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Mexican magic man Iñigo Vontier returns with another stroke of high NRG-nius on ACID COWBOY.

Put on your pointy boots & strap on your stetson: this stripped-down hip-spurring mix of meme-ready themes might be the dance hit of the summer.

Fresh off releases for Optimo & Crosstown Rebels, Iñigo has been smashing his ‘Calypso Cult’ parties around the world with a hypnotic blend of tribal house, acid techno, and playful eccentricity. This release encapsulates this special brand of mischief into a super-potent 12 inch coming this summer on Multi Culti World Records.

A disco-funk venture laced with balearic pop as nostalgic as it is buoyant, Dijon-based outfit FLAUR land their inaugural EP on Cosmocities Records. Comprised of three original songs shifting gears between electrifying grooves and washed-out downtempo, plus three remixes courtesy of Art of Tones, Gaettson and Faze Action, ‘Hold On’ speaks the language of lively waves and sun-streaked coasts. By turns explosive and contemplative, the duo’s vision covers a wide span of influences and styles, fusing Californian P-funk with a touch of Supertramp-esque disco and nuances of alternative pop lined with silky funk in the style of acclaimed Versailles band, Phoenix.

Full with suave Wurlitzer piano chords and ultra-syncopated slap bass, the lead-track ‘Hold On’ is an ode to 70s disco pop with its satiny textures, solar-powered melody and a swing bound to cause ravage on the dance floor. The perfect mix of luxuriant disco, vibrant boogie house and supra-sensual cosmic escapology. Even more elating, the layered funk of ’Now’ takes us into a choppy swirl of unshackled pizzicatos, iridescent envelopes and epic vocal flights. Recorded live at Mastoid Studio in Paris, ‘On My Mind’ trades the hi-velocity disco of the first two cuts for a poignant, introspective movement, revolving around the bewitching voice of Florian, a piano and riffs draped in melancholic reverbs. A sonic journey round the confines of soulful dream pop and further intimate songwriting.

In the hands of another rising Dijon-based artist, Gaettson, ‘On My Mind’ morphs into a dance floor-oriented missile, mixing a highly volatile strain of corrosive IDM, sharp breaks and nervy vocal samples. Remixing ‘Hold On’, South of France producer Art of Tones takes us on a proper cosmic trip, laying further emphasis on the original's funky impact through sun-drenched loops a la Alan Braxe and Fred Falke, and a buildup tailored for extended seaside afters; feet buried deep in the sand, head up in the clouds. UK groove legends Simon and Robin Lee, alias Faze Action, round off the package with a chiselled revamp of ’Now’. Slightly accelerated and built for the club, this remix treats us to a pure moment of dance-ready bliss, packed with sinuous rhythms, dynamic bass and fevered percussions.

Conjured up on his arsenal of machines, French artist Lostsoundbytes provides six tracks of heavy, dubbed out rhythms combined with swirling textures and blood-curdling soundscapes. Also featured is a stellar remix by Warzou, preserving the track's dubby atmosphere whilst cranking it up to a more club-friendly pace. Limited to 100 copies.

Munich’s DJ and Digging crew Super Sound Global drops into rotation with their rst vinyl record. Coming in hot with four hefty danceoor cuts — whipped up through guerrillastyle sampling and oldschool production tricks.

Spin it!

Tauche ein in die glitzernde Welt des Italo Disco mit Alan Barry, einer wahren Ikone des Genres! Die limitierte Vinyl-Ausgabe Greatest Hits & Remixes präsentiert einen mitreißenden Überblick über die größten Erfolge und ausgewählte Remixe dieses Kult-Künstlers.

Mit Klassikern wie:
Tell Me The Reason
Ring The Bell
Come On
Good Vibrations

… diese Compilation ist ein Muss für Fans nostalgischer Tanzflächenmomente und für Sammler elektronischer Musikgeschichte.
Ob als klangstarke Zeitreise oder stilvolles Sammlerstück

– Alan Barry’s Greatest Hits & Remixes auf Vinyl bringt das goldene Italo Disco Feeling direkt in dein Wohnzimmer!

The return of Sengiley Wax with the second part of the Russian series!
Without too much thought, the choice fell on the representative of the unique Russian producer Konstantin Isaev, better known as Volta Cab. However, here we see a completely different side of him, which he is actively developing at the moment - Rambal Cochet.
Magma Resort is the producer's musical spectrum here and now, ranging from canonical Trance to dips into ambient as well as house music sounds.

Konstantin tells us: "This album was created using a Reason DAW, Korg Minilogue and Korg Electribe. It was inspired by the magical atmosphere (in Krasnodar it's always so), my move from St. Petersburg to Krasnodar, as well as nostalgia for something new, but at the same time so familiar".

1. Magma Resort - inspired primarily by the work of Pavel Yesenin and Yuri Usachev and the group "Guests From the Future", as well as progressive dream trance of the early noughties.
2. Amnesia - Ibiza, 1995, sun, beach, dolphins in the sea.
3. Phuture Extravaganza - is the future anthem of summer 2025 in the truest trance sound !
4. Infect Me - proggy hyper pop vibe with sci-fi illusions.
5. Evolving - you wake up from the first rays of the sun, the light hits your eyes, you're finally home..
6. Spaziotempo - Hot summer 2024, you've been walking around Rome for a week, it's a pity that in the morning the plane home to Krasnodar via Istanbul.

20025 Repress
KEY Vinyl welcomes Brazil born and Berlin based power woman The Lady Machine for her debut on the label with Kudos, a no-nonsense showcase of tough, effective club techno. Rooted in old-school sensibilities yet charged with a forward-thinking edge, the EP offers four tracks engineered for the dancefloor, each distinct yet united by their raw energy.

We begin with Precursor, a big-room stomper that immediately commands attention. Its thick bassline and driving percussive thrust create an uplifting, high-impact sound that burns with intensity one for the peak time moments. Next up is Motto, a powerfully driven cut thatdoubles down on insistence and energy. Every element here feels deliberate and with a strong propulsion. Mantra follows with a massive groove and rhythm focused sound design. Open hi-hats, a sturdy bassline, and perfectly placed claps build a magnetic, suspenseful atmosphere. Oscillating synths add tension, while the sharpcomposition makes it clear why this one stands out: its a certified club hit and hip shaker. On closing duties is Abracadabra, defined by a returning thick bassline, pushing the tracks momentum to its limit. Pure, pounding techno at its core a fitting conclusion to an EP built for high-energy spaces and untamed dancefloor energy. With Kudos, The Lady Machine makes a bold first impression on KEY Vinyl, bringing a set of tough, dynamic and high-impact tracks.

Journeys are never just about distance. They stretch time, reshape perception, and demand transformation. With its latest vinyl split EP, Standard Deviation presents four tracks by Nastya Vogan and Phase Fatale that serves as a vessel for tracing displacement, memory, and the liminality of return. These melancholic yet powerful techno cuts serve both the concrete dance floor and moments of intimate self-reflection. Two artists--Nastya Vogan and Phase Fatale--approach Kyiv from different trajectories, but they both keep returning to the city. Vogan, a Ukrainian musician and resident DJ of Kyiv, and Phase Fatale (Hayden Payne), Berlin-based producer, Berghain and Khidi resident and founder of BITE Records, share a longstanding musical friendship. They've played B2B sets at K41 and Vogan, appeared on BITE's ''Shedding Skin'' compilation in 2023, and they share a vision for music selection, from aesthetics to philosophy. Vogan's 'Transitioning Territory' and 'This Is Not a Love Song' unravel the psycho-geography of transition. The first track captures the 24-hour journey to Kyiv as a rite of passage where 'time seems to fold; you are profoundly present yet paradoxically far from the world you left.' In this suspended state, memories surface and ordinary life recedes as the train's rhythm becomes its own meditation. Her second track explores Lacanian limerence--consciously falling for something not fully known, filling absences with personal projections as a way to discover what lies within oneself. Phase Fatale's contributions capture movement and distance with mechanical precision. 'Kekkai,' takes its name from the Japanese word for boundary, echoing 'respect my borders' ethos while reflecting on crossing into wartime Ukraine. The term also suggests a protective force field in Buddhist thought--much like Kyiv's current aura of resistance. 'Neosyazhna Rosa' (Unreachable Rose) honors Payne's Ukrainian grandmother Rose, weaving family history into his present connection with Ukraine. Both pieces balance melancholy with light, their sound palette of lush pads and rhythmic breaks crafted with K41's dance floor in mind.

It's Hardtrance, Rave, Hardcore tracks from the 90s (1997-1999) that have never been released on vinyl before. Since the edition is limited to 100 pieces.

The duality of love and pain runs right through the centre of this compelling and highly personal debut LP from Sasha Pervukhin, DJ/producer from Zolochiv, Ukraine, currently based in Paris. 



Over years releasing on his own Laconica label (as Alex Pervukhin) and more recently working at Carpet & Snares record shop in Lisbon, Sasha has honed in on a highly evocative, widescreen sound that draws deftly from his influences in classic tech house, breakbeat and hip hop. Now, on this new Carpet sublabel Nataraja — created for obscure, dark and experimental club sounds, downtempo, ambient and beyond — Sasha delivers four upfront and compulsive dancefloor tracks paired with four noirish vignettes, recounting a heart-on-sleeve sonic narrative about human contradictions: swagger and vulnerability, hubris and heartbreak.

Repress 2026

2025 Repress

British tour de force Rene Wise is an exciting talent synonymous with hair-raising and hard-nosed Techno. A name that's been confidently claiming its stake in common lexicon with a passion for polyrhythms, forward-looking frequencies and kaleidoscopic beats. It's the mind-expanding potential of his favourite genre that forms the basis of his new vinyl release on Bassiani Records. Drawing on personal experiences of the psychedelic sort, he also cites the role of atmosphere and spatial configuration in the making of his sound, in his own words: 'the space that the music is presented in, is hugely important and there are some very unique and special spaces in the world that capture the true essence of how techno music should be experienced. Bassiani is one of these places.' Well that praise goes both ways, it's hard to imagine a more fitting EP for the club. This four track release is both an homage to the Bassiani floor and a powerful dive into a trippy realm of Techno Wise has spent his years as a musician diligently exploring. A third eye journey across oscillating soundscapes and sonic horizons from the trailblazing techno wunderkind.

The duo Spill Gold blends drums, synths and vocals into a sonic journey that invites listeners to explore realms of energy exchange. Nina de Jong on drums and Rosa Ronsdorf on vocals and synths joined forces in a collaboration that transcends genres. The music of Spill Gold serves as a woven tapestry of (unheard) voices, inviting you to lean in. The result is a fusion of psychedelic echoes, danceable rhythms, and intricate percussive layers. Their newest album is a result of a need for hope that longs for an anti-anthropocentric and non-patriarchal world. The duo's compositions navigate through cyclical patterns, echoing snakes biting their own skin, volcano's starting to errupt, witches fingers that crumble towers and birds of steel and feather. They invite you into a world where the concept of 'the first' or 'the best' fades away and to join them on their musical journey with no clear beginning or end.

2025 Repress
L.F.T. returns to Mechatronica with his unique, signature blend of new wave and breakbeat influenced electro for the mind, body and floor. Boldly shaped by distorted drum machines, gut-wrenching grooves and haunting vocal chops, the KeyGenerator EP comes backed by an explosive IMOGEN remix and an occult collaboration with Cardinal & Nun. A spellbinding record on its own, and another crystal clear testament to L.F.T.s razor sharp sonic vision and ability to generate new styles from the past, present and future.

Moto Music proudly presents Time Synthesis, a sonic collaboration of the living legends Dan Piu and DJ Estimulo, creating a future past guaranteed to last. Experience the dynamic aurora of class, seamlessly guiding your senses through savory flavors of funky Detroit and atmospheric Techno hybrids to the smoothest of sunset coastal Deep House designs marinated to move bodies on the dancefloor and influence the mind. Indeed a synthesis of good times where the future of authentic house and techno was never left behind. Perhaps the dreamy chords and confident bassline of Strobes" unlocks your center of rewards via groovy techno modes, or its the Estimulo Ambient class pass of Wayne" that's the perfect sound for your late spring sunsets and nights in the rain; never the less with Moto Music since 1994, complete quality is here to adore in this ep menu of four…

Written and produced by Dan Piu & Estimulo

An elusive and quiet figure amidst the Portuguese electronic scene, Timóteo Azevedo aka Random Gods releases his debut album on Discrepant's sub label Souk after his killer appearance in the long sold out 'Antologia de Música Atípica Portuguesa Vol. 2' compilation back in 2019.
With two previous EPs on Danse Noire and ZABRA, Random Gods' futurist visions project themselves through a scavenger-like body music assembled from the hopes and debris of these uncertain and dread-inducing times. Rituals conjured from metal shards, blunted kickdrums, submerged basslines, reverberating textures, cut up vocals and lazer guided melodies.

The orchestral runs of opener 'Abertura' as a glimmer of nervous light into the deep end bass weight meditations on syncopated kicks and grimey synth stabs of 'Somatiga'. Slow burner 'Pneuma' conjures neon synth lines into its halfstep flow, while 'Acervo' complicates the rhythm further with its profusion of crumbling kickdrums, tossed off claps and tonal percussion. 'Prumoo' dwells deeper into post-industrial ardkore nuum with its merciless drum patterns and molten basslines and 'Alvoro' feels like footwork taken into those same wastelands, with a nervous percussive backbone from some ancient future - take that as you will. Closer 'Ex.Tejo' brims with a certain sunrise melancholy among the storm as if there's still some hope after all.

Let's hold on to it.

Joe Bataan's extensive discography was expanded in 2022 with the release of some old recordings from the King of Latin Soul that had never been previously published. After the success of his album "Riot!" (1968), Bataan had easy access to a studio whenever inspiration struck to record a new song sketch or even a complete track. Sometimes, he would finish the recording entirely and offer it in its final version to Fania for release. This usually worked, although on some occasions, the song was rejected. In the case of 'Drug Story,' the track was recorded without a clear final purpose, even though Bataan hoped it would become part of an album. When the Fania executives heard the result, they immediately rejected it, thinking it promoted drug use. The tapes were filed away and lost in oblivion until they ended up in a thrift store in New York. From there, they were rescued by a Latin music specialist and later sold, eventually making their way to the Vampisoul archives. The song was finally released in its entirety in 2022 on the LP "Drug Story" by Now Again. It features a long, slow vocal intro that evolves into a more uptempo track with two very distinct parts, to the point that it almost feels like two different songs. It transports us to the best moment of Joe Bataan's career, with all of his classic ingredients, delivering a track as good as his most famous songs. Bataan himself takes on the lead vocals and piano, Bobby Rodríguez handles the flute, sax, and bass, Pete 'Choki' Quintero plays the drums, and William Howes Jr. plays the electric guitar with wah-wah effects. Vampisoul strongly believes that the song deserved to be released as a single as well, and that its structure was perfect for each side to have a separate identity. So here it is, for the first time on a 45, 'Drug Story,', parts one & two, the long lost track by Joe Bataan. Pure Latin soul, recorded at the peak of the artist's career!

STRANGER STILL was Julian Cator (guitar), Paul Cator (piano, organ, synthesizer), Tim Warnes (bass), Frank Warnes (vocals, drums) and Ian Johnson (vocals, drums) from King’s Lynn, Norfolk, UK. The two sets of Cator and Warnes siblings had been playing together in bands since 1974, with Ian joining in 1979, and with their musical style evolving from glam influenced rock to punk/new wave (punk came late to Norfolk) and finally post-punk, influenced by Ultravox!, Magazine, Joy Division, Bauhaus and Killing Joke. Their first gig together was in September 1979 with John Peel being in the audience. The Solitude/Survivor single was recorded in July 1981, released in November and sold well locally. John Peel played Solitude, between singles by Winston and Screen 3. When Julian left in autumn 1981 the others continued, later changing their name to Nothing Sacred. Ex-members have since played in a number of other bands, most notably Paul and Tim in Shine!, and Julian and Paul in Ivy.

Solitude opens in a perfect analogue way with a ‚primitive’ rhythm machine pattern and a dark synth sound fading in. We shall be glad for the band’s move towards electronics while knowing „given the negative reaction we got from some of the local bands when we got the synth a Moog Satellite“, quoting Julian. When the real drums, guitar, bass and vocals also come in, you’re in for one of the most perfect post-punk songs, yet playful but ultimately bleak. “And then I can feel nothing more. Alone again, with no sensation.“ Survivor is more uptempo and bass-driven, reminiscent of early Death In June (who came later though). Lyrics like “4 minute warning warning – the sound of today. Our new dream world – Enola Gay.“ set the mood there.

The band composed a dozen of songs, demos to get gigs, which were unfortunately never recorded properly in a studio. So these are demos or rehearsal tracks, never released to the public and presented here for the first time ever as an additional 15 tracks download-only (due to the poor sound quality). You’ll find fantastic tracks like Brave New Berlin or Cardiac Arrest, which is reminiscent of Death In June’s In The Nighttime, and then, there is a demo of Solitude too!

Here’s to a piece of post-punk history!

The Brazilian DJ/music-producer based in Vienna/Austria makes his debut on footnotes and the EP represents the best of Alibi and footnotes. The techy roller Dismissed has been destroying dancefloors for more than a year. ‘Black Piano’ and ‘Invisible’ both combined the brooding piano and skippy beats. The EP closer ‘Draw’ contains shades of the Autonomic era with beautiful synth lines but the crisp beats that Alibi is renowned for. All in all a stunning debut for Alibi on footnotes

Multi-instrumentalist, visual artist, and scene creator, Jonathan Uliel Saldanha, has been releasing music under various guises for two decades. With the successes of his moniker HHY (Nyege Nyege Tapes) whether in symbiosis with The Kampala Unit or the syncopationophilic big band of The Macumbas, Jonathan Uliel Saldanha's sonic signature continues to grow more and more singular. Ever synthetic and digital, Uliel Saldanha's work-ethic never eases—having recently started a label of his own, Horror Vector.

Surface Disorder sees the release of the music from Jonathan Uliel Saldanha's large-scale exhibition of the same name that occurred in Porto & Lisbon, (2024-25). As with much of his work, there is a Ballardian sense of a near-future in dystopia. And since we're already living the apocalypse, there's never a hidden moral to veer away from the torment. Instead, Uliel Saldanha dives into it and catalyzes it further.

Information from Angels feels like a cunty John Dee AI (credited as The Mouth) becoming an oracle of information overload, accompanied by an instrumental bidirectionally that splits into a lush harmonic layer of blissful punctuated pads and another that is a speedy but subdued melodic bassline. The Mouth intones a 15-minute fever dream that flows through themes that have occupied Uliel Saldanha for quite some time.

On Swarming the Pit, the intricacy of Jonathan Uliel Saldanha sonic wizardry is on full display. A constantly moving swarm of granulated particulates of sonic material morph into a variety of textures: coins or gunshell casings hit the floor, engines rev their monstrosity, rubber-like pulses are splayed into spectral blurs and pops. This is clearly an update on music conrète's obsessions.

The Mouth on the closing track, Wolf & Virus Dialogues, has a completely different texture from the first, alerting the listener to the uncanny nature of its genesis. Here the instrumental sounds are all triggered by the articulations of the voice: a weird unison, it serves as its own artificial accompaniment. The reiteration of a self-model (a rabid 'my') creates a greater tension between computational self-certainty and the terror of its inevitable actualization.