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RAWAX proudly welcomes Bruno Pronsato to the artist Family!
We are very happy announce a series of releases by this outstanding producer.

"BIG PINK- A pink house seated in the sun of Overlook Mountain in West Saugerties, New York. Big Pink bore this music and these songs along its way. It's the first witness of this album that's been thought and composed right there in its walls."

Lodig / Dibek re-emerge with a new 12”, expertly delivering that analogue machine funk.
On the A-side, Glass Echoes, features two cuts between techno and electro, navigating between darkness and light, rawness and polished brilliance.
Neon Drive comes in two variations on the flip – dark and extra funky electro driven by conversing baselines, followed by a dubbed-out version designed for those moody late-night moments.

pressure control’s second release comes from the hands of Shift label-head Phase O’Matic.

Following seismic hits on Libertine, Exarde, EYA, New Fair Tracks and Chandelle, our boy wonder crashes into the pressure control spotlight with a deadly five-tracker primed for the floor.

Touching all corners of what we know and love – you can run, but you can’t hide.

Available for pre-order now via One Eye Witness.

All music by Jules Von Daniken
Pressing and distribution by One Eye Witness
Design by Al Robertson
Mastering by Marco Pellegrino

FIDES Records celebrates its 10th anniversary with 10Y OF FIDES: Mixed by Z.I.P.P.O, a landmark 41-track release capturing a decade of the label's artistic vision.

Centered around a continuous mix by label founder Z.I.P.P.O and accompanied by a limited 7×12" vinyl series, the project brings together 41 exclusive tracks from artists who have shaped and inspired the FIDES catalogue over the past ten years. Blending established names with emerging talent, the compilation reflects the label's distinctive sound and ongoing evolution.

Alongside the continuous mix, this complete digital edition includes all 41 unmixed tracks in their full-length versions.

For the decennial release on Punctuality Warsaw duo W.A.C., aka Private Press step up with their Forever W.A.C EP. Moving away from their more techno-oriented offerings, Forever W.A.C. keeps the tempo and energy of their earlier work but suffuses the mood with warm, glowing trance and prog energy. This is peak-time Punctuality business in its purest form– on time as ever. “No More No Show” comes in hot from the get-go: galloping snare rolls, raved-up breakbeats, uplifting pads, big basslines, acid licks, and the low-end wubs that have become synonymous with the Punctuality sound. One for that point in the night when the dancefloor has melted into sweaty, eyes-closed, hands-up amorphia.

Barely recognisable to its original counterpart, the Rhyw remix strips the A1 down to the bare essentials. Preserving only a few percussive elements, the euphoria of No More No Show is replaced with hazy, cinematic synth washes that drone around a skeletal groove loaded with bassweight, warping the original into a dubbed out psychedelic UK stepper. Shifting to the morning light, “Only Froggerz” is a shimmering roller that ebbs and flows around barreling kick drums, kaleidoscopic synth lines, and vaporous FX, with lustrous chord work driving the emotion dial to 11. Elegant and restrained but relentlessly pummeling, it’s early-morning club gear at its finest.

Rounding out the EP with an essential slice of modern prog, “Close” utilises all the good bits: skippy basslines, filtered squelches, tribal-leaning percussion, and a relentless groove that builds around the subtle interplay between the stabs and the vocals. An epic closer that feels as true to the Punctuality canon as ever.

How time flies when we’re talking truly classic House Music.

Incredibly it is 35 years since the epic BREAK OF DAWN was released. Track creator Geoff Hibbert had released the much loved A PLACE CALLED BLISS by CYCLONE on Network before coming up with the stunning BOD.
It was decided that a change of artist I/D away from Techno/Bleep influenced Cyclone was required and RHYTHM ON THE LOOSE was born.

Network came up with an initial limited edition 12” press on their One After D label to tie in with the Rave zeitgeist of 1991, to help kickstart a buzz on the track. Once this was ignited the “ suitcase at the door “ gem was properly released on the main Network label.

Acclaimed as an instant classic both in the UK and USA - where Network label mate Kevin Saunderson was an enthusiastic early advocate - BREAK OF DAWN is one of the tracks that truly shaped and defined the House Music explosion. Since then it has matured like fine wine.

To celebrate the 35th anniversary Network invited M.A.S.C (Mark Archer and Shadow Child) to come up with a remix that befits the as good as it gets status of the mighty BOD. They duly obliged..it’s a gem.

First copies of the remix are on a unique ADVANCE DJ COPY label with the track on both a and b sides.

An instant do you know the score collectors item …1991 to 2026 35th Anniversary Remix 12.

Next Fuori Orario installment comes from the mastermind of Sancra: three weapons for late nights and early mornings, moving between techno and electro. Available on limited-edition transparent blue vinyl.

Always lurking amidst the underground Porto music scene is Spitbender, the most stable moniker of the ever-morphing Francisco Antão. Spin gathers a collection of tracks that demonstrate his experimentalism & coy sonic precision. Spitbender takes cues from Jungle & Hip Hop producers to create his own unique blend of Downtempo. What becomes clear throughout the album is the attention to detail: it is infused as much by Industrial's red-line spectra as it is by the dubplate logic of the Darkside Continuum, yet it does so at its own tripped out speed.

Spin begins with the laid-back but constantly shifting 'Global Overgroove'. Its breakbeat science moves in & out of DSP glitch-work & dub reflections. When its slinky bassline melody arrives, a certain dread sets in.

'Weyward Fold' drops into a driving, hard-edged chug, threaded with snippets of Malcolm X's disobedient pedagogy. The momentum carries into 'Headnod Doctor', where the bass distortion thickens & the cymbal circuit is overloaded, landing somewhere between Hip‑Hop grit & metal weight.

Side A ends with the downtempo roller 'Dogs and Moles (Skylurk Mix)'. The familiar break drifts into new territory, pulled along & wrapped in a slap-back echo. A quirky melody cuts through the haze, giving the track a fresh tilt. The mulch of the track forms a steady, unhurried pulse.

Spitbender's spacious atmospherics & groove-focused approach comes further into focus on 'Nothing Here But the Recordings'. Creating his own chapter in the book of Trip Hop, his minimalist touch is laid out in full.

'Force the Hand Ov Chance' pulls Boom Bap gently into dub mechanics, letting space do the heavy lifting. Its simplicity hides a deep pocket.

Returning to broken-up distortion, 'Mirrors of Flesh (Dub Mix)' finds Spitbender using the mixer as an instrument to push & pull the heavy drums of Benjamin Brejon of Méchanosphere alongside the voice of Rui intoning the title phrase.

Sitting between the album's two poles, 'Out Take Dub' fuses the clipped‑obsession timbres of Spin's heavier moments with its blissed out flow. Feedback & distortion are welcomed & drawn long.

In the end, Spin hits like a fully formed statement—lean, focused, & unmistakably Spitbender. Every track pushes its own angle, but together they land with a clarity that feels earned. It's a sharp marker in his trajectory, & it leaves a charge in the air.

2026 REPRESS

COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. Its addressed to the clubs and night owls out there, who turn night into day and won't stop dancing!

The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs & rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven. The four Originals are a great next step in the COEO evolution. The unique warm, catchy atmosphere of the tracks can create that special COEO euphoria which made them a lot of fans. From Moodymann to Disclosure, Mall Grab to Kenny Dope, the list is long.

It’s fantastic to see how popular they became over the last couple of years. The last COEO vinyl sold over 2500 copies and some of their tracks have millions of Spotify plays. It’s DJ FOOD. Pure bliss!

2026 Repress 10" coloured vinyl
Following on from last release's b-boy junglist outings, this time the ill behaviour comes in the form of two reggae-tinged Amen rollers, bringing new meaning to the word "delicious"

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

Celebrated British producer O’Flynn presents his highly anticipated 3rd album ‘Kairos’ on his Panthus imprint.

‘Kairos’ comes off the back of some of the biggest success O’Flynn has seen so far in career: his January single ‘Fara’ shot into the top 40 in the UK’s Shazam Dance chart after landing BBC R1 Breakfast Track of the Week and adds to the Radio 1 Dance & Capital Dance playlists, plus a Headliner Mix on BBC R1Dance, with support on over 30 editorial playlists including the cover of Spotify’s key tastemaker playlists ‘Altar’. O’Flynn’s recent single ‘Sekete’ was an instant hit among A-listers, with support from Bonobo, Floating Points, Caribou, Barry Can’t Swim and Gilles Peterson; hitting #1 in the Beatport Bass/Club Top 100 and peaking at #47 in Shazam’s UK Dance Chart; it premiered with a first play by Sian Eleri on BBC R1’s Future Artists before seeing support from Danny Howard, Jack Saunders, Arielle Free and Jaguar as well as X6 Spins from Nick Grimshaw on BBC 6 Music and X3 plays from Jenny Greene on RTÉ 2.

Upcoming events include an exclusive in-person listening event at the Devon Turnbull Room @ 180 Studios, the sold out Cirque du Soul Summer Party (The Cause) and Glitterbox Ibiza on the day of release.

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

Gravity Pleasure welcomes Maude Vôs for their most intimate EP offering to date, Medicinal Properties. Dripping in serenity and grounded in connection, Medicinal Properties is a musical elixir concocted with the healing modalities of the natural world and derived from the intentional planting and nurturing of sapphic seeds. Through minor modes, swimming cinematics and mineral-rich textures, Vôs traverses an ecosystem of sensuality and bonding, a symbiotic journey of long-distance love colored and shaped by their affinity for the earth.

Taking root in California and continuing throughout Ireland, Iceland, and Montreal, the EP translates this cross-continental connection by blurring the lines of timezones, genres, and natural landscapes. Inspired by sea swims, country oyster cottages, diner pancakes, snow flurries, geothermal soaks, mossy mornings, and adventures to igneous formations, Vôs invites you to experience this potent body of work, which forms the harmonious emotional bedrock of both kinship and creation.

Support comes from Yushh (“LOVE, so good!!!”), Jossy Mitsu (“Incredible <3”), Mixtress (“v pretty”), Peder Mannerfelt (“hot”), Batu (“like Maude Vos, downloading”), Vladimir Ivkovic (“Good! Thank you”), and OM UNIT (“Orr kore is lush”), amongst others.

Straddling an intriguing intersection of Drum & Bass, Jazz, Fusion and unidentifiable electronica, ‘You Won't Find Your Way From Here’ is the debut album from Jhauk.

An extremely talented multi-instrumentalist from Sheffield, UK, Jhauk came to Blu Mar Ten’s attention when, in 2017, he created a wild prog-rock inflected remix of BMT’s track ‘Titans’
Further conversations with Jhauk revealed the depth of his unorthodox approach to electronic music and unearthed a treasure trove of production skills, culminating in the album before you.

Oscillating between the late-night, moody calm of late 50s Miles Davis, John Coltrane & Bill Evans, the riotous 70s instrumentation of Weather Report, the modern cool stylings of Matthew Halsall and the gritty edges of modern D&B production, it’s scarcely believable that this collection of tracks came from one person working alone in their studio. With tempos and time signatures skittering all over the place, Jhauk uses genres as catalysts rather than containers, he finds the interesting stuff in the hinterlands of their structural relationships and tensions. 

Talking about the album, Jhauk has strong opinions:

“Drum & Bass emerged as club music, and club music comes with its own logic. Specific structures, specific build-ups, a formula that supports that context. 
That's fair enough, but almost 40 years later, why is 99% of D&B still made the exact same way when 99% of the time it's never heard in a club? The same structure, the same formula, barely any development beyond the core idea. Tracks where you can hear 10 seconds of the drop and know almost beat-for-beat how the next 5 minutes sound. No real musical depth or exploration. People regurgitating the same material ad-nauseum but never actually saying anything for themselves. 
This period of composition for me was about taking what I love about D&B, the rhythmic energy and potential for creative freedom it presents and really stretching it to its limits. Of taking drum & bass as a starting point and seeing where it ends up without an idea of what that destination might be. Most people would probably never call a lot of the results D&B, but that's okay because it was never the point.”

 
Dripping with melancholy, euphoria, longing and pure urgency ‘You Won't Find Your Way From Here’ is unlike anything else you’ll hear this year. The sound of an artist entirely unconcerned with impressing peers or performing on ‘socials’; you're hearing a true musician at work, expressing ideas through the skill of his hands, mind and ears. The album’s secrets aren’t revealed with a single play-through, but bears (or even requires) multiple listens to expose its layers.
In previous times, they called this ‘art'.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

—

The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Originally composed by Collage in 1985, Herzschlag returns in a newly recorded cover version by Berlin-based synth-wave duo Bionda e Lupo. Describing themselves as a “boy/girl band like no other,” Lupo recreated the NDW-electro tune from the ground up using an impressive array of vintage instruments and studio equipment, including classic synths such as a Pro-One, a Roland Juno-60, and a Farfisa Syntorchestra. Bionda’s distinctive voice adds a new emotional depth to Katrin A. Kunze’s lyrics while still remaining true to the original spirit of the song.

Lupo of Bionda e Lupo has long been a devoted fan of Mit den Puppen tanzen, Collage's only release at the time, originally issued as a 12" single in 1984. Despite never managing to acquire an original copy, he considers the record unique within the German NDW landscape thanks to its unmistakable "Bravo-breakdance-meets-synth-pop" character. Indeed, Markus Kammann, Jürgen Grah, and Katrin A. Kunze drew significant inspiration from the electro-funk pioneers of the era, particularly Afrika Bambaataa's iconic Planet Rock. When we approached Bionda e Lupo about re-editing a track from the Collage's Motel d'amour release, they instead proposed recording an entirely new cover version.

Work on the project began in spring 2025 in coordination with Markus Kammann, who, together with Jürgen Grah, originally composed the music. Sadly, Kammann, born in 1958, passed away unexpectedly on October 17, 2025. This release is dedicated to his memory.
The liner notes reveal additional details about Kammann's remarkable life and achievements. He was the founder of the legendary Beatbox club in Wuppertal, which was once recognized as the "Best Club in Europe," and a co-founder of the Groove Attack record store. Groove Attack would later grow into one of the world's most influential music distributors, especially for Hip-Hop.

The 12" release is limited to 200 copies. Pressed on transparent red vinyl with black "smoke" effects, it comes housed in a picture-disc sleeve with an accompanying sticker. As an additional highlight, the record includes a previously unreleased NDW bonus track recorded around 1983 by Collage. It features Katrin A. Kunze as well as Thomas Kohl, the vocalist of Schwarze Bewegung.

- Red transparend vinyl with black smoke
- Housed in a picture-disc sleeve with large sticker
- Released in memory of Markus Kammann (1958-2025)
- Contains A4-sheet with liner notes
- 5 tracks, including the vinyl only bonus track "Hallo E.T.",
- Quality lacquer cut by Manmade Mastering

Seeking to build with the remnants of forgotten sounds, Mystery Friend is a channel through which all these elements flow and take on meaning, generating a new timeless concept where past and future coexist in harmony. With a deep fidelity and commitment to rhythm, dance, analog machines and samples, this EP is charged with mysticism, darkness and a physical energy designed for trance on the dancefloor.

Acid Tracks EP is the debut release from Sebucan Records (SEBR001), a record store based in Montevideo, Uruguay, founded and led by Louis Merlán, a DJ and selector with over 20 years of experience in the electronic music scene. Produced by Argentine artist Mystery Friend, the EP comes wrapped in a visual identity by Uruguayan designer Diego Prado, translating the sonic concept into imagery of analog machinery and vintage mechanisms, weaving a dialogue between the industrial and the mystical that echoes the music from start to finish. Bordello A Parigi Distribution carries this release beyond Uruguay’s borders and into record shops and collectors’ hands around the world. Acid Tracks EP is an invitation to lose yourself in the groove, to let the ancestral and the futuristic merge into a single pulse. Pressed on vinyl, made to sound loud, to dance to in the dark, and to stay with you.

Faith Beat’s 11th signal comes from Ploy with The 'Flirt' EP. A 5 track journey through the darker shades of house and touches of garage - his signature kick drums and bass lines move your body, while vocal samples pull at your heart and mind.

Faith Beat's 13th signal comes from Soul Of Hex - 4 tracks of Heavy House with a Techno Touch.

Faith Beat’s 14th signal comes from Ferrari - 4 tracks mixing peak time bass lines, late night vocals, and classic US house influences.

Dam Swindle nail 2026 as the year of House music’s glorious return with their new “Call me” EP.
2026 is the year of House music. Festivals, clubs, bars and living rooms have been craving for more warmth and soul in electronic music and you know we’re here for it.

It’s only been a few months since we celebrated the 100th release on Heist with our ‘House of House’ compilation; a 19-track embodiment of everything we love about house music where label heads Dam Swindle teamed up with Detroit legend DJ Minx on their track ‘Back to the old school’. Now, landing just in time for summer, the Amsterdam duo deliver a new EP filled with dancefloor energy across 5 original cuts and vocals courtesy of British-Bengali rapper Surya Sen.

The title track ‘Call me’ is a stabby and string-heavy peak time jam, where chopped female vocals and offbeat cowbells deliver a simply irresistible groove. ‘5 to 9’ features the vocals of London rapper Surya Sen whose deep voice add an instant vibe to Dam Swindle’s deep and Detroit’esque production. This track sits somewhere between gritty dark rooms and sweaty dancefloors.
Definitely not the stuff for your 9 to 5, but with plenty of funk for your after-work pleasures. The track comes in 2 versions; the vocal mix and a longer club-dub with some cleverly chopped vocals that comes in handy for the DJ sets.

The B1 is saved for ‘I like it’. A track full of old school Swindle swing, Rhodes chords, a dash of electronics and soulful vocals chops for good measure. The EP closer is ‘A house track’; a song dedicated to the old school New York house sound and an affirmation that great house music doesn’t have to be complicated. It just needs to groove.

This one has been road-tested all year and is now ready for your listening and playing pleasure. As always, share the music and play it loud!
Yours,
Heist HQ.

Peach Discs celebrates peak western-hemisphere summer with the perfectly-timed-and-titled "Soft Serve Summer" EP from I. JORDAN. We were delighted when they sent us these tunes, which represent a brighter, housier and more personal side to their sound than many have seen before. Inspired by their recent tour of Australia, the EP (named after the title track that got the ball rolling on the other side of the planet) bottles a loose, sun-kissed feeling across all five tracks that's keen to be unleashed at festivals, beaches and dancefloors worldwide.

Opener "Your Love" boots things off in style, sitting somewhere between Power House and French Touch as layers of oscillating synths, percolating drums and vocal chops take turns in the spotlight – but when all's said and done it's the bassline that gets the flowers, duh.

Things turn a little more introspective on "Little Tinker", as the titular bells sprinkled throughout summon up something…else? Whatever you think that is, the muscular bassline once again keeps us grounded, as washes of dreamy synths lap at the shore and everything is in its right place, before the urgent organ stabs and diva moans of "Soft Serve Summer" pull us straight back to the middle of the floor.

Skinned' ( released digitally in 2020) - the debut album from Danish composer, producer and singer ML Buch.
Comes with lyrics printed the inner sleeve.

After releasing her debut EP Fleshy in 2017 - Skinned that takes her expansive guitar work and catchy melodies to another territory.

With her unique experimental pop and vocals that seem to slide into your ears as fluorescent liquid, ML Buch portrays the reality of intimacy in a digital era. Working primarily with synthetic midi sounds, the general love of songwriting and guitar music is ever present.

As if in search for something real, ML Buch takes the listener on the other side of the skin. Led by tender love songs like I’m A Girl You Can Hold IRL and Can’t Get Over You With You we journey through her throat and into her intestines, discovering a fascinating realm of shiny mucus and bile in flesh and yellowish colors. Panoramic images were captured by a small pill camera travelling through the body of ML Buch and act as extensions of the architecture of the music. This literal way of internalizing modern technology is symbolic of Skinned where eclectic instrumental compositions share the space with strong hooks and ML Buch’s spherical voice.

credits

All songs composed, arranged and produced by ML Buch
All lyrics by ML Buch
‘Touching Screens’, ‘O’ and ‘I Feel Like Giving You Things’ co-written by Oliver Nehammer
Bass on Can You Hear My Heart Leave, Touching Screens and Mw by Johan Polder
Drums on Touching Screens and Mw by Kristof Gasior

Viola on Stone Bridge by Astrid Sonne

Midi drums and keys on Touching Screens by Oliver Nehammer
Mix by ML Buch, Oliver Nehammer & Jacob Brøndlund
Mastered by ET Mastering
Cover photo by David Stjernholm
Artwork by Aske Zidore and ML Buch

Any15 - Anyines 2020

“LET IT SHINE” IS A MIX OF EXPLORATION, LIGHTNESS AND CREATIVE CONNECTION.
THE TITLE “ LET IT SHINE” HOLDS THE ESSENCE OF THE WHOLE PROJECT. IT’S ABOUT TRUSTING YOUR INSTINCTS, BEING OPEN, AND LETTING YOUR OWN SPARK COME THROUGH
NO MATTER WHAT FORM IT TAKES. IT’S AN INVITATION TO LET YOUR TRUE COLORS SHOW TO EXPRESS YOUR ENERGY AND LIGHT WITHOUT HOLDING BACK.
IN A WAY, IT’S A REMINDER TO STOP HIDING BEHIND WHAT’S EXPECTED AND INSTEAD LET WHAT’S TRUE SHINE THROUGH.

Rahaan has become a Chicago legend, a DJ who is widely recognised for his exceptional skills behind the decks and his exquisite taste in music. Lately he has also been earning plaudits for his production skills with some truly outstanding releases. Rahaan has collaborated on a very special release featuring Swiss-born and Italy-raised, Kihmy is an artist and producer who creates nocturnal soul music, where electronic textures and trip-hop atmospheres converge. Her sound lives in the shadows, intimate and cinematic, characterized by a deep and expressive voice and emotionally engaging lyrics.

"Let it Shine" EP released on Soulistic 360 (April 2026). Grab the limited edition vinyl before it's gone!

The 40th Anniversary edition celebrating the launch of the legendary Max Mix series wouldn’t be complete without the reissue of the original megamixes created by Mike Platinas and Javier Ussía in 1985. Many of you have asked for this, and it was something we simply couldn’t overlook.

We are therefore proud to present the DELUXE editions of Max Mix and Max Mix 2 (40th Anniversary). Each release comes as a double LP: the first vinyl features the original megamixes, while the second includes the exclusive 40th Anniversary versions. Every edition is pressed on beautifully combined multi-color vinyl. In addition, each release includes a previously unreleased mix of the 40th Anniversary version, available exclusively on these new Deluxe editions

The A side kicks off with an infectious bass-heavy hypnotizer from DEMARKUS LEWIS. FRANK AMODO's remix adds a funky twist with a rubbery bass line and filtered keys. JOSH STONE crafts an absolute masterpiece of chunky disco that will be played for years to come on the B side.

Belgian-based guys of Lemakuhlar are back on Goldmin Music with their first vinyl release: Lauper.
More subtle and abstract than anything we've put out yet, this 3-tracker record definitely demonstrates full
range of their talent with "Sigulha" a more than 12 minutes epic deep minimal track starting with an eternal
organic groove leaning towards this absolutely unusual break that you're not going to forget. Nevertheless, B
SIDE "Night comes soon" & "Lauper" keep the same intriguing and damn rare quirky imperfection, brought in part
by tape recordings, studio noise recordings and of course artists' huge creativity.

EVPHORIA is not just a record. It’s a trigger.
140 BPM of tension, ascent and release — engineered to push the dancefloor into collective hypnosis.

Balancing power house propulsion, techno pulse and large-scale emotional lift, the track transforms a strangely familiar sensation into something raw, direct and uncompromising. No nostalgia — only forward motion. A rise that refuses to come down.

The original version unfolds as a sustained euphoric surge: driving percussion, insistent hooks and controlled repetition built for peak-time unity.
The edit version distills that energy into a tighter DJ weapon — immediate, sharp, floor-focused.

On the B-side, Inflammable Noise appears in its instrumental form — pure club mechanics, no vocals, no distraction. A stripped version that amplifies tension and turns the track into a true dancefloor weapon. Already tested in demanding environments, it notably detonated a peak-time moment when Chloé Caillet played it at Berghain — a point where the room tipped over.

EVPHORIA moves freely across scenes — from house floors pushing tempo to techno basements and high-intensity dance spaces — built for DJs chasing the rupture point.

Pressed in a strict limited edition.
Vinyl only — no digital release.

Created under the EVPHORIA imprint by Hardrock Striker — dancefloor architect and driving force behind the Skylax universe — this release stands as a physical, autonomous club statement.
Sleeve artwork by H5 (Daft Punk, Air, Étienne de Crécy, Logorama, Kanye West / Adidas), reinforcing EVPHORIA as both a sonic and visual manifesto.

EVPHORIA doesn’t ask permission.
EVPHORIA triggers.
A record for the moment the room tips over.

Strong international support from Richie Hawtin, Arnaud Rebotini (Black Strobe), Kristian Beyer (Âme / Innervisions), Dax J, Ilario Alicante, Chris Fortier, Michel Gaubert, DJ Mag, KEXP Seattle, Byte FM, Tsugi, Waveform Transmitter and many more.

Outstanding reactions included: "This is just perfect... one of the best things I've heard in recent weeks. Supported!" (Club Furies), "Great release! Adding to Waveform Recommended." (Ste Knight), "Excellent work here! Will play on my show." (Fly Radio 104 FM), "Great – will play." (Radio Reverb), "Energetic and ethereal club energy." (CJSW Canada)

Casino isn’t just a track to me. It comes straight from my love for the classic Italian American gangster films I grew up on. Being Italian, I was obsessed with movies like Casino and Goodfellas. I’ve watched them more times than I can count. The style, the tension, the way the characters talk and carry themselves always hit me differently.

The idea for this track actually came from one of those iconic moments: a scene between De Niro and Pesci as their relationship starts to unravel. I’d seen it countless times, but this time I stopped and thought: what if I used this in a track? Would it elevate the music or would I ruin one of the greatest films ever made? That thought lit the spark.

I wanted to capture that same energy. The power. The danger. The drama. And bring it into sound. Casino is the result. Raw, cinematic, and authentic. I hope it hits you the same way those films have always hit me.

–EDEF

Enter the debut LP of the now Spatial regular Chronicle - Expect a joyous, varied blend of old school brand new atmospherics from one of the scene’s most talented producers. A1 - 20th Century Man Straight into the beats for the deliciously cheery opening, 20th Century Man encapsulates so much of what Chronicle does best - old school breakbeat sensibilities delivered with an inimitable atmospheric charm, strongly reminiscent of that peak Good Looking era we all adored. Incredible synthwork and analogue drums layered with danceable 2-step breaks and melodies take your mind exactly where you want to be. A2 - Terraformers Seminal synths and birdsong effects prepare us for an impossibly crisp breakbeat and 808 bassline to drive this track along, coloured by a myriad of subtle blips and bleeps, delicately flecked across a detailed and optimistic soundscape. Very DJ-friendly from the first to the final bar, the purity of Chronicle’s approach to atmospheric drum & bass is once again at its best here on Spatial. B1 - Boundless Space Playful twittering birds, gentle hi-hats and panning synths introduce Boundless Space, a blissful, serene treat for the senses which soon kicks into flourishing life with the timeless Circles break. Vocal samples punctuate the soothing breakdown with exquisitely programmed effects dotted here, there and everywhere, completing a stunning composition that both reflects on the past and looks forward in equal measure. B2 - Ephemeral Style A light, delicately calming pad-laden intro with echoing melodies opens Ephemeral style, soon punctuated by a sublime 808 bassline preceding the drop. Chronicle showcases his dancefloor breakbeat prowess with an energetic 2-step break pattern, expertly programmed and riddled with detail and density, creating a wonderful collage of sound and a perfect addition to any era-spanning atmospheric set. C1 - Modular Expansion Eerily reminiscent tones harking back to the golden, ultra-classic Good Looking era introduce us to Modular Expansion, a track which quickly adds layer upon layer of original identity to the vibe with crisp breaks, a wonderful metallic backdrop snare and subtle vocal samples. The joyously retrospective breakdown complements the energy of the track beautifully, capping off another gem for the record box. C2 - Limbic System Chronicle introduces Limbic System with swathes of swirling pads and synths, straddled with a subtle yet enigmatic melody carrying us through the drop, where we are treated to a lusciously constructed old school break pattern with a modern twist. Enter the breakdown and the keen ear will spot sampled quotes from Total Recall, which fit the vibe perfectly. “You went to Recall?” - yes, we sure did. And we enjoyed the trip! D1 - Non-Euclidian Continuing the blissful retrospective atmospheric tone of the album, Chronicle serves up Non-Euclidian which opens with a wonderfully synthy intro flecked with old school break samples and an earworm melody, before the onslaught of layered breaks provides variety as well as a thoroughly danceable pattern to unleash on the discerning dancefloor. Trademark dotted effects punctuate the track throughout. D2 - Deep Thought Capping off the LP we have Deep Thought, setting a calming and quietly brooding vibe before impossibly crisp beats kick in and elevate proceedings nicely. Chronicle effortlessly leads the listener through the drop with an analogue punch, earthy basslines and fluttering effects with the kind of flair we’ve come to love from such a vastly experienced and talented producer - perfectly complementing the vibe here at Spatial. Words by Chris Hayes (Spatial / Red Mist)

Butter Side Up’s 15th release comes from a familiar face. DANCE PROTOCOL (FKA Midge Thompson), responsible for the label’s second release some 7 years ago, returns to the label with The Shop Floor EP, another chapter in a relationship that stretches back to the party’s earliest years.

A self professed audio nerd, Midge has been operating quietly but consistently for well over a decade in Leeds and more recently London, honing an intentional studio-craft which draws inspiration from quite literally anything he can get his hands on, from 12-bit samplers and vintage synths to YouTube interviews and iPhone field recordings.

If his productions have earned their place through character and an unmistakable sense of groove, The Shop Floor EP is a culmination, presenting perhaps his strongest work to date.

Across four tracks, subtle textures and repeated vocal samples are stretched and twisted over broken beat rhythms and heavy sub-bass. A fine balance of UK-rave tropes and European minimal sensibilities that glide patiently, building and dissipating tension. From the driving, acid-tinged The Shop Floor to the bouncy, breaksy Riding Up Front and deeper Perry Lane, there’s a breadth of moods across the EP, which peaks with the celestial The Back Bench, surely one of the BSU’s most sunrise coded tunes, an softly inviting ‘Give Me Some More’ vocal refrain accompanied with woozy chords, pads and a chunky slap baseline.

Baba Stiltz continues to showcase his songwriting capabilities with Relief.
Backed by Ilari Larjosto on drums, Relief sees Stiltz delving deeper into the slacker-country territory explored on his last album, Paid Testimony, though here the sound is more refifined and hi-fifi. The track hints at the indie apathy of decades past while maintaining a distinctly contemporary sensibility.
A dubby yet fractured-sounding bassline and sparse three- chord verse structure intertwine with Theo Stocks’ beautiful lap steel arrangement, while Larjosto’s steady, Moe Tucker- esque drumming keeps the song moving forward.
Lyrically, Stiltz navigates pop songwriting tropes with restraint and precision. The repeated refrain of “congratulations” feels both strung-out and melodic, while fragmented, Garielle Lutz- like imagery — “tick tock, wrist watch, clif bar, trunk car, its cargo” — quietly sets the scene. Somehow, the juxtaposition resolves elegantly.
When asked about the theme of the song, Stiltz simply responded: “There is relief in acceptance.”
With Relief, Stiltz offers another compelling glimpse into his evolving songwriting practice, and perhaps an indication of what is still to come. The release follows a prolifific start
to the year for Stiltz, including Blurb 2 with Okay Kaya, co- production, writing and mixing work on Ana Roxanne’s Poem 1, and co-production and mixing on the SY3 EP for Music From Memory.

The master of ambient soundscapes, intertwining authentic old school breakbeats with his inimitable style returns with a fresh album of choice cuts for the Spatial crew. A1 - Form of Defraction Opening the LP in his gloriously unique style, Aural Imbalance sets the tone with a powerfully ambient intro of padwork and delicately filtered breaks before dense, analogue old school breakbeats roar to life sending the track skyward. The sublime 808 bassline simmers beneath an ever-evolving soundscape of twinkling melodies and strings, the very essence of serenity captured in just under 7 minutes of audio bliss. A2 - Discreet Function Enveloping the listener with a warm blanket of silky ambience, Discreet Function soon jolts to life with a crunchy breakbeat that counteracts yet compliments the pads and myriad of delicious micro melodies so well, you wonder how it’s possible to take such extremes and mix them down so expertly that our ears accept it as one. After a relatively brief breakdown the track rolls out before the breaks are snatched away at the death - capping off a quite unique composition. B1 - Softlight Light cymbals and delicate textures introduce us to Softlight, a track which sees Aural Imbalance guiding the listener through the clouds to a haven of gentle serenity where your troubles simply fade away, punctuated by a stunningly programmed and memorable Hot Pants break pattern, timid classic basslines and an overall plethora of sun-baked energy - perfect for the headphones and the record box - as always. B2 - Airwave Immensely old school vibes are immediately present in Airwave, with analogue breaks and succinct female vocal samples that mingle with echoing melodies and synthwork to create a beautifully flowing and unique slice of atmospheric gold. Additional breaks are fused into the mix as the track progresses, elevating the piece to the heights we have come to expect from Aural Imbalance, yet never cease to amaze. C1 - Speed of Light Gentle cymbals and filtered breaks open Speed of Light, before a crisp barrage of amen goodness descends and dominates proceedings - just as a good amen should! Programmed to perfection with an immensely danceable rolling pattern, the amens lead us through a sea of washing synths and delicate melodies, intertwining and frolicking in the mix, completing a charming and memorable piece. C2 - Fading Star Playful strings and a luscious 808 bassline play with sumptuous padwork in the intro to Fading Star, a track which sees Aural Imbalance capture the essence of 90’s jungle and it’s symbiotic relationship with atmospheric drum & bass perfectly. Developing throughout with an array of unassuming effects and a quietly moving vibe, Fading Star is the perfect addition to sets spanning the entire history of this music. D1 - Drifting Under Bright Skies Aural Imbalance resurrects the excellent break last featured on Spatial in his sublime track Surface Area, this time chopped and sliced to a different vibe, with kickdrums at the forefront and that fantastically crunchy snare deployed more sparingly. Shimmering padwork and light melodies dance across the mix throughout to leave us with a refreshingly unique and memorable track you won’t be able to get enough of. D2 - Violet Completing this fine LP of old school ambient breakbeat mastery, Aural Imbalance deploys Violet to see us out - a climactic-feeling romp that opens with quiet intent before launching the listener through cheery melodic tones and bustling soundscapes, sprinkled liberally with airy pads and fluttering micro melodies that zip and whoosh around thick analogue breakbeats. A fitting end to a thoroughly enjoyable album. Words by Chris Hayes (Spatial / Red Mist) credits

The latest game in the stylish Katamari Damacy series in which you roll your katamari and collect items to become large enough to form a star for the cosmos, Once Upon A KATAMARI, is getting its own vinyl record release called Katamari Once Again! A total of 23 wondrous songs have been personally selected by the game"s sound composer, Yuu Miyake. The album features BGM stage music in addition to songs performed by an all-star lineup of various artists such as Saya Asakura, Amane Uyama, KAF, Clémentine, Kocchi no Kento, Masashi Sada, San Francisco Boys Chorus, Katamari Damacy feat. suis from Yorushika, Daoko, chelmico, Kenji Niinuma, Saki Hanami, Shigeru Matsuzaki, and Yakushimaru Etsuko. Once Upon A KATAMARI immerses you in the colorful worlds and eras of time and history. Product shown is a luxurious gatefold sleeve housing two records inside. The cover was designed by Kazuki Takakura with supervision from Yuu Miyake, the game"s sound composer. When you think of Katamari Damacy, you think of the colorfully chaotic artwork that comes hand in hand alongside it, and this packaging offers a high-quality, must-have item for a fan"s collection.

Katamari Damacy became a game beloved by fans across the world with its remarkable action mechanices of rolling your katamari and collecting items to become large enough to form a star for the cosmos. A vinyl pressing of Katamari Fortississimo Damacy, a collection of songs that brought the unique world of Katamari Damacy to life! Starting with "Katamari on the Rocks", and following up with "The Na-Na Song", you can feel the very soul of Katamari Damacy with every popular song. Plus, get a bonus track that was only featured in the trial version, "Katamari on the Rocks (Beta Version for Trial)"! Boasting a soundtrack that is packed with distinctive vocals and a broad range of musical styles, experience music that truly expounds on the feeling of Katamari Damacy at its best. Product shown is a luxurious gatefold sleeve housing two records inside. The outer packaging features an original illustration by Keita Takahashi, the creator of the Katamari Damacy series and art director for the first Katamari Damacy game! When you think of Katamari Damacy, you think of the colorfully chaotic artwork that comes hand in hand alongside it, and this packaging offers a high-quality, must-have item for a fan"s collection.

Across twelve original compositions, Ludwig traverses a broad sonic landscape, each track threaded together

by a signature touch that feels unmistakably his. Opener ‘Three Cases Forty Years’, alongside ‘E-Trinity’ and

‘Dieper en Dieper Goes Portugal’, highlights his singular take on dub techno, while ‘This I Didn’t Know’, ‘Practice

All Their Life’ and ‘Metropolixer’ drift into more textural, exploratory electronica.

Elsewhere, Ludwig leans into the raw, stripped-back aesthetic he’s long celebrated for on ‘Come to The End’,

‘Starlab Translate’, ‘Ill Progressions’, ‘Go Real Cloudy’ and ‘Things Are Moving’, before closing track ‘Galaxie C’est

Boom’ surges forward with a percussive, driving house energy primed for the dance floor.

2026 Repress

Moving Pressure 03 lands as Rene Wise's third release on his imprint. With a refined approach to rhythm and restraint, the artist once again distills techno to its purest form: hypnotic, percussive, and propulsive. Across four tracks and in line with the label's essence, MP03 thrives on movement-low-end mastery meets tightly coiled grooves, while textural elements shift and evolve with subtle precision.
A1 'Relax' sets the foundation with a mighty sub-base, rolling forward with effortless force. Chopped-up claps ricochet through the mix, while a funky, disembodied vocal repeats a single command: "relax". Then comes 'Chomp Chomp', a denser offering in Wise's sensorial arsenal. Layered with gritty textures, his signature percussion builds a soundscape that is both tactile and weightless, evoking a kinetic dream state where groove and space are in constant conversation. On the flip, 'Cave' plunges into murkier terrain. Swathed in fog and sinister atmospherics, it unfolds through an eerie blend of sci-fi surrealism and grounded physicality. Bleeps hover like distant signals, their sharpness softened by a cavernous, smothering embrace. It's a study in tension-hypnotic and unsettling in equal measure. Closing the release is 'Deep Under', a track that embodies its name with subterranean mystique. The soundscape is rich with detail, an ecosystem of sonic fragments shifting beneath the surface. It's immersive yet elusive, like catching glimpses of something just out of reach-a mirage that flickers between the tangible and the ethereal.
This is minimalism with intent, built for deep immersion. Less, here, is infinitely more.

What changed between Av. General Roçadas and Junkeira? Seven years in people's lives — yet the team's commitment remains untouched, and the steady hand on the plumb line that keeps dance music (still) upright holds firm. Years of sustained research and field work from both producers, with their own records, mutually independent and independent too in how they brought them to life. Moreno Ácido has been navigating detours through a conceptual yet grounded underground — in sound and in format (two self-released cassettes since 2019) — while keeping one eye on the floor. His post pandemic reawakening carries a clear message: Call to Action is the label that in 2023 put the still-in-demand Trash/Treasure out on vinyl. Diogo keeps Discos Extendes as his shelter, gathering talent and retreating into it. At the same time, a disseminating vocation — that talent turned outward, on a mission to champion the different sensibilities that can converge in music made for dancing.

Junkeira is direct. It hides nothing in its intent, nor does it conceal the origin of its love, nor the way it exercises its fascination with the source. Geography can define movements, described and echoed countless times outside and then inside the net. The signifiers are known to all — it's a matter of applying them with respect and flow. Perhaps the craft in this production really does come down to love, when it comes to it. What is "WTF" if not a declaration of love — at the very least of closeness — to the sonic essence of the English rave? The piano stab, the breaks defining that hardcore state of mind, the string bed lifting feet off the floor. Closing out the EP, "Freak" gathers different emotions — eyes still shut, body in comedown while still moving. Chill. Everything rounded. Bassline, vibes, vocals woven into the rhythm.

Rewinding, the opening track "100 Planos" is a throwback to Roçadas (2019) — harder on the ground, with a 4/4 beat broken up by claps, a circular structure built for DJs, with mix-friendly entry and exit points. Then "Turbo Love" puts the keys in control, foregrounding them, letting a car alarm ring out and balance the beat — a reverential nod to UK Garage felt as raw material, already part of the lineage that has been the continuous evolution from Disco onwards: an evolution that traces a line and its branches, from which you can isolate any chronological point since at least 1977 and combine whatever elements form a personality. The spirit lives, as summer kicks in.