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On November 7, 2025, the Belgian label Sdban Records will release a reissue of the mythical Open Sky Unit (1974) by the eponymous jazz fusion group featuring Micheline and Jacques Pelzer, Steve Houben, Ron Wilson, Janot Buchem and Michel Graillier. The album returns on vinyl, highlighting a pivotal moment in Belgian jazz history, where soul, funk, and free improvisation came together in a vibrant and family-driven project.

Formed in the early 1970s as a homage to Dave Liebman's group Open Sky, Open Sky Unit grew out of informal jam sessions in Liège, Belgium, into a unique collective. One of the central figures was Jacques Pelzer, father of drummer and vocalist Micheline Pelzer, alongside his second cousin, saxophonist/flutist Steve Houben, bass player Janot Buchem, percussionist Michel Graillier and American pianist/composer Ron Wilson.

Their 1974 debut album was released on the Duchesne classical music label, run by Pelzer's brother-in-law. The group's sound carefully balanced jazz and soul and was largely directed by Wilson, a Californian pianist and singer who settled in Liège and nearby Maastricht after his army service. Wilson composed the entire repertoire. Open Sky Unit was recorded live at Jazzland club in Liège, and the band made several short tours in Belgium and abroad (including Tunisia) until around 1975-1976, when Houben left for Boston to study at the Berklee College of Music.

Although the original live recording from 1974 was not technically perfect, the group succeeded in capturing their heartfelt live energy. Tracks such as Open Sky, Sunshine Star, and Passion and Compassion are striking examples of this. Years later, the album version of Sunshine Star found its way onto Funky Chicken (2014), the compilation that not only brought the track back into the spotlight but also marked the beginning of Sdban Records.

In addition to the standard reissue, a limited edition of 200 copies will be released for collectors, featuring a 7" single of Ron Wilson's Sunshine Star as a special bonus. This single was originally released in 1973 with the acoustic version of Sunshine Star (piano and vocals) on the B-side, recorded a few months before the longer jazz-funk version later featured on the LP Open Sky Unit. The A-side, Peace Is The Answer, was only released on that single at the time and is now being reissued for the very first time. The 7" is thus a faithful and long-awaited reissue of a rare piece of Belgian jazz history, it's intimate, soulful, and an ideal complement to theexisting and well-known LP.

Although the band never achieved a major international breakthrough, they were highly valued in progressive European jazz circles and later secured a place in anthologies such as Utopic Cities: Progressive Jazz in Belgium 1968-1979. The reissue of Open Sky Unit brings their music back into the spotlight and reaffirms their role as key figures in the Belgian jazz scene of the seventies.

With HANKY XX, James Eleganz (formerly of Success) and Goulven Hamel (Philippe Pascal, Santa Cruz, The Celtic Social Club) reinvent country music by blending it with sound effects, samples, and a striking cinematic universe. Their debut album, Under A Western Sky, produced by the ZRP label, is a powerful and unique concept album that explores madness, identity, and reinvention. Between poetic narratives and sonic experimentation, HANKY XX surprises with its audacity and originality. The highlight: a completely reinvented cover of Taylor Swift's cult song "The Last Great American Dynasty," already tipped as a hit single. With a vinyl and CD release, HANKY XX offers an album that will appeal to folk and indie fans alike, as well as those curious to discover new musical experiences. A project at the crossroads of genres, tailored to appeal to a demanding audience... and naturally find its place in record stores.

"From the very first seconds of the opening track "Graffiti Palace", this album establishes itself as one of the clearest and strongest in the band's discography. Eric Deleporte assumes his new ambitions and deploys his song-writing across 10 panoramic, dreamy songs. Seven years after "Black Condensed" and 31 years after a debut album "Icy Morning in Paris" released on the legendary French label Lithium (1994), "The Sharp Bones of my Sleep" marks a major turning point in the band's history. Rémy Poncet (Chevalrex) accompanied the construction of this sound architecture and Angy Laperdrix (Tahiti 80, Aquaserge, Chassol, Zombie Zombie, Halo Maud...) produced the mix. The light-dark atmospheres and heartbreaking melodies are more sensitive than ever in Perio's work, and summon the best of US indie (Deerhunter, Devendra Banhart...), the ghosts of punk and new-wave, and the urban poetry so dear to Eric Deleporte. ""Perio is a rare band. Because it sounds like no other, resolutely French-American, in a folk vein that bridges the gap between tradition as recorded in Harry Smith's Anthology of American Folk Music and resolutely contemporary sounds."" -La Blogothèque

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

With its 31st release, EYA Records welcomes German producer Dominik Marz for a full solo outing, and the result is a shimmering, synth-laced journey that feels both retro and radically forward-thinking. Beginning to Fly EP is a four-track package that seamlessly balances warmth and drive—making it as suitable for peak-time club energy as it is for the early morning hours when the dancefloor turns inward. From the outset, Marz delivers on the EP’s title. The music feels elevated—each track hovering in that sweet spot between euphoria and control, never overreaching, always gliding. The synth work is lush and textural, channeling a sort of cosmic nostalgia that recalls early ‘90s techno and electro, yet with a sleek, modern production edge.

Brooklyn's RAW CUTS Records makes its debut with ORANGE RCR001, a forward-thinking VA that showcases four cutting edge producers whose music captures the energy, intimacy, and spirit of a dance floor ready for something new.

Opening the record, Lubelski delivers 'I Love You So Much, It's Not The Drugs', a deep, psychedelic journey layered with raw emotion and rolling grooves. Donnie Cosmo follows with 'Three or Triangles', a driving slice of deep tech where subtle textures meet irresistible rhythm. On the flip, Boss Priester's 'Different Room' explores hypnotic layers over a commanding bassline, before Occibel closes the EP with 'Naughty Kids', a playful yet sophisticated house cut designed for peak-time moments.

With its focus on quality, artistry, and the communal spirit of dance culture, this first release sets the tone for what's to come from RAW CUTS Records: timeless club music built for the floor.

“sitting in the terminal at Barcelona airport, health safety warnings echo through empty architecture. feeling slow, and fast, out of sync with rituals and routines. structure and rhythm disintegrate into micro gestures appearing in random order, a daily psychedelia... amid all of the chaos and distraction in the last few years, it’s only through letting go that I've found solid ground to stand on.”

These are some of the experiences and reflections that gave shape to Slipstream, a hallucinatory mini-album by the artist PVAS and the fourth release on Objekt's label, Kapsela. Slipstream is an aural document of PVAS's interior life, conceived not as a grab-bag of DJ-friendly tracks (although it’s clearly inspired by the club) but as a single, delicately crafted artistic statement. The entire record is shrouded in a flickering haze, worn through by smudged breakbeats and wiry drum machines. “Wetland”, with its swampy percussion and crystalline arps, echoes T++ and Kraftwerk. The radiant incandescence of “Gathering Drift” recalls GAS or Monolake's “Hong Kong.” Sampled breakbeats dip and swerve asymmetrically through “Boba” and “Terminal”. Across the record, textures and voices are reshaped by PVAS's homemade algo-software, UMT, which, in PVAS’ own words, “reconstructs one audio file by sampling another, resulting in output that merges their aesthetic qualities, creating rhythm with non-rhythmic sound files and abusing the stereo field.” But the most striking union of technology and poetic self-exploration comes at the end of the record, in the title track, from words murmured through a classic vocoder:



“when i stop framing myself as a boundaried stone

immovable, and powerful, and heavy

when i stop figuring my deepest space as my own

something which i am solely responsible

i surrender, i surrender”



PVAS is Jordan Juras, a Berlin-based artist who grew up outside of Windsor, Ontario. He has released solo EPs on Isla and xpq?, and is half the duo NUG (3XL, West Mineral Ltd.). In addition to developing music software professionally, he has used his UMT software on records by Lyra Pramuk and Dylan Kerr. Slipstream was recorded from 2022 to 2025.

Written and produced by PVAS

Mixed by TJ Hertz

Mastered by Anne Taegert at D&M

Artwork and design by Brodie Kaman

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

Es gibt wohl keine größere Überraschungserfolgsgeschichte aus dem Internet im Bereich Musik als die von Ata Kak.Der ghanaische Rapper und Sänger veröffentlichte 1994 still und leise ein Tape, das erst 2006 wiederentdeckt wurde - zu einer Zeit, als die bloggetriebene Online-Sammlerbewegung für Musik in der Vor-Streaming-Ära auf ihrem Höhepunkt war.Die mitreißende Mischung aus Lo-Fi-House und aufrichtig vorgetragenem, kraftvollem Burger Highlife eroberte Mitte der 2000er die Herzen von Musikliebhabern auf der ganzen Welt. Mit Unterstützung seiner Londoner Band spielte Ata Kak weltweit Konzerte und stand auf riesigen Bühnen vor Tausenden von Fans.Die sieben Songs auf ,Obaa Sima" haben Hörerinnen und Hörer gleichermaßen begeistert und verblüfft, seit sie als erster Beitrag auf dem Blog Awesome Tapes From Africa erschienen. Eine gut dokumentierte, jahrelange Suche nach dem Sänger endete 2015 mit einer Neuauflage.Trotz der sorgfältigen Arbeit der langjährigen ATFA-Mastering-Partnerin Jessica Thompson war die Klangqualität der Quelle jedoch nicht optimal - das originale DAT-Tape war verschimmelt und zerfiel.Nach jahrelanger Suche nach der bestmöglichen Kassette steht nun die Obaa Sima Anniversary Remaster-Version bereit. Zum ersten Mal können wir diesen inzwischen legendären, unkonventionellen Dancefloor-Klassiker in glasklarem Klang hören.Die ursprüngliche Neuauflage von ,Obaa Sima" hat über 10.000 LPs verkauft, und die Kassette wurde vom ursprünglichen Blogpost Hunderttausende Male heruntergeladen. Auf der Basis dieser legendären Aufnahme spielte Ata Kak energiegeladene Shows in Clubs und auf Festivals weltweit.Die Deluxe-Edition des neuen Remasters enthält eine LP in gesprenkeltem Vinyl sowie eine DVD-Dokumentation mit bisher unveröffentlichtem Filmmaterial.

Es gibt wohl keine größere Überraschungserfolgsgeschichte aus dem Internet im Bereich Musik als die von Ata Kak.Der ghanaische Rapper und Sänger veröffentlichte 1994 still und leise ein Tape, das erst 2006 wiederentdeckt wurde - zu einer Zeit, als die bloggetriebene Online-Sammlerbewegung für Musik in der Vor-Streaming-Ära auf ihrem Höhepunkt war.Die mitreißende Mischung aus Lo-Fi-House und aufrichtig vorgetragenem, kraftvollem Burger Highlife eroberte Mitte der 2000er die Herzen von Musikliebhabern auf der ganzen Welt. Mit Unterstützung seiner Londoner Band spielte Ata Kak weltweit Konzerte und stand auf riesigen Bühnen vor Tausenden von Fans.Die sieben Songs auf ,Obaa Sima" haben Hörerinnen und Hörer gleichermaßen begeistert und verblüfft, seit sie als erster Beitrag auf dem Blog Awesome Tapes From Africa erschienen. Eine gut dokumentierte, jahrelange Suche nach dem Sänger endete 2015 mit einer Neuauflage.Trotz der sorgfältigen Arbeit der langjährigen ATFA-Mastering-Partnerin Jessica Thompson war die Klangqualität der Quelle jedoch nicht optimal - das originale DAT-Tape war verschimmelt und zerfiel.Nach jahrelanger Suche nach der bestmöglichen Kassette steht nun die Obaa Sima Anniversary Remaster-Version bereit. Zum ersten Mal können wir diesen inzwischen legendären, unkonventionellen Dancefloor-Klassiker in glasklarem Klang hören.Die ursprüngliche Neuauflage von ,Obaa Sima" hat über 10.000 LPs verkauft, und die Kassette wurde vom ursprünglichen Blogpost Hunderttausende Male heruntergeladen. Auf der Basis dieser legendären Aufnahme spielte Ata Kak energiegeladene Shows in Clubs und auf Festivals weltweit.Die Deluxe-Edition des neuen Remasters enthält eine LP in gesprenkeltem Vinyl sowie eine DVD-Dokumentation mit bisher unveröffentlichtem Filmmaterial.

Es gibt wohl keine größere Überraschungserfolgsgeschichte aus dem Internet im Bereich Musik als die von Ata Kak.Der ghanaische Rapper und Sänger veröffentlichte 1994 still und leise ein Tape, das erst 2006 wiederentdeckt wurde - zu einer Zeit, als die bloggetriebene Online-Sammlerbewegung für Musik in der Vor-Streaming-Ära auf ihrem Höhepunkt war.Die mitreißende Mischung aus Lo-Fi-House und aufrichtig vorgetragenem, kraftvollem Burger Highlife eroberte Mitte der 2000er die Herzen von Musikliebhabern auf der ganzen Welt. Mit Unterstützung seiner Londoner Band spielte Ata Kak weltweit Konzerte und stand auf riesigen Bühnen vor Tausenden von Fans.Die sieben Songs auf ,Obaa Sima" haben Hörerinnen und Hörer gleichermaßen begeistert und verblüfft, seit sie als erster Beitrag auf dem Blog Awesome Tapes From Africa erschienen. Eine gut dokumentierte, jahrelange Suche nach dem Sänger endete 2015 mit einer Neuauflage.Trotz der sorgfältigen Arbeit der langjährigen ATFA-Mastering-Partnerin Jessica Thompson war die Klangqualität der Quelle jedoch nicht optimal - das originale DAT-Tape war verschimmelt und zerfiel.Nach jahrelanger Suche nach der bestmöglichen Kassette steht nun die Obaa Sima Anniversary Remaster-Version bereit. Zum ersten Mal können wir diesen inzwischen legendären, unkonventionellen Dancefloor-Klassiker in glasklarem Klang hören.Die ursprüngliche Neuauflage von ,Obaa Sima" hat über 10.000 LPs verkauft, und die Kassette wurde vom ursprünglichen Blogpost Hunderttausende Male heruntergeladen. Auf der Basis dieser legendären Aufnahme spielte Ata Kak energiegeladene Shows in Clubs und auf Festivals weltweit.Die Deluxe-Edition des neuen Remasters enthält eine LP in gesprenkeltem Vinyl sowie eine DVD-Dokumentation mit bisher unveröffentlichtem Filmmaterial.

Cyphon Recordings proudly presents the latest release from Berwick, a Sheffield by Bristol
producer and DJ carving out a reputation for razor-sharp electro and forward-thinking club
sounds. With a background steeped in underground electronic music, Berwick has steadily built
his name through a string of uncompromising releases and energetic live and DJ sets, blending
the grit of classic electro with a modern rave-inspired touch. His new EP showcases his most
refined work yet—four tracks built for the floor, designed to move bodies and shake systems.
Opening with Fall & Melt, Berwick sets the tone with a punchy, contemporary electro cut. Its
driving percussion, crisp groove, and propulsive energy make it a peak-time weapon, balancing
raw dancefloor impact with seriously fat production finesse. Next up, Powerflip dives deeper
into the shadows. Gnarly synth lines, guttural bass, and clipped vocal hits collide to create a
darker, more menacing side of Berwick’s electro vision. With eyeball-rattling low-end, it’s a track
that demands a big system to unleash its full force.
On Impossible, Berwick shifts gears into an even faster lane. Elasticated bass and synths bounce
around the crisp drum groove, pushing the pace with an adrenaline-fuelled rhythm that’s as
urgent as it is infectious. Rounding off the EP, fellow Bristolian Sam Lester takes Powerflip into
new territory with a remix that leans towards wonky tech house. Stripping back some of the
raw menace of the original, Lester reshapes it with a 4 on the floor kick, layering in hypnotic
textures and a slick low-end that makes it a tripped-out weapon for house and techno sets
alike.
This release cements Berwick’s position as an artist unafraid to push electro into bold and
uncompromising spaces, while also opening the door to cross-genre interpretations.

After releasing on some of your favorite labels, Paradise City Breakers start their own imprint with a very personal, no-compromise attitude.
The label exists to release timeless work, uninfluenced by the market or by what the audience thinks it wants.

The A-side is strongly influenced by early European club music, with a harder and more ravey attitude that culminates in Destroy the Power, while Dissociazione Jonica takes you on a stripped-down progression.
On the B-side, the sound becomes more modern, while still drawing from vintage influences. If What U Want is tight and enriched by clear melodies, Your Soul opens up a more oneiric dimension.

The first statement of many. Listen closely — the rest will follow

Marcel Dettmann's 'My Own Shadow' is the latest chapter in the Berlin-based legend's illustrious career. The live project is, in his own words, "a space where all of my artistic expressions meet," blending techno with film, sketches and photography. The shows are less club sets and more immersive experiences, where the audience gets lost in a "full sensory narrative." "My solo work has always been open, evolving across records and remixes," Dettmann added.

My Own Shadow's first official release, Approaching, is a five-track EP landing on !K7 Records in November. Complemented by his own photography on the artwork, the music spans techno and ambient, fizzing with a madcap funk and energy quite unlike any of his previous productions.

VITAL SALES POINTS
Renowned Berghain resident and contemporary techno stalwart Marcel Dettmann introduces his brand new project and alias My Own Shadow - after his latest releases on Running Back and Dekmantel. EU, UK and US tour dates during the campaign.

SUBURBAN BASE RECORDS PRESENTS BOOGIE TIMES TRIBE – ‘THE DARK STRANGER’ – REMIXES

The Dark Stranger by Boogie Times Tribes is one of the most iconic anthems from the evolution of Drum & Bass. The Dark Stranger now returns for Halloween 2025, with an incredible new double-vinyl package featuring brand new remixes alongside long-lost classics. Pressed on a stunning glow-in-the-dark vinyl and housed in a specially illustrated sleeve depicting the mysterious Dark Stranger character, this release is as collectible as it is powerful.

The package contains eight mixes of this legendary track, cut loud for maximum DJ impact with just two tracks per side to ensure the heaviest playback. Brand new 2025 remixes come courtesy of Crissy Criss (mixed and mastered by TC), Marvellous Cain & DJ Choppah, Metrodome & Sl8r, Exile & Mark XTC, AKAS, and Freeze UK, all reimagining the anthem for today’s dancefloors.

To complete the set, the original 1993 remixes from QBass and the classic Origin Unknown Part 2 Remix are included, both made available here for the very first time since their original release in 1993, having never been repressed or released digitally until now.

This release is already generating massive buzz across the scene. At the recent D&B All Stars event, Andy C dropped the Crissy Criss remix, sparking the only rewind of his epic set. Other versions are already receiving huge support on Kool FM, Rinse, Pure FM, and across clubs and festivals nationwide.

A true piece of legendary Drum & Bass history reborn, The Dark Stranger returns this Halloween 2025! A must-have for DJs, collectors, and D&B fans worldwide.

Unearthed from the tropical pressure of Paraguay’s underground scene. Solo EP debut from Notorious Club Condesa resident: Chavi — Unreleased Data, out now on Pampanam Records. Club-approved and heat-tested, with early support from global selectors. Composed and arranged in Asuncion. Mastered by Analogcut.

Die Nine Mile Section in der Gemeinde Saint Ann ist die Geburts- und Ruhestätte der Reggae-Legende Bob Marley. Das Mausoleum, das seine sterblichen Überreste beherbergt, ist eine wichtige Pilgerstätte für Fans aus der ganzen Welt. Nine Mile wird oft mit der Rastafari-Kultur in Verbindung gebracht, die die Reggae-Musik stark beeinflusst. Die Gemeinde spiegelt das langsamere Lebenstempo, die tiefe Verbundenheit mit der Natur und das afrozentrische spirituelle Ethos wider, das dem Roots-Reggae zugrunde liegt. Dies inspirierte Alborosie zu seinem neuesten Album, das seine persönliche Hommage „Trench Town Legend“ enthält.
„Come My Way“, die erste Single aus dem Album, ist eine Neubearbeitung von „King Tubby Meets Rockers Uptown“, einem weiteren Markenzeichen von Roots Reggae und Dub.

Die kommende Single „Calling Selassie“ liefert einen einheitlichen Roots-Sound und eine inspirierende Botschaft.
Alborosie ist im Frühjahr und Sommer 2025 auf Tournee und wird diese Songs bei seinen Live-Auftritten präsentieren.

Broken District presents Theoric Proximity, the debut album from French producer and label co-founder Jus Jam. Known for his blend of dreamy atmospheres and groove-driven productions, Jus Jam delivers a 12-track journey exploring the subtle balance between introspection and the dancefloor.

The record flows between ambient textures, deep and leftfield house, broken beat, hip-hop, and jazz influences, creating a cohesive yet versatile soundscape. From late-night moods to club-ready moments, Theoric Proximity reflects the artist’s unique approach: instinctive, emotional, and personal.

A milestone release for both the artist and the Bordeaux-based label, Theoric Proximity positions Broken District among today’s forward-thinking electronic imprints.

Tremor erscheint zu einem Zeitpunkt, an dem Averys Arbeitspensum für Außenstehende kolossal erscheint. Als Produzent, DJ, Musiker und Remixer, der ständig mit anderen zusammenarbeitet, hat er kürzlich DRONE:NODRONE von The Cure neu interpretiert, wofür er allgemeine Anerkennung erhielt. Seine Arbeit als eines von drei Mitgliedern von Demise of Love (eine Gruppe, die gemeinsam mit Ghost Culture und Working Men’s Club gegründet wurde) liefert derzeit den Soundtrack für die verschwommenen, undurchsichtigen Ränder der Tanzflächen auf der ganzen Welt. Das Album ist Averys erste Veröffentlichung bei Domino.

Die Platte ist voller unerwarteter Kollaborationen, darunter: Yeule, Art School Girlfriend, Ryan von bdrmm, Yune Pinku, Cécile Believe, Walter Schreifels von Rival Schools, Julie von New Dad und Alison Mosshart. „Tremor” wurde teilweise von David Wrench und teilweise vom legendären Alan Moulder gemischt. Es ist ein Breitwand-Album, auf dem sich Daniel mehr denn je auf Instrumentierung stützt und diese Klänge mit seiner charakteristischen, dunklen, techno-ähnlichen Produktion ergänzt. Es gibt wunderschöne melodische Parts, große elektronische Hits, härtere Grunge-Parts und wunderschöne Ambient-Momente, die einen wieder zur Ruhe kommen lassen.

NIKS steps further into her own sonic world with 'Moves Like 2', a powerful statement of intent that blends groove-heavy percussion and hypnotic club energy. The release offers a deeper glimpse into her identity as a producer.

The lead track 'Moves Like 2' is a pretty raw and direct UK club cut, the sound at the core which has influenced and set the tone of the more ‘heads down’ side of this release.

Sub Glow touches on the fun and playful side of the EP, providing softer textures through elongated pads, growing synths and an overall brightness.

Moves Like 2 receives a rework from one of the most tasteful and timeless producers, rRoxymore - who provides a deeper percussive and rhythmic touch to the feature track.

241 rounds off the EP with a slappy and ballsy tone, which features NIKS’ manipulated vocals, concluding the release on a succinct high and buzz.

Debuting on her new imprint, ‘Bloom Tone’, will serve as a self-directed outlet for NIKS’ own productions and friends, providing a platform for her creative autonomy and musical exploration.

King Gizzard & The Lizard Wizard 'Live at The Gorge Amphitheatre, Quincy, WA' was recorded when the Aussie psych-rock polymaths rained down on Washington on September 14th 2024, for a three-hour marathon set.

This is a 4xLP featuring the original poster art by Jason Galea and photos from the show by Maclay Heriot, and it is exclusively mixed and mastered by James Plotkin from the stems provided by the band. The master and pressing plates have been licensed from Fuzz Club. Housed in a deluxe quad fold jacket and comes on 140g coloured vinyl.

Arriving two years after the first chapter, Absurd Matter 2 isn’t just a sequel, it’s an evolution, redrawing the boundaries established by its acclaimed predecessor. The Berlin-based Italian producer tempers his confrontational sonics with rare moments of introspection, shifting seamlessly between blown-out noise, warped hip-hop, mutant club experimentation, and weightless ambience. Textures disintegrate and reassemble, rhythms flex and crumble, and every detail balances on the edge of fantasy. It’s a poetic, layered response to Nino Pedone’s changing physical reality: the gradual hearing loss and perceptual renegotiation triggered by Ménière’s disease, which struck him in 2022. At first, the experience felt like betrayal, a brutal disconnection from the very sense that had shaped his life. But over time, the disorientation turned into a strange kind of focus. The silence between sounds became as expressive as the sounds themselves.
The first Absurd Matter was a visceral reaction to trauma; the second is more reflective – an ambiguous chronicle of sensory recalibration. Pedone doesn’t represent his altered inner reality through extremes, but through depth, zooming in on illusory distortions, tense rhythmic fluctuations, and fragmented sonics. Dense, immersive, and mystical, the album mirrors Pedone’s evolving relationship with perception itself.
Tinnitus-like feedback wails and noir-ish strings introduce “Repeater”, making it immediately clear that Pedone is painting a more delicately finessed image this time around. Fleshed out by raps from cult MCs billy woods and E L U C I D, the track is marked by subtle, sophisticated contrasts: the blurred, inverted rhythms that couch Armand Hammer’s haunted back-and-forth, and the glitchy interference that offsets the lavish orchestral phrases. Backwoodz associate Fatboi Sharif lends his Lynchian drawl to “Bandage Chipped Wings”, grounding Pedone’s lysergic rhythmic distortions with syrupy, horror-inspired couplets. Pedone also invites discomfort into “Crash Landing”, with droning, metallic tones that contradict South Central rapper ICECOLDBISHOP’s elastic flow. “Bitch, I don't give a fuck about anybody,” he squawks over Pedone’s incongruous rasping textures and time-warped beats, “cash out at any party.” Working alongside London’s Loraine James on production, Pedone reunites with Moor Mother on “I Saw The Light”, blending James’ soft-focus atmospherics with soundsystem-damaging, overdriven bass hits and rusted percussive snips. Moor Mother’s assertive words hover over the wreckage, tightening Pedone’s themes of overstimulation and altered awareness as they stutter and veer off course, vanishing into the backdrop.
Contrasting his more pensive experiments, Pedone’s dancefloor deviations are more concentrated on Absurd Matter 2 than ever before. He torches a stuttering dembow structure on “X”, obfuscating the rhythm’s familiar energy with disturbing audio hallucinations. On “Splintered”, he reunites with Kenyan prodigy Slikback, mangling neon-lit trance arpeggios with dissociated trap rhythms. He sharpens his skills to a fine point on “Oblivion Step”, observing 2- step through a lens of distortion and personal abstraction, shaking blipping synth leads over neck-snapping drums and counteracting the momentum with airless sci-fi soundscapes.
Perhaps the album’s most surprising moment arrives with “Viel”, which features vocals from Los Angeles-based composer Kaitlyn Aurelia Smith. Together, Pedone and Smith chance upon their notion of dub techno, fogging synth stabs and ghostly vocal traces into eerie harmonic distortions. On some level, it’s almost pop music, a far cry from the bleak dissonance of Absurd Matter and a hopeful way to reframe turbulence as transformation. Absurd Matter 2 doesn’t simply document a process; it enacts one. It doesn’t offer clarity; it invites disorientation. It’s not a map of the labyrinth, but a foghorn piercing the darkness.

Difficult as it may be to imagine, there was a time when Sun City Girls did not exist. Prior to the Bishop brothers teaming up with drummer/shaman Charlie Gocher to form SCG's classic trio lineup, there were various ad-hoc assemblages of local Phoenix-area freaks and weirdos – groups which existed only long enough to play a single gig, open mic or house party before disbanding without a trace. Hatched from this milieu was Paris 1942, a short-lived band formed by guitarist Jesse Srogoncik that included Alan Bishop, Richard Bishop and former Velvet Underground drummer Maureen Tucker.

Paris 1942 would play only four shows in as many months, but between April and August of 1982, the band would gather several times a week in Tucker's living room, where the group feverishly wrote and rehearsed with a kind of quotidian discipline. While P42 didn't release anything during their brief tenure, a 7" EP and LP (both self-titled) surreptitiously surfaced on the Majora label in the mid to late '90s. Until now, those two titles – as well as an appearance on Placebo's Amuck comp in late '82 – would be the only documented evidence that this improbable, serendipitous and magnificent band ever existed.

While those expecting P42's music to sound like a tantalizing combination of Sun City Girls' iconoclastic hoodoo havoc and the Velvets' primal drug-chug certainly won't be disappointed, Paris 1942 more often than not transcends even these nearly impossible expectations. Srogoncik's songs, in particular, are a revelation, displaying as much in common with the exuberant raunch of The Gun Club and the chapbook punk of Peter Laughner as they do any of the more obvious touchstones.

The group's foresight to document and capture this meeting of musical minds – a meeting as unlikely as it was short-lived – provides a missing link between the Velvets and the Voidoids, between the Dead Boys and the Dead C, between ESP-Disk' and DNA. Far more than a historical curiosity, Paris 1942 provides a fresh perspective on an embryonic and sadly vanishing US underground. It is music that blinks at the past and anticipates a thousand possible futures.

– James Toth (excerpt from the liner notes)

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.

Andy Ash is a long time contributor to the sound of Quintessentials, with his album "All the colours" being the highlight of his work. Until now! The Liverpudlian shows superb diversity on his new EP called "Silent Planet". The opener, "Patch 2" is a stripped down masterpiece of Dub Techno and a perfect club tool. "Hross" can be called Acid House, and you know we love that! The B-side shows more of a relaxed vibe with the beautiful string-laded "Franco alley" and the smooth low BPM track "Yellow". This silent planet has something to say and shows great variety of styles and Andy's skills as a producer - and yes, all AA releases have his own artwork!

Magentafarbenes Vinyl, limitiert auf 350 Exemplare. Art-Punk Geheimtipp BAHNHOF MOTTE liefern den Soundtrack zum Zeitfressen: vom ständigen Höher, Schneller, Weiter der heutigen Zeit - vom immer größeren Hunger nach mehr ist die Band vor allem eins: satt. Den daraus resultierenden Frust nehmen Bahnhof Motte mit in ihr neues Album. Passend dazu der Titel: ZEIT FRESSEN. Es geht um Frust über eine Welt, die über ihre Verhältnisse lebt. Über die Leistungsgesellschaft, den Kapitalismus und nicht zuletzt um Frust über sich selbst, da auch die Band nicht frei von inneren Widersprüchen ist. Zeit fressen ist das Bedürfnis, einfach mal kurzen Prozess zu machen. Sich alles einzuverleiben und wenigstens einmal über allem zu stehen, wo doch die Ohnmacht heute so allgegenwärtig scheint. Nachdem ihr erstes Album noch im Keller einer chemischen Reinigung aufgenommen wurde, hat sich die Band in Clubs und auf Festivals ein loyales Liebhaber*innen-Publikum erspielt. Die vier Motten bringen unterschiedlichste Einflüsse mit und erzeugen gemeinsam einen Sound, der seinesgleichen sucht. Mal wild und wütend, dann wieder sanft und verträumt. Bahnhof Motte Konzerte sind - kurz gesagt - Reisen durch sämtliche Gefühlszustände, die beim Publikum noch lange nachhallen.

Stepback Records is proud to announce the highly anticipated release of Jacksonville's new 12" vinyl, Oracle Memory EP.

Jacksonville is an electronic artist whose work spans multiple genres, creating music that’s designed for clubs and dance floors. With previous releases on labels such as Atmospheric Exsistence and Chez Damiers Balance Alliance imprint Jacksonvilles roots run deep.

With Oracle Memory EP, Jacksonville takes listeners on a journey of low end perfection, blending elements of house, electro and bass music genres.

Produced by Chris Lyth (Jacksonville), Oracle Memory EP was crafted with vinyl in mind with an analog warmth throughout each track. Likewise master and cut comes courtesy of Optimum in Bristol for the absolute best sound quality possible.

Nach dem gefeierten Debüt Star (1993), das Belly zwei GRAMMY-Nominierungen einbrachte, stand die Band an einem Wendepunkt. Mit Bassistin Gail Greenwood stiegen Tanya Donelly und die Brüder Chris und Tom Gorman in ein gemietetes Haus in Rhode Island, um gemeinsam Songs zu schreiben. Anschließend zog es sie ins legendäre Compass Point Studio auf den Bahamas, wo bereits AC/DC, Grace Jones oder Tom Tom Club aufgenommen hatten. Unter Produzenten-Ikone Glyn Johns (Led Zeppelin, Rolling Stones, The Who) nutzten Belly die entspannte Umgebung, spielten viel live ein und reduzierten Overdubs - um ihre Chemie unverfälscht einzufangen. Das Ergebnis war King: ein komplexeres, schwereres Werk mit den Singles Now They"ll Sleep, Seal My Fate und Super-Connected. Mit politischeren und persönlicheren Texten sowie Gail Greenwoods kraftvollem Bass markierte das Album künstlerisches Wachstum statt Kommerzialität. Das SPIN Magazine sah darin den Schritt von "Indie-Lieblingen zu Rock-Kandidaten". Erstmals seit 30 Jahren wieder erhältlich, erscheint King nun als lange erwartetes Repress auf schwarzem Vinyl, inklusive Original-Artwork und Fotografien von Christopher Gorman und Stephen DiRado.

The most inspiring bands are the ones that can create a world around themselves that is about far more than just the music. The artwork, lyrics, sounds and ethos all merge together perfectly to create its own universe, a secret club. The Lovely Eggs are one such band. And against all the odds, 2025 sees them celebrate their 20th anniversary as a band! Stubbornly and heroically independent, The Lovely Eggs have forged their own path and have achieved mainstream success without ever compromising their DIY ethics. Released on their own label Egg Records, with eye watering artwork by Casey Raymond and hand packed in a black plastic bin bag on neon toxic slime green vinyl, this is yet another collectible release from a band who care as much about the art and ideas in their records as they do about the sound. "We had all these spare songs after we released our last album Eggsistentialism and we didn't really know what to do with them," explained Holly. "They just didn't seem to fit in with the vibe of Eggsistentialism but we'd recorded them and wanted to get them out there." "They're kind of a sketchbook of songs," added David. "They're not polished or laboured over but we thought it would be interesting to release them. It's why we called the record Bin Juice. These were songs we had thrown away. But hopefully people like going through bins collecting trash."

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

The first-ever best of of Nim Vind is called Anthology 1 and is released by Sunny Bastards Records! This collection of audio medicinals created in a UFO vibrating in the Key of NV is guaranteed to blow your mind. Experience the energy and indulge in some Halloween candy with Nim Vind's 180-gram Vinyl album. This collection includes Nim Vind's most popular tracks from regular albums Fashion Of Fear, Stillness Illness & Saturday Night Seance Songs, along with some special versions or tracks that have never been released before. Nim Vind was introduced to Europe through Zillo Magazine and the Goth club "Pagan Love Songs". This led to the release of his first album, "Fashion of Fear", on Fiendforce Records Germany. The album was recognized by Metal Hammer UK, Maximum Rock n Roll and many other magazines that support underground artists. Rue Morgue Magazine (the world's biggest Horror Entertainment Print magazine) selected Nim's album "Saturday Night Seance Songs" as the Album of the Year. He has shared stages with the likes of Gary Numan, Filter, Blitzkid, The 69 Eyes, Todd Kerns (Slash with Miles Kennedy and the Conspirators), Peter Murphy of Bauhaus, and many more. The album kicks off with NV classic "Killing Saturday Night", which has garnered 1.7 million plays on Spotify and more than 330,000 views on YouTube. The collection attempts to showcase some of the songs that have been a part of his story, bringing us up-to-date with his current work. If you're a Horrorpunk, Goth, Post-Punk, Rock N Roll or Alternative collector, this collection is a must-have! Vinyl only compilation, for fans of MISFITS, JERRY ONLY, CHRIMSON GHOSTS, BLITZKID, THE OTHER.

Co-Accused Records return this autumn with From The Pit, a four-track EP from Paris-born, Berlin-based producer SOD-90 that seeks out connections between electro, industrial, breakbeat and EBM. Locking into the raw, gritty range of distortion that defines his sound, the release also features a remix from Hamburg’s L.F.T. and follows SOD-90’s label debut with 'Saving Up For Botox’ last year.

A classically trained flautist, professional musician and teacher, SOD-90’s electronic production has become an increasingly vital part of his daily life. Working almost exclusively with hardware, his tracks emerge from spontaneous sessions as a channel for emotional release, fuelled by bursts of adrenaline and a need to counterbalance the refinement of classical music. Distortion, for him, is a way to dig deeper into timbre and sonic depth, pulling distinctive textures out of his machines.

Opener ‘Fugitive Passagére’ sets the tone with driving kick drums, distorted vocal fragments and full-throttle energy aimed straight at the club. L.F.T. 's remix twists it into a dark electro moment, layering a jagged bassline over razor sharp beats. On the B side, ‘Muzzle’ goes all-in on blown-out distortion and breakbeat force, before closer ‘Rust Fountain’ moves into complex, off-kilter territory with ricocheting synths and layered percussion.

Originally released in 1996, this record featured two 10 minute tracks which were recorded from what the artist calls a Live Set Dub (LSD), this one in particular recorded from a session at Gibus Club in Paris.

The A-side explores the influences that the artist had from the Germany foundations of Basic Channel, while the B side is the artist’s homage to Chicago and Detroit pioneers as an attempt to build a bridge between them using this work as a response which could potentially be used in a greater dialogue with the American source of inspiration.

fabric presents salute features music from pioneers and contemporaries alike, including Kerri Chandler, Bodhi, Dorian Concept, Junior Sanchez, Redhead and more, alongside two originals from salute. More than a collection of tracks, it’s a cultural statement: a journey through club culture, personal identity, and global roots. To celebrate the release, salute will headline fabric’s Room 2 on 10th October, joined by a handpicked lineup (TBA), bringing their vision full circle from mix to dancefloor.

Lead single ‘double luxury’ sets the tone for the project, capturing salute’s signature blend of soulful energy, deep groove, and euphoric release. Built on spacious low-end and an undercurrent of euphoria, warped vocals twist through sleek, propulsive drums to form a house cut that channels the emotional intensity and groove at the heart of their sound. Arriving off the back of a huge summer, with standout sets at Coachella, Glastonbury, a North American tour and All Points East, ‘double luxury’ provides a fitting entry into a milestone chapter for one of the most vital voices in club culture.

salute says:

“my contribution to the fabric presents compilation series is my way of contextualising the music i've been writing over the last couple of years. i wanted to include bits of all the things that make up the salute sonic palette: loopy, sample based house music, dense and soulful chords and beautiful synths, slick and groovy drum work. it's an exercise in beautiful house and techno music, or my definition of it anyway.”

Launched in 2019, fabric presents has become one of electronic music’s most respected mix platforms, with contributions from Andrew Weatherall, Laurent Garnier, The Martinez Brothers, SHERELLE, Bonobo, Overmono, Confidence Man, The Streets, and more. Rooted in the legacy of fabric’s monthly CD mixes, the series now embraces a wider range of releases across digital, CD, and vinyl, each paired with a performance at the iconic London venue. With fabric presents: salute, they take their place in this lineage, joining the dots between underground heritage and the future of club culture.

Vienna-born salute has become more than a producer: they are a cultural innovator representing a club scene that is diverse, queer, and community-driven. Since emerging as one of the UK’s most exciting electronic voices, they have built a reputation for balancing raw emotion with dancefloor ecstasy, weaving grime, UK garage, electro, French house, jazz, gospel, R&B and hip hop into a singular, unmistakable vision.

Their music channels as much emotional resonance as physical release, tracks that turn longing into euphoria, intimacy into collective celebration. This ability has not only won over audiences worldwide but also earned praise from heavyweights including Four Tet, DJ Seinfeld, Floating Points, Skrillex, Fred again.., Annie Mac and Benji B. Their now-legendary Melbourne Boiler Room set, one of the platform’s most-watched, further cemented salute’s reputation as a defining force in the global underground.

The release of their 2024 debut album True Magic on Ninja Tune solidified salute as one of dance music’s most vital voices, its success confirming what the underground had long known. With fabric presents, they mark another milestone, bringing their curatorial vision and boundary-pushing sound to one of electronic music’s most iconic platforms.

We're thrilled to announce the release of "The Mackenzie - Classics EP 2", the long-awaited follow-up to the popular EP 1 everyone was excited about. This limited edition pressing comes on stunning smoked black-colored vinyl, with only 500 copies available worldwide. Housed in a deluxe threefold sleeve, this release is a true collector's item.

The Mackenzie name is legendary in the Belgian trance scene, and this EP brings together some of their most sought-after classics and overlooked masterpieces. Each track has been carefully remastered for 2025, breathing new life into these timeless anthems. This EP 2 is spanning over more than 2 decades of hit releases, amongst of them are "Falling In Love", "Walk Away", "All I Need" and "You Got To Get Up".

Expect rich melodies, mesmerizing builds, enchanting vocals, and that unmistakable 90s spirit that made "The Mackenzie" iconic in trance. This is not just the successor of EP 1 – it's the final chapter in a tribute to the golden era of Belgian quality trance music.

Trauma Collective returns with a commanding techno statement from Lowsystem, unveiling Echoes of the Mind – a four-track EP that traverses the fractured landscapes of consciousness and club ritual.

Opening with Finding Reality, a shadow-drenched industrial roller, Lowsystem sets a brooding tone with relentless low-end pulses – the perfect tension-builder for murky warehouse settings. The title track channels the raw, unfiltered energy of early club nights, blending classic techno grooves with an urgent modern edge.

Flipping to the B-side, Distorted Perception descends into darker realms – a peak-time arsenal armed with pounding kicks, razor-sharp synth stabs, and intricately swinging hi-hats that shift the dancefloor into hypnotic frenzy. Closing with Cognitive Dissonance, Lowsystem dissolves rhythmic certainty, crafting fractured broken beats and eerie atmospheres that challenge perception and push sonic boundaries.

The vinyl edition deepens the experience with a printed insert revealing the artist’s creative vision. Also available digitally across all platforms.

Belgian pop superstar Max Colombie, aka Oscar and the Wolf, announces new
album ‘The Shimmr’, on PIAS Recordings.
Enter Colombie’s world and you’ll discover a uniquely dazzling and shimmering
fusion of contemporary R&B and a more European electro-pop sensibility, uniting
shivery melody, shifting beats and vocals steeped in drama, sensuality and yearning.
Colombie hears, “a twilight zone where it doesn’t sound dark nor happy. It’s like the
name Oscar and the Wolf; it’s a balance between light and dark, this perfect
combination between the sun and the moon. It’s beautiful and scary at the same
time.”
Oscar and the Wolf’s official debut, the 2012 EP ‘Summer Skin’, showed his gifts
arrived virtually fully formed, but he truly came of age in 2014 with his debut album
‘Entity’. Balanced between dancefloor anthems and slow jams, ‘Entity’ went 4 times
Platinum in his native Belgium and quickly jettisoned Colombie to superstar status.
He sold out arenas in Belgium and the Netherlands, taking the penultimate
headlining slot (behind Muse) at 2016’s Lowlands festival before headlining
Belgium’s Pukkelpop festival, sharing the bill with Rihanna and LCD Soundsystem.
Released in 2017, the second Oscar and the Wolf album, ‘Infinity’, went Platinum at
home, whilst amassing a huge Middle Eastern fanbase across Turkey (where his
2018 tour sold out in minutes), Egypt, Israel and Iran. On stage, Colombie cut a
commanding and lithe performer, often garbed in shimmering outfits that interacted
with the dynamic lighting.
The new Oscar and the Wolf album, ‘The Shimmer’, distils the essence of Colombie’s
sound and vision in its title and the image of Colombie on the album cover, bathed in
starry light. The album is a benchmark of his transformation on record; whereas
‘Entity’ was recorded in a barn, “very lo-fi with no access to gear,” he recalls.
‘The Shimmer’’s bold, rich and layered dynamics were captured at ICP Studios in
Brussels, home to, “one of the best live rooms in Europe, with all this vintage gear.”
More intimate moments were added at Colombie’s house outside the city, “those
magic takes we made just after we’d written something, which are so hard to capture
again.”
By ‘we’, Colombie includes producer Jeroen De Pessemier and multi-instrumentalist
Ozan Bozdag, who had both worked on ‘Infinity’ (and Bozdag on ‘Entity’ too). “It’s a
magical trio,” Colombie says. “Everyone is allowed to be themselves, and to explore
themselves. I’m really happy with ‘The Shimmer’ because I hear a more mature
version of myself. I always want things to grow, and I’m proud that I allowed myself to
not follow people’s expectations and reproduce what had been successful before.
There are no four-to-the-floor clubby pop songs this time.”
Instead, ‘The Shimmer’ more accurately reflects Colombie’s personality. “My
emotions run from super-happy to super-melancholic in a split second,” he says. “To
me, ‘The Shimmer’ feels like the soundtrack to a blockbuster, with many types of
tracks and themes. It’s always changing."

Mall Grab & False Persona's much-anticipated collaborative effort "Crazy" finally sees a release, packed with catchy vocal hooks and emotional synths, accompanied by two stunning garage-tinged club tracks.

Harry Romero and Samaran remix Radio Slave and Kameelah Waheed’s ‘All Rize’ on Rekids It follows the release of the original single in May 2025, arriving this October. NYC House legend Harry Romero and respected Paris DJ, producer, and sound designer Samaran step up to remix Radio Slave and Kameelah Waheed’s ‘All Rize’, arriving via the label 24th October 2025. Originally released in May ‘25, ‘All Rize’ was dubbed a ‘perfect moment’ tune by Mano Le Tough, with support from the likes of Bradley Zero, Call Super, Sean Johnston, and more.
“Glad to be working a lot closer with Radio Slave on his label and projects. It’s just one of those brands that put out quality. So before I even heard what I was asked to remix for Matt, my answer was yes. My idea was to put a completely different twist on the original and make a new version that was peak time. So glad I took a chance!” - Harry Romero

“I wanted to create a darker club vibe for All Rize, adding another bassline, just keeping the vocal elements that have a strong character and some percussion to keep some organic groove to it. The idea was to keepa minimal idea as the original and make it Rize for darker clubs.” – Samaran

Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Tal Fussman, Frankey & Sandrino, Mathias Kaden, Huxley, and many more.

NSDA, the visionary imprint led by Anfisa Letyago, presents TUNEL, the debut album from Argentine producer Unfinished Portraits. The 11-track album explores a richly immersive world of brooding textures, melodic storytelling, and cinematic sound design.

"A journey inward. A space where the hidden comes to light and everything shifts shape. Each song is a signal in the dark, a guide to keep moving forward without losing your way" says Unfinished Portraits about the album's concept.
A rising force in the underground circuit, Unfinished Portraits builds a signature style rooted in techno, ambient, and electronica - combining hypnotic percussion with atmospheric depth. Across TUNEL, he constructs a soundscape that is both introspective and physical, designed for deep listening as much as late-night floors.

"When I first heard Unfinished Portraits music, I felt an immediate connection. There's something raw and cinematic in his sound that felt perfect for NSDA," says Anfisa Letyago. "Collaborating on this album was really special - it's a beautiful example of how storytelling and club energy can live in the same space."

Anfisa appears as a featured artist on three standout tracks - Home, Confusion, and Radar - adding emotional weight and rhythmic edge to the release. Their creative synergy underscores NSDA's commitment to supporting innovative new voices with bold sonic perspectives.

TUNEL will be available as a full digital album, with a limited-edition vinyl sampler featuring six selected tracks.