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Our imprint marks its five years anniversary this year and to celebrate it's offering up five special various artist packages across 2019 limited to 250 copies each,
featuring material from the likes of Vid, The Mole, Cinthie, Shinichiro Yokota, San Proper, Akiko Kiyama, Com Sin aka Cosmin TRG, Subb-an and more..

'Series 01', penciled for release in May sees Cosmin TRG return under his Com Sin guise with 'Glass Harps', a fluidly unfolding five and half minutes of pulsating subs, glitching percussion and sparkling harp tones before DJ Sodeyama aka The People In Fog's 'Chapter Zero' takes on a modulating hypnotic feel via psychedelic swells, tension building textures and a bumpy, robust rhythm.

UK duo Yard One join the roster with 'Dream Travel' on the flip-side, employing a more ethereal aesthetic with floating pads, winding chords and a heavily swung drum groove. This project also sees a new design concept for the imprint from London's David Surman's painting installation project 'Paintings For The Cat Dimension' which ''explores the motif of the cat as emblematic of internet aesthetics, a place where all painting styles and modes now exist non-hierarchically as pure information.''

Second chapter in the Alkaline series. Five electro cuts and one techno excursion, crafted by two artists with decades of dedication to electronic music.

On Side A, Raakel Bloody Raakel brings decades of discipline and formal training into a sharp, uncompromising sound. Active since the late 90s and rooted in both classical education and underground culture, his work reflects precision, intensity and structural control.

On Side B, Roi delivers three focused electro pieces forged through years of experimentation and dancefloor experience. His approach blends coherence, tension and forward motion, driven by a continuous commitment to evolving the language of electronic music.

Two trajectories. One alkaline framework. Built for those who understand the craft.

Cosmic Tribe · Research & Development in Sound.

2026 Repress

Life is like a mirror ball! The first one in a hopefully long-lived series of disco and pop influenced Super Sound Singles on Running Back, comes courtesy of the unmistakeable Gibson Brothers. Leaving their biggest wedding hits "Cuba" and "Que Sera Mi Vida" to the side, the philanthropic and smile-forcing "Ooh, What A Life" gets an extended edit service by Shan & Gerd Janson, who cut away some of the fat and make it fit for fun on contemporary dance-floors. The flip side sees them remixing and sandpapering "Heaven" into a disco-house interbred (filters and looping mandatory). To quote John Lyndon: "Disco sucks You never heard that from me."

A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation) This edition was remastered to analog perfection from the legendary Stefan Betke (POLE) sonically sculpting the original work into a true masterpiece - this album has never sounded so alive! This is truly a multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Marianas Trench. This edition features two cuts, "A Night To Remember" (as featured on Richie Hawtin's ENTER: Ibiza 4XCD mix) & "Under The Ocean" from the original 2009 edition of the album. The remaining tracks were selected from CD2 including "Tswana Dub" (Phase90 Restructure) as featured on Deadbeat's classic mix "Radio Rothko" on NYC's theAgriculture. Also included is a "live" (recorded from the house booth) performance at "dub echoes" in NYC (a screening for the feature film).

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
Remastered 4:44

a A1. A Night To Remember Remastered 11:07
b A2: Ocean View Remastered 5:30
c B1. Kingston’s Burning Dub live in nyc 8:08
d B2: De Lion’s Den Remastered 4:20
e C1: Never Forget Remastered 9:06

g D1: Love In Lofi Remastered 13:00
[Remastered] 4:44

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.

Nacho Marco drops Colors in Dub Vol.1—deep house soaked in warm analog dub. From the hypnotic “Midnight Blue” and its Satoshi Tomiie remix to the raw pulse of “Bumblebee Yellow” and “Electric Green,” this wax rides late-night frequencies straight from Valencia to Paris.

DJ Feedbacks :


Francois Kevorkian (Wave) : Love the Satoshi mix
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Travis Kirschbaum (Warehouse Preservation Society) : Loving this. Especially Midnight Blue!
Sascha Dive : Midnight Blue for me!!
Brothers' Vibe (Luv4Wax) : Super ep, great works!!
Radio Slave (Rekids) : Another superb ep from Phonogramme and Satoshi's mix is great.
Giles Smith : "midnight blue" is nice
Alexkid (Rawax / FUSE / NG Trax) : Totally my vibe. <3
Aleqs Notal : Yes !!
Italojohnson (Italojohnson) : Track 1 for me!
Ben Sims : Now downloading... will check asap!
Okain (Talman / Infuse / Pleasure Zone) : Electric Green is dope!
Satoshi Tomiie (Abstract Architecture) : Receiving great feedback from the dance floor!
Steffi (Dolly) : lovely release!!
Laurent Garnier : Cool tracks
DJ Bone (FURTHER) : Electric Green and Satoshi Tomiie remix work for me.
Harri (Sub Club) : lovely stuff, will play and support
Rob Pearson (Evasive Records / Sine 102.6fm) : lovely - right up my street, cheers ;-)
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Solid E.P. current fave Electric Green
Jorkes (Freeride Millenium) : lovely, thanks so much. xo
Kassian (Phonica White / Heist Recordings) : wicked
Jaye Ward (Dalston Super Store / Netil Radio) : massive quality as ever!! super deep and pulsing gear, electric green is ace! thx
Tim Sweeney (Beats In Space) : Sounds great
Chloe Caillet (Smile Records) : love this!
Stevie Cox (Sub Club) : really lush, thank you !
Raresh (ar:pi:ar) : thanks
Ame (Innervisions) : thanks
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Saoirse (Body Movements) : Super nice dubby vibes
Amotik : Very nice :)
Kai Alce (Real Soon) : Satoshi remix is hot!
Domenic Cappello (Subclub) : nice dubby house
Cee ElAssaad (ENSOULED) : Just the way I like it! dubby and groovy.
Mike Shannon (Cynosure) : Excellent work here from Valencia's finest!

Lunfardo presents Heroica, the fifth chapter in its conceptual series, inspired by the Three Defences of Paysandú, events that remain embedded in the city’s memory and the history of Uruguay.

Among them, the Heroic Defence of Paysandú (1864–1865) stands as the most enduring symbol: a weeks-long resistance led by Leandro Gómez against overwhelming forces during the Brazilian intervention and allied advance. Across generations, these events have come to embody resistance, sacrifice and permanence.

Heroica is Lunfardo’s tribute to Paysandú, the city where the label was born.

The release explores this narrative through the work of Andrew Lagowski, one of experimental electronic music’s enduring figures. Active since the early 1980s, Lagowski has released more than 60 albums and over 10 vinyl singles, leaving a lasting mark across electronic, experimental and techno music.

For Heroica, Lunfardo revisits selected works from Lagowski’s 1995–2000 CD era, presented on vinyl for the first time, alongside a contemporary composition produced in September 2024.

Bridging archival electronics and contemporary vision, Heroica unfolds through themes of resistance, memory and permanence.

Artwork by @estudio.polar

For more info @Lunfardo.records

For ONO006 we welcome born ‘n’ based Palermo producer, DJ, record shop owner and label head Riccardo Schirò to the ever evolving ONO roster. The Sicilian madman plates a killer exxxtended single, Raga Della Sera, complete with a royal remix treatment from downright hero DJ Sotofett.

Riccardo’s Raga Della Sera is a ritualistic summoning of the 303s and 808s of the past, calling on the sounds of old to conjure up a thrilling 11-minute freakout. Signor Schirò combines an acid-inflected proto-trance and a certain Gregorian Giallo flavour to bring forth one truly unique piece of music. Bellissimo!

On the flip, DJ Sotofett reshapes Raga Della Sera with a signature 909 dub, tried and tested at his preferred romping grounds, Globus. The maestro contorts, unravels and reassembles the mystical original into a club demon – ferociously dance-direct and itching to possess heads around the world.

Riccardo has been producing and releasing music on his excellent Gravity Graffiti imprint since 2019, with more than 20 records under his belt he is a hard working and brilliant musician and label curator in our humble opinion. We are proud to be welcoming him to the family and have this brilliant record as a part of the ONO arsenal.

We are beyond excited to unleash this disc upon the world, with both versions coming to a dancefloor near you very, very soon! Let it rip and turn it up!

Rooted in raw, minimal, dubby and emotional music, the Amsterdam-based Label Delver focuses on expressive recordings rather than polished productions, with releases that wander across genres.
The label’s first vinyl EP grew out of a shared passion for hardware jams between three friends, who regularly come together for live performances. Recorded in the afterglow of the summer of 2025, Delve Deeper Vol.1 brings together four tracks that combine from deep and hypnotic to more ambient and experimental territories.

Vand joins the roster with a collaboration with Holotropic, adding his singular interpretation of techno to the record. Each artist brings their perspective and while dub techno is the common ground here, the record explores a variety of its expressions.

Holotropic opens with “Sabra”, a patient, raw dub techno cut with subtle traces of the deeper Vril catalogue. Sasemoi’s “Those Who Seek” heads into more ethereal territory, its rhythm gradually surrounded by layers of sound that seem to pull the track upwards. “Binary” goes further into Sasemoi’s more experimental side, with broken rhythms and a heavier dub presence. Closing the record, Vantropic’s “Rift” shifts towards ambient and IDM, built from textured sounds and open space rather than a conventional dancefloor structure.

Born from a summer of shared sessions, Delve Deeper Vol.1 carries something of that time with it: the closeness of playing together, the freedom of improvisation, and a shared love of dub techno.

20 Years into the future, we return to you with the world’s illest hard drum n bass beats. In 2006, we released Counterstrike, Identity (BTK Spleen), Corrupt Souls, and Lethal & Khanage, making a 4 continent super weapon of drum n bass.
We arrive in 2026 with the hottest new talent - Rawbreaker, Anika D, paired with legends such as Jaise, Submerged, and inimitable voice of Flowdan. Disciples of the Unreal II is our return to wax also, with a 2x12" mastered hot for the DJs and distributed worldwide.
Each artist contributes a piece of the hard sound in their own fashion - from the roughneck beats of Medium, Rawbreaker, Submerged, and Scartat, to the Sinthetix-fueled neurofunk of Code2 and Anika D, and a foray into industrial techno from Slave to Society’s rework, and landing in the world of original Jungle sound with Jaise. From every corner - we come correct with the drum n bass intellect.

Community Function’s debut release presents four raw, floor-focused cuts from Detroit’s Hood: three originals spanning high-energy breakbeats and atmospheric techno-house and a low-slung, chest-rattling remix from France’s Cruise Control.
Rooted in traditional Middle Eastern music with a percussive background, Hood channels a rhythm-centric mindset through machines to deliver fat grooves, funky basslines and drums that don’t quit.
ANEMOIA opens as a lean, late-night warehouse tool locking a sultry breakbeat over a driving 4/4 pulse, bridging raw machine funk and classic electro with a cheeky vocal sample, a dominant low-slung bassline, and constantly shifting top-end percussion for unvarnished, high-energy club material. XATION shifts into heavy, driving yet atmospheric territory that blurs the line between Detroit Techno and '90s Tech House, held together inside a deeply textured sonic environment that moves between rhythm-centric and melodic structures before a massive breakdown of lush pads and warm strings lifts the floor and grounds it back in groove. PLAYTEST tracks out live with the foundational 707 and SH-101 combo, relying on a single chord, a dystopian vocal sample, and raw, on-the-fly programming to deliver a relentless, hypnotic chugger for the purists. XATION (Cruise Control Remix) closes out with a low, heavy bassline that hits the chest first, dragging bodies into its sway and taking its time to build tension before releasing it.

Zwei wahre cineastische Juwelen auf einer 7"-Single. Eine Auskopplung aus der beliebten Vinyl-Compilation-Reihe "The Tape Masters", die laufend seltene Rare Groove-Schätze und unveröffentlichte Aufnahmen aus den Archiven des Filmkomponisten Peter Thomas zutage fördert. Exklusiv auf dieser Single – und überhaupt zum ersten Mal auf Vinyl erhältlich – ist die rare deutschsprachige Version des Tracks "Black Power", gesungen von einer gewissen Donna Gaines. Später natürlich weltberühmt geworden als Donna Summer, markiert dieser Song ihre allererste Aufnahme als Solokünstlerin im Alter von gerade einmal 20 Jahren. Zugleich war es ihr erster Auftritt vor der Kamera – prominent platziert im ZDF-Krimi-Dreiteiler "11 Uhr 20" (1969). Sowohl der Film als auch bisherige Sampler verwendeten die englischsprachige Version; der Mono-Mix der deutschen Fassung wurde erst vor Kurzem in Peter Thomas’ Bandarchiv wiederentdeckt. Ein weiteres vokales Highlight aus einer deutschen Krimi-Trilogie ist Senta Bergers frech-laszives "Vergiss mich, wenn du kannst" (aus dem ZDF-Krimi-Dreiteiler "Babeck", 1968). Das Lied basiert auf dem Titelthema der Serie und wird von der Sängerin in ihrer Rolle als geheimnisvolle, vamp-artige Barchefin interpretiert. Unter Liebhabern europäischer Filmmusik hat sich der Titel längst zum Kultstück entwickelt und wurde bereits mehrfach gecovert. Das Original feiert nun endlich hier seine Vinyl-Premiere. Achtung: Ein absoluter Doppelseiter!


a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2, Cosmocities returns with the third instalment of its celebrated compilation series dedicated to the rich and ever-evolving world of Japanese electronic music. Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 3 continues the journey through Japan’s diverse sonic landscape, bringing together pioneering artists, cult favourites and contemporary innovators across ambient, house, jazz-infused electronics and experimental sound design.

A carefully curated snapshot of Japanese electronic music past and present, Denshi Ongaku No Bigaku Vol. 3 showcases the depth, innovation and enduring influence of one of the world’s most inspiring musical cultures.

Since its inception, the Denshi Ongaku No Bigaku project has paid tribute to a musical culture that has profoundly influenced the Cosmocities vision. Where the first volume explored dreamy ambient textures and deep electronic moods, and the second shifted focus towards boogie-laden rhythms and jazz-fuelled dancefloor excursions, Volume 3 finds a natural balance between introspection and movement.

The compilation opens with Yosi Horikawa’s sublime “Bubbles”, an ambient masterpiece whose delicate organic textures gently set the tone. Chari Chari’s “Luna de Ritmos” follows with deep, ethereal house atmospherics before Force Of Nature’s hypnotic “Skyy High” guides listeners further into immersive territory.

The journey continues through the experimental electronics of XTAL’s “Skygazer” and the analogue warmth of Takuya Matsumoto’s “Jump Rope Music”, while regular Cosmocities contributor Yuu Udagawa delivers the sophisticated high-tech jazz house groove of “Little Secrets”.

On the second half of the collection, Kuniyuki’s remix of Slow Didi’s “Follow Me” brings rich jazz-inflected elegance, leading seamlessly into the futuristic techno-swing fusion of DJ Eiji Takehana featuring Yusuke Nakamura’s “Deep Track Jazz”. Tominori Hosoya’s “Summer Dreamers” adds a deeply emotional and dreamlike house moment before Azzurro’s “Just A Touch Of Love” shifts the focus firmly towards the dancefloor with a hypnotic late-night thumper.

Closing the compilation is AcidGelge’s “Fatality 4”, a beautifully spacey and atmospheric finale that leaves the listener suspended somewhere between the club, the cosmos and the imagination.

The Bratislava-based band 52 Hertz Whale release their new album Present Sense Impression in a collaboration of the labels Weltschmerzen and Full Moon Forum.

Three years since their album I've Met a Lot of People, the band brings forth a lot of new ideas, finding a new resonant space, and utilising the fierceness // savageness of their live shows, in an intimate stare at contemporary guitar music.

52 Hertz Whale is a band well known in the Central European music context. Their ferocious sound, mixing the intensity of post-punk, heavy guitar wails, and melancholic // stark vocals of Dominik Prok has been tearing down the fixtures of many festivals and venues, all the while being a great example of a band driving at 200mph nonstop. On Present Sense Impression, the band, composed of Dominik Prok, Dominik Fabian, Patrik Nagy, Tomáš Tabiš and Adrián Krišák, have arrived at a record full of manifold manifestations of their live sound, but at times recalling the more marginal waves of 80s pop // rock sound. Resolute drums, heavyweight guitar and bass riffs now deem closer to the lightness of early ethereal darkwave, just to indulge in the classic melancholic heaviness they are known for only seconds after.

Some of the songs have been produced by "Prague's favorite rock'n'roll enfant terrible" Lazer Viking as well as Pulp Studio's Jakub Hríbik, and one features a special guest - the cemballo virtuoso Marcel Comendant. The traditionally stunning artwork was created by the accomplished Martin Mesaroš.

Present Sense Impression is the 20th album released under the Slovak romantic // experimental label Weltschmerzen focused on emotionally hypercharged, humanely intertwined, and acutely sounding contemporary music. This time in collaboration with the czech label Full Moon Forum. It releases August 26th on limited edition baby pink, standard edition black vinyl and on all streaming platforms.

The creation and release of this record have been supported using public funding by the Slovak Arts Council, and SOZA. Fullmoon Forum project was supported by the Ministry of Culture of the Czech Republic.

opo’s 666ridims (2020 - 2026), compiled by J.TRIPP, brings together tracks from his 666ridims netlabel, reflecting on the singular sound worlds of some of his solo work. Like a discovery made by neutrino sensors, opo’s tracks research the transformation of rhythm, swing, and structure, aiming for a new grid. Sketchy and raw, processing emotions and experiences, regaling stories, and asking questions, opo relates in trance verse. All tracks here breathe his focus on improvisation, experimentation, and collaboration. Some of the beats featured on 666ridims (2020 - 2026) are outlines for freestyles and songwriting ideas, a practice formed during a long-distance music conversation with illustrator, printmaker, painter, designer, and maker Billy Bigwood. Other tracks are more club-oriented, like speculative genres programmed in odd meters. Japanese Barcelona-based DJ Hanakito contributes to one track, using samples and chops sourced from her vinyl imports.

Through Afroelectronic experimentation and diasporic narratives, opo encodes his soul's past and future through his music. Encoded, activated, returned. Initiate only when you receive permission from all your mental fragments. Keep transmissions in mind and dislodge and follow the command cluster's trail. Strongly influenced by sci-fi, ancestral afro musics, jazz, performance art, and food, as musical lines and shards of meaning cascade, 666ridims (2020 - 2026) is a minimalist dive into strange meters, polyrhythm, and the transcendence of ideas. Fast, slow. Exhilarating. We don’t discover physical laws; we just collaborate on them.

Italian sound artist Giulio Aldinucci returns with his 5th album on Karlrecords: "Materia" is unsurprisingly a truly masterfully composed and sound-designed ambient masterpiece that adds perfectly to a series of critically acclaimed albums like “Disappearing In A Mirror” (2018) or “Shards Of Distant Times” – some of which made it onto several year’s best lists.

Giulio Aldinucci is an Italian composer and sound artist from Siena, Italy. His work focuses on ambient and experimental music, blending field recordings, electronic processing, and acoustic elements. Active since the early 2000s, he has released several solo albums on international labels including Karlrecords, Home Normal, and 99chants. His compositions often explore themes of memory, perception, and the relationship between sound and place.

Aldinucci's music is characterized by immersive, multilayered textures and meticulous attention to sonic detail. He constructs expansive soundscapes by integrating processed environmental recordings, choral elements, instrumental timbres, and subtle harmonic shifts. His style draws from both the aesthetics of contemporary ambient and the techniques of electroacoustic music, resulting in works that are at once atmospheric and conceptually grounded. The interplay between organic and synthetic sound sources is central to his approach, blurring the boundaries between the natural world and the constructed sonic environment.

His works have been presented at international festivals. He has also created art installations and multidisciplinary performances. In addition to his solo output, Aldinucci has collaborated with a wide range of musicians and artists, developing projects that intersect sound art, composition, and performance.

Aldinucci about "Materia": "Materia focuses on the idea of sound as a matter, which can be shaped into complex forms by removing excess material from the sound mass.The album originates from the dichotomy between accumulation and subtraction, creating compositions out of frequency-dense audio material in order to unearth what is “hidden” inside the raw sound mass. Unlike sculpture, in music time can be matter too by shattering sounds into milliseconds andrecompose them with a different fragments order, going beyond the traditional notions of rhythm and duration.“

Rapidly gaining momentum, Drumcode’s new DC4 series returns to serve up a collaborative feast for its fourth edition.

Since debuting in summer 2025, DC4 has done exactly what it says on the tin: serving up four elite tracks that deserve the spot to shine.

You know you’re going to get A+ quality when you cue up a Victor Ruiz & Alex Stein collaboration. The Brazilians have a long history of studio jaunts and they deliver the goods via ‘Core’, a brilliant brain-scrambling outing with a strong dramatic arc.

Charles D & Weska follow up last year’s ‘The Answer’ on 1001 Recordings with ‘Can’t Get Enough’ feat. Bexxie. With a foot in prog and techno alike, this is driven by low-slung grooves and Bexxie’s sexy vox, packing an exhilarating energy throughout.

Enter two Drumcode debutants – SCRIPT & OKAYVAL. The former is a fast-rising American artist who is coming off collaborating with Brazilian superstar ALOK, while the latter is a Colombian born, US-based artist whose earned gigs at EDC Vegas and Tomorrowland this year. ‘LIKE THAT’ is a high-energy jam marked by tight rolling percussion and a sharp vocal loop designed for peak-time impact.

Another pair of fresh faces land on the comp as Martin Costas & Gabriel Gil drop ‘It’s All Around’. Lock in for a pulsating slice of prog driven by hypnotic rhythms and lush melodic textures. A versatile cut fit for a variety of party situations.

Enlazando el número de referencia (el vol8) con la caja de ritmos mítica y clásica de Roland la Tr808,.. qué puede salir mal? 6 Cortes, 6 Artistas, 6 ideas, 6 visiones de este nuestro amado estilo que llamamos Electro.

Vema-Diodes_ Victory lap:
Contundencia y elegancia, ritmos rápidos, pads ambientales que cuentan una historia futurista. Resumiendo, un rompe pistas como ya nos tiene acostumbrado nuestro macarra favorito del Llobregat.

Dark Vektor_ Haciendo el Robot:
Pues esta vez el tito Vektor se ha puesto el chándal de 1984 (de Emilio tutsy ya que es un vanidoso) y nos trae una muy buena producción al estilo old school homenajeando a los mismísimos Dynamik Bass System y EPG.

Univac_Artic Defender:
Qué decir de uno de los mas grandes del electro de nuestro país, oscuridad, contundencia y sonidaco…electro rozando lo industrial rozando lo hipnótico rozando lo mas profundo de nuestro ser.

Multiplexors_Kill Circuitcenter:
Un Honor poder editar su primera referencia de este dúo formado por Sentex y AM/ALF dos friks de las máquinas y del bass, nos traen un corte muy purista super sintético con alma analógica, vocoders y 808 y lo mas importante: intención.

Calagad13_Cosmic Sailor:
Un honor tener a un grande del electro, un pionero del bass en nuestra tierra, temarrako al mas puro estilo Miami bass con una producción exquisita… un revienta pistas.

Negocius Man_Flying on Vega:
El gran Nego, que decir el Man Machine de Madroit, nos entrega un corte contundente, de culto, sonido oscuro y mental donde entras en su mundo percusivo te atrapa y ya no te deja salir hasta que el quiera.

DC Salas doesn’t do things by halves. Fresh off a June release on Enrica Falqui’s Plexus4, the Brussels-based producer wastes no time returning to his own Higher Hopes imprint and he’s brought a party with him.

Fiesta EP is a four-tracker with a split personality and zero apologies for it. The A-side is all business: Darkest Dream, already doing damage in Roza Terenzi’s sets and Consciousness lock in deep, hypnotic, and faster paced. Then the B-side happens. Fiesta Fiesta and Lost In My Memories raid the wreckage of new beat, proto-whatever and early 2000s electrohouse like they own the place. Fiesta Fiesta also marks fifteen years of DC Salas making music, celebrated, naturally, by vocodering his own voice and singing in Spanish.

HIGH005 follows Pixelated Dream Theory, which pulled support from DJ Masda, Ivan Smagghe, Evan Baggs, Enrica Falqui, Binh and many more. Back on home turf, no features, no compromises. Just DC Salas, in full.

Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.

Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.

The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.

Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.

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

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

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

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

This is a stunning new Japanese Modal / Spiritual Jazz album by the incredible Saxophonist Sinsuke Fujieda featuring Fumiko Takeshita on violin, recorded in Tokyo in 2023, five splendid own compositions - a beautiful listen!

Production Dessinee treatment on high-quality Japanese vinyl. Limited to 1000 copies

Emerging in 2023, Die Anstalt are a Berlin-based post-punk and minimal synth trio who quickly established themselves with a blistering fusion of early EBM, synth-punk, and classic post-punk. Their sound channels the grit and tension of 1980s industrial sub cultures while feeling unmistakably contemporary. Recently signed to City Slang worldwide, the band are reissuing their independently released debut album through the label. They have also announced a UK and Ireland tour supporting A Place to Bury Strangers, alongside a hometown headline show at Berlin's legendary SO36 in November 2026.

Die Anstalt sound like no one else, even if everyone hears something different. Depending on who you ask, you'll catch traces of Malaria!, Boy Harsher, DAF, early EBM, synth-punk, or X-Mal Deutschland. Then there's the surf guitar, a detail that shouldn't work but somehow holds the whole thing together. The result is theatrical, confrontational, hypnotic, and relentlessly physical. They write slogans that stick. They're appropriately furious. Live, they're less a concert than a controlled explosion.

Their songs give voice to generational exhaustion, the dystopian absurdities of the present, warmongers, the manosphere, and the constant sense that the world is coming apart at the seams. Somehow, they also sound unmistakably like Berlin. That doesn't happen often, maybe once a decade, if we're lucky.

Most of all, Die Anstalt are proof that beneath the noise, the algorithms, and the endless churn of industry discourse, something vital still burns: rage, conviction, and hope in equal measure. At their core, they are a punk band. No posturing. No compromise. No messing around. They don't ask for permission. They burn it all down.

Die Anstalt, 2023 in Berlin gegründet, bewegen sich zwischen Post-Punk, Minimal Synth und frühem EBM. Innerhalb kürzester Zeit hat sich das Trio mit einer kompromisslosen Mischung aus Synth-Punk, klassischem Post-Punk und der rauen Energie der industriellen Subkulturen der Achtziger einen Namen gemacht – und klingt dabei nie nostalgisch, sondern entschieden gegenwärtig. Kürzlich unterschrieb die Band weltweit bei City Slang, wo nun auch ihr zunächst in Eigenregie veröffentlichtes Debütalbum neu erscheint. Im Herbst 2026 begleiten sie A Place to Bury Strangers auf deren UK- und Irland-Tour, bevor sie im November mit einer Headline-Show im legendären SO36 nach Berlin zurückkehren.Die Anstalt klingen vor allem nach sich selbst – auch wenn jede*r etwas anderes hört. Die einen denken an Malaria!, andere an Boy Harsher, DAF, frühen EBM, Synth-Punk oder X-Mal Deutschland. Und dann ist da diese Surf-Gitarre, die eigentlich nicht funktionieren dürfte und doch alles zusammenhält. Die Anstalt sind theatralisch, konfrontativ und hypnotisch. Sie schreiben Parolen, die hängen bleiben. Ihre Wut ist berechtigt. Live gleichen sie einem kontrollierten Ausbruch.Ihre Songs finden Worte für die Erschöpfung einer Generation, für die dystopischen Exzesse der Gegenwart, für Kriegstreiber, die Manosphere und die Absurditäten unserer Zeit. Irgendwie klingen sie dabei unverkennbar nach Berlin. Das passiert nicht oft – vielleicht einmal pro Jahrzehnt, wenn wir Glück haben.Vor allem aber beweisen Die Anstalt, dass unter dem Lärm, jenseits von Algorithmen, Trends und dem endlosen Gerede der Musikindustrie noch immer etwas brennt: Wut, Haltung und Hoffnung zugleich. Im Kern sind Die Anstalt eine Punkband. Kein Posieren. Keine Kompromisse. Kein Bullshit. Sie bitten nicht um Erlaubnis. Sie reißen alles nieder.

DAYBREAKERS Records proudly presents ROOT DOWN 30, a celebration of one of Europe's most influential club institutions. Curated by legendary DJ, producer and tastemaker Rainer Trüby, the compilation marks three decades of Root Down, the Freiburg party that has quietly shaped dancefloors, record collections and musical conversations since 1996.

Long before genre boundaries dissolved into today's eclectic club culture, Root Down championed a unique musical vision. Jazz, Brazilian grooves, soulful house, broken beat, Afro-Latin rhythms and future-facing electronic sounds were brought together under one roof, creating a community that became a vital meeting point for adventurous dancers and deep music lovers alike.

Across thirty years, Root Down has hosted an extraordinary roll call of artists and DJs including Jazzanova, Gilles Peterson, Theo Parrish, Kyoto Jazz Massive, Jimpster, Laurent Garnier, Dixon, Peter Kruder, Richard Dorfmeister and countless others, helping establish Freiburg as an unlikely but essential stop on the global underground music map.

ROOT DOWN 30 captures that spirit perfectly. Handpicked by Trüby, the collection brings together a selection of artists whose music embodies the warmth, sophistication and dancefloor energy that have defined the party since day one. Featuring music and remixes from Jimpster, Osunlade, Da Lata, Jazzanova, Crackazat and more, the compilation moves effortlessly between soulful house, jazz-inflected club music, Brazilian influences, broken beat rhythms and deep electronic grooves.

ROOT DOWN 30 is a snapshot of an enduring musical philosophy. Thirty years after the first Root Down dancefloor came to life in Freiburg, the spirit remains unchanged: open-minded, soulful and rooted in discovery.

ROOT DOWN 30 stands as both a celebration of that remarkable journey.

Released on DAYBREAKERS Records.

Ready to take our streets back? Kill the Colossi sind wohl eine der spannendsten neuen Bands aus England und haben mit ihrer (zuerst nur) selbstveröffentlichten Debut-CD "Braces for Impact" vor zwei Jahren sofort für weltweite Beachtung in der Szene gesorgt (mittlerweile auf Vinyl von Sunny Bastards erhältlich)! Kein Wunder die aggressive Mischung aus "in your face"-OI!-Shoutern und markanten Streetpunk-Melodien umrahmt von fetten Gitarrensound und wohlplatzierten Singalongs knallen alles weg. Vergleiche mit Kalibern wie "Lion's Law" machten schnell die Runde. Das Ox-Magazin schrieb zurecht: "KILL THE COLOSSI sind neben THE CHISEL die gegenwärtig wohl beste englische Oi!-Punk-Combo." Und selbst die Metalszene wurde auf die Band aufmerksam (Rock Hard 9/10) und bescherte der Band eine Einladung zum Kuhzi-Festival. Jetzt erscheint der Nachfolger "Roses & Riot Shields" und setzt den Weg von Kill the Colossi eindrucksvoll fort: Mitreißend-kraftvoller UK-Streetpunk/ Oi! mit ausgeklügeltem Songwriting und dem "gewissen Etwas", den man schwer in Worte fassen, dafür umso mehr im Herzen spüren kann! 10 neue Songs bei denen man übliche Klischees und abgenudelte Stereotypen vergebens sucht. Stattdessen sozialkritische Lyrics (Empire of the Dirt, Scarcity), wütende Bestandsaufnahmen über das verzerrte Spiegelbild der Gesellschaft (Working the weak), bis hin zu all dem neumodischem Scheiss, der manipuliert und beeinflusst (Under the Influencer; Legal High). Mit "Boots don't fit" schließlich gibt's eine unter die Haut gehende Hymne, die fernab der üblichen oft banalen Bekenntnisse gegen Rassismus viel tiefer in die Wunde sticht und deutlicher nicht sein kann! Jede Gesellschaft kriegt halt was sie verdient_"Kill the Colossi" dürfte mit diesem Album der Sprung in die nächste Liga sicher sein!

Ready to take our streets back? Kill the Colossi sind wohl eine der spannendsten neuen Bands aus England und haben mit ihrer (zuerst nur) selbstveröffentlichten Debut-CD "Braces for Impact" vor zwei Jahren sofort für weltweite Beachtung in der Szene gesorgt (mittlerweile auf Vinyl von Sunny Bastards erhältlich)! Kein Wunder die aggressive Mischung aus "in your face"-OI!-Shoutern und markanten Streetpunk-Melodien umrahmt von fetten Gitarrensound und wohlplatzierten Singalongs knallen alles weg. Vergleiche mit Kalibern wie "Lion's Law" machten schnell die Runde. Das Ox-Magazin schrieb zurecht: "KILL THE COLOSSI sind neben THE CHISEL die gegenwärtig wohl beste englische Oi!-Punk-Combo." Und selbst die Metalszene wurde auf die Band aufmerksam (Rock Hard 9/10) und bescherte der Band eine Einladung zum Kuhzi-Festival. Jetzt erscheint der Nachfolger "Roses & Riot Shields" und setzt den Weg von Kill the Colossi eindrucksvoll fort: Mitreißend-kraftvoller UK-Streetpunk/ Oi! mit ausgeklügeltem Songwriting und dem "gewissen Etwas", den man schwer in Worte fassen, dafür umso mehr im Herzen spüren kann! 10 neue Songs bei denen man übliche Klischees und abgenudelte Stereotypen vergebens sucht. Stattdessen sozialkritische Lyrics (Empire of the Dirt, Scarcity), wütende Bestandsaufnahmen über das verzerrte Spiegelbild der Gesellschaft (Working the weak), bis hin zu all dem neumodischem Scheiss, der manipuliert und beeinflusst (Under the Influencer; Legal High). Mit "Boots don't fit" schließlich gibt's eine unter die Haut gehende Hymne, die fernab der üblichen oft banalen Bekenntnisse gegen Rassismus viel tiefer in die Wunde sticht und deutlicher nicht sein kann! Jede Gesellschaft kriegt halt was sie verdient_"Kill the Colossi" dürfte mit diesem Album der Sprung in die nächste Liga sicher sein!

Phill Niblock completed BLK+LND in late November 2023. It is one of Phill Niblock's final compositions and was commissioned by bassist Robert Black (who passed away in the summer of 2023). The piece is based on recordings of acoustic bass and bass clarinet performed by Neil Leonard and Robert Black under Niblock's direction in 2021.

Phill Niblock (1933-2024) as an artist whose fifty-year career spanned minimalist and experimental music, film and photography. He has been a maverick presence on the fringes of the avant-garde. In the history books he is the forgotten Minimalist. Since 1985, he served as director of Experimental Intermedia, a foundation for avant-garde music based in New York with a branch in Ghent, and curator of the foundation's record label XI. Known for his thick, loud drones of music, his signature sound is filled with microtones of instrumental timbres that generate many other tones in the performance space. He said: 'What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly.' In 2013, his diverse artistic career was the subject of a retrospective realized in partnership between Circuit (Centre d'art contemporain Lausanne) and Musée de l'Elysée (Paris). The following year he was honored with the prestigious Foundation for Contemporary Arts John Cage Award. Since 1968 he also put on over 1000 concerts in his loft space in New York.

"On January 6, 2024, two days before his passing, Phill called me to discuss the premiere and tour of BLK+LND. To distract him from his rapid decline, I engaged in his touring plan, only for him to reveal that all the details were still in his head and none of the events had been confirmed. He was entrusting the project to me. Phill would have been thrilled and honored by this concert at the Donaueschinger Musiktage. The thought of one more performance with Robert Black, whom he greatly admired, presenting his new work for low-pitched instruments that he was particularly fond of, andreconnecting with old and new friends in Donaueschingen would have meant the world to him." - Neil Leonard, Berklee College of Music, Boston

Expanding on his signature cinematic canvas, the EP solidifies the immersive, spiritual space Common Saints occupies in the contemporary landscape, a distinct sound with trademark intricate studio arrangements.

Following the structural foundation laid by the project's breakout singles "Night Light" and the title track "Illusions", the full EP stands as a striking philosophical assessment of the modern human condition. Age Of Illusions serves as an artistic reflection of cultural anxieties surrounding hyper-technological advancement, guiding the listener through a deliberate sonic architecture of self- discovery, spiritual rebirth, and final enlightenment.

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.



That initial fearlessness has since fuelled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.



GoldFord’s touring trajectory has followed the music's rapid ascent. He began in intimate rooms like Los Angeles’ Moroccan Lounge and New York’s Baby’s All Right before embarking on a debut North American tour that sold over 25,000 tickets. This momentum carried over to his first UK and European run, which required multiple venue upgrades in cities like London and Manchester. The international momentum continued with an Australian debut in March 2026, alongside key festival appearances at Austin City Limits and Noah Kahan’s Out of the Blue. He is currently headlining 1,000+ capacity venues on the Space of the Heart North American tour, including sold out shows in historic rooms like The Fonda and Webster Hall, with upcoming festival slots at Shaky Knees and Oceans Calling.

ATA00BS will be released in a Number Stamped Edition, with Full Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

'Keep it simple' 103636;"Reissue- Tracklist A1. Unknown A2. Pain Is Full B1. Damaged Memory B2. Damaged Memory ( Iori Remix ) Shortinfo: Roberto Bosco has selected Kiny's music to better prepare his first 12, consisting of four tracks, named 'Damaged Memory'.The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visonary component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this helps to shape a bad presage that fades away into the mystery. On the same side we find Pain Is Full (A2) that, according to the producer, was born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival. The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks. The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori, Damaged Memory (B2), on the same side.

Dub-Stuy continues its one-riddim series with Punchliner riddim, an original production crafted by DJ Madd, returning on beatmaking duty since his 2021 relick of the classic Answer Riddim. Driven by syncopated rhythms and a rolling bassline, this new addition to the series provides the perfect backdrop for three standout cuts from an international cast of vocalists.

The late Nazamba offers "Thief," a powerful social commentary in the tradition of dub poets like Linton Kwesi Johnson. UK-based Ras Demo showcases his versatility with "Lyrical Designer," while Spanish vocalist Lasai unleashes rub-a-dub energy on "The Punchliner." An instrumental version is also included.

Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.

After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.

Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.

Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.

His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.

Pain threaded with joy is the sound of survival. On The Hard Truth, Wynonna isn"t letting go of either one, carrying everything she"s endured and reinventing herself as an artist. This ten-track tribute to deep sorrow and dogged persistence strips away layer after layer of the lush production that defined Wynonna"s previous recordings, delivering in its place her most personal and powerful work yet. ANTI- is proud to continue its tradition of embracing American legends and giving them a platform to reach new heights. The Hard Truth has a major contributor in the form of producer Cactus Moser, Wynonna"s partner in music and life. Wynonna and Moser shared songwriting duties on The Hard Truth, and the resulting tracks were recorded to capture and compliment the raw power he"d witnessed decades ago. What they"ve created together is an unvarnished elegy to the dead and the missing, an album that pays tribute to choosing love in the face of suffering. Through instrumentation and arrangements unlike any record in Wynonna"s four-decade career, The Hard Truth rolls in like a night train hitting listeners on the blind side.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.

"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."

2026 Repress

As the dust begins to settle on one of his most significant and pivotal bodies of work to date - the critically acclaimed techno-focused 'Grow' released by Craig Richards on The Nothing Special - Calibre returns to his own label Signature for another fathomless LP exploration. Laced and spaced with the precision balance of sounds, speeds and styles he's known for, and predominantly characterised by his own lyrics and vocal textures, 'Deep' once again reminds us of Calibre's singular status as an artist whose creations transcend time, tempo and territory. Ranging from one of his most in-demand dubs 'No One Gets You' to poignant yearning introspection of tracks such as 'Better Than Me' and the rolling, jazzy broken beat summer serenade 'Lit', 'Deep' is yet another accomplished, alluring and truly unique pieces of work from one of electronic music's most consistent and prolific artists.

This is both a blueprint and a definitive masterpiece. Effortlessly transcending eras and genres, Terumasa Hino continues to captivate audiences around the world.



His sound and presence are truly top of the tops. Long before Japanese jazz was labeled as “Wa-Jazz”, and even before the rare groove movement emerged, Hip Seagull has been shaking dance floors, stimulating listeners, and fascinating collectors alike. Since his debut album Alone, Alone and Alone, Terumasa Hino has remained at the forefront of the scene, consistently delivering works that can be called masterpieces in every era. Among them, this 1978 recording stands out as one of his signature achievements.



From the epic title track “Hip Seagull”, which unfolds from a mystical intro into a jazz-funk journey, to the mellow and cosmic “This Planet Is Ours,” the album is filled with tracks imbued with a truly unique atmosphere.



This is both a blueprint and a completed form. Hip Seagull continues to enchant the past, present, and future alike.

Houston’s premier street griot is stepping into his most profound chapter yet with his highly anticipated upcoming album, O.Y.N. Throughout a decorated career that spans over 1.2 billion global streams and a fiercely loyal fanbase, Maxo Kream—born Emekwane Ogugua Biosah, Jr.—has established himself as one of rap’s most authentic, uncompromising storytellers. From the raw trenches of Alief to the critically acclaimed triumphs of Punken, Brandon Banks, Weight of the World, and his triumphant 2024 independent pivot Personification, Maxo has long been celebrated by Pitchfork, NPR, and Complex for his cinematic, hyper-detailed world-building. Now, O.Y.N. finds the Houston icon turning his gaze inward, pairing his signature Texas grit with an expansive, global perspective that redefines his artistic boundaries.

If his previous work was about Maxo taking full creative control as an independent force, O.Y.N. is about him uncovering who he is at his core. Following the passing of his father, Maxo found himself searching deeper for his family origins, leading to a pivotal moment of artistic and personal rebirth. For the first time in his life, Maxo traveled to Lagos, Nigeria, anchoring his new music in a profound celebration of his Nigerian heritage. The emotional centerpiece of this journey is the JPEGMAFIA-produced single “Time Out,” an introspective track that moves away from the frantic energy of his past releases to offer a stripped-back look at love, loss, and legacy. Featuring a heavy, resonant drum presence on the outro, the song’s accompanying music video was filmed on location in Lagos, capturing Maxo navigating his ancestral roots in real-time.

While O.Y.N. reaches new emotional depths, it doesn't sacrifice the hard-hitting, volatile street persona that made Maxo a star. The album expertly balances soul-baring vulnerability with cutting-edge hip-hop experimentation, showcasing elite chemistry with some of the genre's most forward-thinking visionaries. Look no further than “Fake Jeezy,” a collaborative explosion featuring Denzel Curry and masterminded by JPEGMAFIA. The track is a masterclass in industrial chaos, combining sharp lyricism and early-2000s trap imagery with cold, surreal visual aesthetics. This duality highlights Maxo's unique positioning in the culture as a trusted street general who can effortlessly trade bars with rap's avant-garde elite.

From his early days flipping Kendrick Lamar's “Rigamortis” to sharing marquee tracks with the likes of A$AP Rocky, Travis Scott, and Tyler, The Creator on hits like “Big Persona,” “Cracc Era,” and “Cracc At 15,” Maxo Kream has always been a rapper's rapper. O.Y.N. represents the ultimate synthesis of this incredible journey. It is an album born from the soil of Alief but elevated by the spirit of Lagos—a raw, beautiful, and heavy-hitting testament to an artist who has survived his past, honored his losses, and fully embraced his destiny.

Across the past decade, KAS has established herself as a unique voice in experimental electronic music, a composer and synthesist whose work dissolves the boundaries between ambient electronica, contemporary classical, composition, and immersive sound design. Her new album “Ruin: It’s Not Just Music” arrives with a distinctive gravitational pull. The record moves with greater physical force, placing rhythm and impact at the centre of its architecture, revealing a more confrontational and embodied dimension of KAS’s musical language.
The first single “Ruin” arrives May 22nd, with the full album released October 2nd via SOMEONE SPECIAL the new label co-founded by KAS.
Where much of KAS’s earlier work explored harmonic environments, the forthcoming album is built around tension and release. Inspired by the sound of drum and bass, breakbeats fracture through dense fields of synthesis, percussive patterns and her signature melodic fragments – motions that feel closer to the kinetic language of club music than the meditative spaces often associated with her past catalogue. The result is a body of work that feels both recognisably hers and newly charged, music that moves through the body as insistently as it engages the mind.
For listeners who first encountered KAS through the glowing synthesis of “Ears” (2016) or the intricate experimental pop of “The Kid” (2017), this direction may feel initially surprising, yet the shift has been quietly unfolding across the past several years. KAS’s practice has steadily expanded beyond the expectations placed upon experimental electronic artists, moving between orchestral composition, audiovisual installations, film scoring, and large-scale commissions while retaining the unmistakable sonic signature that defines her work.
The 2022 albums “I Could Be Your Dog / I Could Be Your Moon” (2022) and “Let’s Turn It Into Sound” (2022) explored a deeply immersive approach to composition, expanded her reputation and instinct for constructing detailed sonic ecosystems while continuing to blur the lines between experimental electronics and contemporary pop structures. KAS’s most recent output has continued to widen that field including the rhythm oriented electronic album “Gush” (2025) and her return to more orchestral roots with “Thoughts on the Future” (2025). Together these releases underscored the breadth of her practice.
Her prolific collaborators and creative partners have ranged from Patti Smith and Suzanne Ciani to Danny Elfman, Tycho, Glass Beams, RY X, Caribou, Four Tet, Reggie Watts, and Max Richter, while her compositions have appeared in projects with Apple, Chanel, Meow Wolf, the BBC Orchestra, and major film and television productions.
On “Ruin: It’s Not Just Music”, that vocabulary becomes more kinetic than ever before. The record draws energy from jungle, drum and bass, and dance-floor focused electronic music while retaining the intricate synthesis and tonal curiosity that have defined KAS’s work from the beginning. The result is a record that feels equally at home within club culture, contemporary composition, and the experimental spaces that have long championed her artistry.
On May 27th KAS will present a major performance at London’s Barbican Centre alongside the London Contemporary Orchestra, marking the ten-year anniversary of her landmark album Ears. The evening will trace the arc of her creative evolution while also introducing material from the new album.