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Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

Ready for a hot summer? It will get hot when listening to the new Mat Chiavaroli EP called "Ammaro"!
Mat has a long time connection with Quintessentials and released his first ever album "No stranger to madness" back in 2017. His new sound is more driving and club friendly, ranging form the mediterrainina inspired "Ammaro" the the UK garage styled "Need" to the classic deep house tune "We can figure it out". To top if off, Quintessentials buddie Ralph Session adds a NY influenced remix to heat things up even more! And yes, artwork provided by Mat's son Divo, a real family affair!

Creating their own brand of psychedelic infused downtempo electronica, Birdsnake
explore the line between digital and organic. Their debut longplay Biofilter is an
aquatic themed exploration through their lens of electronica, filled with watery
dubscapes, shimmering reverb, rolling layers of synths and organic percussiontinkling like shells on the ocean bed. With hints of throw-back '90s, atmospheric,
trip-hop and forward focused electronica, the album both energises and soothes.

Charles.A.D. presents Luminous, a new release on Avantroots that further defnes his deep and immersive vision of dub techno. Across six compositions, the artist creates a hypnotic journey where echoes, atmospheric textures, and minimalist grooves merge into a warm and contemplative sonic experience.
With an elegant and detail-oriented approach, Luminous explores the relationship between space, depth, and movement, allowing each piece to evolve slowly through layers of reverb, deep pulses, and emotional landscapes. The album balances introspection with dancefloor functionality, revealing a mature and coherent side of Charles.A.D’s sonic identity.

This release also marks the artist’s second LP on Avantroots, strengthening an artistic connection built around the exploration of deep, futuristic, and timeless electronic soundscapes.

0uroborean is both an entity and an art project that emerged from consciousness-manipulation experiments taken to their extremes.

AUMATRA VOL. III — FANZINE TR with Inigo Kennedy, SCHRZØ, Carmelo Ponente, NX1 and Bartig Move The third volume of AUMATRA brings together five essential artists from the contemporary electronic scene in a new release from Fanzine TR. credits releases June 19, 2026 Artwork by Burgalego Masters by Human Mastering Studio

Network 23 Recordings proudly unveils its first full digital album release since its revival in partnership with Triple Vision Distribution. It will also release as 3 Vinyl EP's over the course of this year.

Better Than Drugs, the latest album from Crystal Distortion, delivers a high-impact sonic snapshot of both personal upheaval and the turbulent state of the world today. Framed by flashes of media soundbites old and new, the album tackles themes ranging from gentrification in Landlords Hooked On Crack (Breakbeat Version) to the right to protest in Got2StopThem, and the mass manipulation of society in The Chicken Strikes Back.
Launching with a hard-techno surge, the record moves fluidly through a spectrum of tough, mid-tempo rhythms, accented by breakbeats, electro-leaning syncopations, and bass-driven cuts like StepGPT-all while staying firmly rooted in dance-floor intent. Designed for movement and built for impact, Better Than Drugs is a versatile, high-energy release ready to ignite any setting.

Crystal Distortion is a pioneering force in the underground electronic music scene, known for fusing hard-driving techno, breakbeat energy, and improvisational live performance into a signature sound that helped define the European free-party movement. His work blends raw analog textures with relentless rhythmic experimentation, creating high-intensity sets that feel both chaotic and meticulously crafted. As a long-standing member of the Spiral Tribe collective, he has influenced generations of producers and performers, pushing the boundaries of what electronicmusic can be in both form and context.

Of Paradise welcomes Seattle-based artist Hünter with his sophomore album, Mica, a sublime addition to the label’s ever-evolving musical catalogue and one that quickly acquires almost mythical status.

Focused on the relationship between the digital age and the environment, Mica explores the extraction of natural resources, identity, memory, and what remains. A fusion of ambient soundscapes and deconstructed club rhythms, Mica questions erosion as both a physical and cultural consequence of modern consumption, encouraging listeners to reevaluate their relationship with nature, technology, and excess.

Available as a limited edition 12” and digital album, Mica responds to overstimulation; music that breathes slowly, punctuated by occasional moments of tension, provides periods of stillness and reflection interrupted by the intensity of digital life and environmental anxiety. This album isn’t merely a collection of songs; it’s an atmosphere to inhabit.

New Spanish Label by Oscar Escapa, stay tuned.

Check The Description Before Asking For A Track ID is a thoughtfully curated four-track journey through modern deep tech house, balancing forward-thinking sound design with emotional depth and dancefloor functionality. The release unfolds across two distinct yet complementary sides, guiding the listener through evolving textures, moods, and states of energy.

On Side A, A1. Overt – Annular and A2. Third Echo – 31th Session introduce a spacious and immersive atmosphere. Built around shimmering arpeggios, airy melodies, and fluid progression, both tracks explore a subtle interplay between progressive motion, trance-like elements, and dub-infused textures. The result is a weightless yet driving experience — refined, hypnotic, and perfectly balanced for setting a tone that feels both futuristic and deeply engaging.

The B-side shifts into more introspective territory. B1. Eric Louis – Grooving In The Future and B2. Severin – Shiti bring a melancholic edge, focusing on emotive melodies and transitional energy. These tracks are crafted for pivotal moments within a set — where the atmosphere deepens, emotions unfold, and the narrative takes a new direction. Warm, bouncy grooves intertwine with cooler, more restrained tones, creating a contrast that feels both elegant and expressive.

Spanning a wide emotional and rhythmic spectrum, NRP006 is a versatile tool for selectors — designed to navigate the subtle shifts of a dancefloor with precision, intention, and depth.

NOREPRESS is a division of MixCult Records. Limited Edition.

Best known as one half of KIASMOS alongside Ólafur Arnalds, the Faroe Islands born, Reykjavik based producer Janus Rasmussen has consistently refined an elegant sound that marries sonic precision with emotional depth. Over the past decade, he has built a wide-ranging body of work through collaborations across multiple genres as a producer, songwriter, musician, and mix engineer.

As a solo artist, Janus has crafted compositions that balance immersive sound design, subtle melodic shifts and rhythmic drive, drawing on his diverse musical appreciation and studio experimentation. These experiences have shaped a creative identity that now comes into sharp focus on his most ambitious solo project to date - Inert.

The album marks a bold step forward, thematically exploring the act of breaking free from inertia through embracing creative freedom. With his new work, Janus incorporates his own vocals more than ever, weaving them seamlessly around intricate electronics as he expands his sound into new territory, while retaining the subtle restraint that has defined his output. Drawing inspiration from the dance music spectrum, Inert reflects a renewed sense of momentum, vulnerability and adventurousness in his sound.

Amsterdam-based collective Mèraque presents Paradiso, a hypnotic blend of Balkan and Middle Eastern folk with psychedelic club music. Traditional instruments such as oud, clarinet, guitar, and darbuka are interwoven with experimental downtempo electronics and subtle drum & bass influences.

Rooted in Balkan and Roma traditions, the band translates centuries-old melodies into a contemporary electronic landscape. In their interpretation of the traditional song Ederlezi, the emotional core remains intact, while modern production and deep grooves bring it to the dancefloor. Tracks like Space Ohm, inspired by Turkish Çifte Telli rhythms, move between ritualistic folk energy and hypnotic club structures.

The album features remixes by Anatolian Sessions, unders, and Dan Bay, further translating the material into an international club context.

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.

‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.

The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.

Hiroshi Sato's masterpiece “Awakening” has been reissued for the fourth time in a new color “Pastel Blue Vinyl”. The album was cut by world-renowned engineer Bernie Grundman based on high-spec sound data digitally converted to 96KHz/24bit from the original master tapes. The pressing was done at Sony Music's factory in Japan. This is Hiroshi Sato's fourth original album released in June 1982 after his career in Los Angeles, and his first album for Alpha Records. Featuring Canadian female vocalist Wendy Matthews and using the most advanced drum machine at the time, “LinnDrum,” this mellow and soulful album is a perfect fusion of Sato's sound sense and the atmosphere of American West Coast, and has transcended generations, continues to influence many musicians. Guest guitarists include Tatsuro Yamashita, Tsunehide Matsuki, and Yuji Toriyama! Limited edition.

Zum 80. Geburtstag von Fancy erscheint 2026 ein ganz besonderes Highlight für alle Fans: die „80th Birthday Fan Box“. Anlässlich dieses außergewöhnlichen Jubiläums veröffentlicht ZYX Music eine streng limitierte Sammlerbox, die die größten Momente der Karriere des Kultstars vereint.

Die exklusive Fan Box enthält eine hochwertige Auswahl aus CDs, Maxi-Singles und LPs und bietet damit ein einzigartiges Musikerlebnis für Liebhaber des legendären 80er-Sounds.

Mit seinen internationalen Hits und seinem unverwechselbaren Stil prägte Fancy die Disco- und Synthpop-Ära wie kaum ein anderer Künstler.

Die „80th Birthday Fan Box“ ist ein echtes Sammlerstück und ein absolutes Must-have für die große Fancy-Fangemeinde.

Eine nostalgische Reise durch Jahrzehnte voller Kult-Hits – liebevoll zusammengestellt für treue Fans und Musikliebhaber

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

Low-key Detroit producer, Aubrey Hoermann, gained notoriety with his Odic Force label launched in 1998 (home for his own minimal techno productions until 2002).

2001's 'The Dance Flo-Funk EP' is widely considered his most iconic release - a minimal percussive journey and the perfect DJ tool. Stripped to the bone. A sound that echoes the late 90s Detroit movement.
Hugely sought after, now reissued for the first time from the original tapes and remastered with love

The fourth instalment in the Hutson Sevens 7‑inch series finds Home of the Good Groove Records taking a slight detour away from the vaults of unreleased material this time, but back to a pivotal moment in LeRoy Hutson’s creative journey.

Fear not: more unheard gems are on the horizon. But for this chapter, the label rewinds to 1994, a year that marked a meaningful renaissance for the soul legend.

After years of legal battles and persistence, Hutson finally reclaimed partial ownership of his catalogue in 1989 — a hard‑won victory that opened the door to a new era. Though celebrated as a musician, composer, lyricist and performer, the world of publishing was uncharted territory for the musical legend. By 1994, Hutson stepped confidently into that new chapter, signing his first licensing agreement with a Japanese label and publisher.

From that landmark agreement come two recordings now making their debut on 7‑inch vinyl, presented with the care and reverence they deserve.

The A‑side brings us “Lucky Fellow (’94 Mix)”, a track with a storied lineage. First recorded by Maurice Jackson in 1971, it became one of Hutson’s signature moments when he released it on his 1975 album Hutson — a version that remains a fan favourite to this day.

Nearly two decades later, Hutson returned to the studio to revisit the song once more, applying his unmistakable production finesse to craft a fresh, radiant mix. Initially released in Japan on Lucky Fellow: The Best Vol. 2 and then later resurfacing on a Deepbeats Hutson compilation album in 1997.

Now, for the first time, this ’94 version arrives on 7‑inch vinyl — a lovingly curated snapshot of Hutson’s evolution, and a reminder of just how timeless his artistry remains.

Hutson’s “Lucky Fellow” gets a striking reimagining here, trading the warmth of the original for a brighter, crisp production, lifting the melody into sharper focus. While the added vocal riffs don’t just embellish the track — they give it a fresh, expressive identity.

Think of “Lucky Fellow (94 Mix)” as the cool cousin who shows up uninvited and immediately steals the spotlight. It tightens the groove, brightens the melody, and sprinkles in a handful of sly vocal riffs that flip the familiar tune into something delightful and freshly polished.


The flip side of this release digs a little deeper into Hutson’s 1994 chapter, bringing the track “Reality” to the 7‑inch format for the very first time — a moment many collectors and soul devotees have been waiting on.

Originally recorded in 1982, the track spent twelve quiet years on the shelf before finally surfacing on a 1994 P‑Vine CD Hutson compilation. It reappeared twice again on CD throughout the following years and made its first vinyl appearance on a Deepbeats Hutson compilation in 1998.

Nearly two decades later, in 2017, French record label Saph Records reintroduced the track to a new wave of listeners as part of its Unreleased Boogie Tracks 12‑inch series, cementing somewhat of a cult status among Hutson boogie fans.

Cut during the sessions for Hutson’s Paradise era, “Reality” carries the unmistakable sheen of early‑’80s soul — a buoyant, melodic groove wrapped in Huston’s recognisable warmth.
Now freshly remastered in 2026 by UK’s Phil Ward, the track gains an added depth and clarity that enhances its rhythmic glide without losing its vintage charm.
It’s a notable moment in Hutson’s catalogue and a killer selection to finally receive the 7‑inch treatment — a long‑overdue spotlight for a track that has spent far too long in the 7-inch shadows.