is the convergence of three musical personalities deeply rooted with one foot in the tradition and one foot in the future. Pedrito Martínez (Eric Clapton, Paul Simon, Sting, Wynton Marsalis), master percussionist, Yoruba priest, and one of the iconic voices of Cuba, seamlessly weaves Afro-Cuban tradition with an innovative approach to every project he touches. Mexico City-bred Antonio Sánchez is equally admired for his work as a solo artist (with guest appearances by people like Thom Yorke, Trent Reznor, and Dave Matthews), sideman (Michael Brecker, Chris Potter, Avishai Cohen), drummer for the Pat Metheny Group for almost two decades, and Oscar-nominated film scorer (Birdman). Michael League is best known as the founder of the 5-time Grammy-winning, Texas-born instrumental music ensemble Snarky Puppy, but has spent the majority of his career producing records by artists like David Crosby, Youssou N’Dour, Susana Baca, Silvana Estrada, and Los Muñequitos de Matanzas. The result of these three musicians is future folklore- a delicate balance of each member’s roots and the insatiable desire to push the tradition into places one can only imagine.

Ultra limited Edition

A faithful police dog and his human police officer owner are injured together on the job, triggering a harebrained but life-saving surgery that fuses the two of them together,

and Dog Man is born. DreamWorks Animation’s adaptation of Dav Pilkey’s New York Times bestselling literary phenomenon is directed by Emmy winner Peter Hastings

(The Epic Tales of Captain Underpants, Kung Fu Panda: Legends of Awesomeness), and stars the voice talents of Pete Davidson, Lil Rel Howery, Isla Fisher, Poppy Liu,

Emmy nominee Stephen Root, Billy Boyd and Emmy and Golden Globe winner Ricky Gervais.



Dog Man composer Tom Howe has scored over 100 projects for film and television, including Ted Lasso, Shrinking, Daisy Jones and the Six, and The Great British Bake-Off.

“Because Dog Man doesn’t talk and I wanted to capture his high energy, I incorporated hand-clapping percussion, vocal layering of dog pants and mouth trumpets.

I recorded all of these mad mouth sounds myself in the studio. And as a contrast to Dog Man, the police chief and action cues are accompanied by wah-wah guitars, sax and afro flute.

It’s like Bullet meets Shaft, blending elements of Lalo Schifrin and Isaac Hayes. This thread of classic ̛60s and ̓70s crime thrillers is woven throughout the score.” Tom Howe

The long-rumored, sweat-soaked live album from the night Bill Davis (Dash Rip Rock) and Fred Le Blanc (Cowboy Mouth) dared Jello Biafra to join them during Jazzfest and sing all classic New Orleans soul, rhythm and blues, and (at Jello's request) garage songs! Joining in were piano Wildman Pete Wet Dawg' Gordon (Mojo Nixon), Pepper Keenan (Down, Corrosion of Conformity) and a wacky horn section from Egg Yolk Jubilee and Morning 40 Federation that even includes a sousaphone! You want loose We got loose! You want crazy That's here, too. Walk on Jindal's Splinters is one of the all-time great you are there' high-energy live albums—audience participation galore, plenty of trademark Jello banter, and full-on soul / trash / frat / garage gumbo from eleven of New Orleans' finest, just playing their asses off and having a good time doing it. The album also showcases a whole 'nother side of Jello Biafra: his deep, pre-punk roots known only to a handful of vinyl junkies and anyone lucky enough to catch his DJ gigs. For all those whose interest in Jello goes beyond the punk persona to Jello Biafra, the singer, this is for you. Maximum trash appeal! Southern roadhouse debauchery at its finest! Calls to mind those sing-along, clap-along frat-rock platters from The Premiers to The Kingsman to Geno Washington's Hipsters, Flipsters... series, Swingin' Medallions, or even Slade Alive! You can almost feel the grease and voodoo dripping from the walls!" Showcases a rarely seen side of Jello—his pre-punk roots. Personnel includes members of Dash Rip Rock, Cowboy Mouth, Mojo Nixon, Corrosion of Conformity, etc. Vinyl includes digital download card

Following the departure of Wire's drummer Robert Grey in 1990 WIR had risen phoenix like from the ashes of the acclaimed UK post-punk band after and were created to fulfil the final phase of Wire's Mute Records contract. With a more sequence based sound, WIR saw the band breaking all their own rules by creating a new sparse electronic music with Graham Lewis singing most of the vocals and even cannibalising their own catalogue by sometimes sampling their own older material. WIR was, however, not a long-term project and besides completing their only album, The First Letter, their only other activities were a very small number of gigs and two multi-artist "conceptual happenings" under the name I Saw You. One of these was in Clapham in April 1992 on election night and the other in Vienna in Feb 1993. On that Vienna trip, in addition to playing the gig, the band recorded a radio session for the Austrian national broadcaster ORF which was organised by Peter Rehberg - later the person behind MEGO & sadly no longer with us. This was released in 1996 by Touch on CD and consisted of two long tracks with a running time of almost 25 minutes. Once the short run of CDs had sold out, the rights technically fell to the band, and pinkflag released it - digital only - in 2007 and now released on vinyl for the first time. The remastered 2025 vinyl / CD / digital edition adds a newly recorded, Taylor Swift style re-recording of what is undoubtedly WIR's most pop moment, the dark brooding shadows of So and Slow. The version released here is based on how the band played it live, so, inspite of being instantly recognisable, it does not follow the arrangement of any previously released version.

Europe's first lady of House is back on Heist with a massive new EP and a Demi Riquísimo remix.

Cinthie’s 2023 Piano Heaven EP on Heist was a big release for both her and the label, getting tons of airplay and support from the likes of Pete Tong, Danny Howard, Chloe Caillet and Blessed Madonna. The Dam Swindle remix of ‘Won’t u take me’ that followed on that year’s Round Up is still among her top tracks on any platform. Cinthie now returns to Heist with an EP full of dancefloor weapons that range from classic grooving house to quirky rave.

With her frequent plays at renowned clubs all over the world, as well as spots in her Berlin back yard like Panorama bar, Cinthie has the ideal testing grounds for new peak-time material. And that’s exactly what the A1 ‘Deep inside love’ is: an epic peaktime weapon. With a stomping beat and signature uplifting keys, she serves up themes of classic 80s and 90s house music with a modern aesthetic. With that, Deep inside love has all the ingredients to become an instant Heist classic.

The A2 shows us Cinthie’s rave side, where we see her inspiration from the current dancefloor high octane energy. Or maybe it’s just her early rave days that are finally back in the limelight after her well received ‘Rave Baby’ release on Aus Music. Either way, ‘Higher’ is a fun tune with an infectious beat, classic rave stabs and a female vocal telling us to take her higher. We’re sure that this won’t be a problem, cause this track is built for those clubby highs.

‘Get up’ is a lovely organ-led track with long ethereal strings and dubby vocal chops. The breakdown deepens the mood with some heavy chords tuned in true house style before a free-flowing drum roll (crashes and claps included) catapult you into back into the full groove.

We asked close friend Demi Riquísimo, a man not unfamiliar with dancefloor wizardry himself as head honcho of Semi Delicious records, for a remix on ‘Higher’. His version is exactly what you’d expect from a class producer like him: it’s a breezy, effortless, mildly throwbacky and most definitely fun remix to conclude an EP that navigates through all kinds of moods with one clear goal in mind: Make people dance.

Enjoy the music and as always, play it loud!

Lars & Maarten