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For their next release, Phase Group invites you deep into the mind of a singular artist to offer a glimpse of their prolific body of work, zooming in on music composed specifically between 2018 and 2021.

Across 16 tracks, ‘Summa 2018-2021’ by Serbian producer Andria reveals a highly unique approach to sound design and composition, spanning the realms of futuristic IDM, ritual ambient, fourth-world techno and other elusive electronic genres.

Listening to this album in its entirety feels like entering a self-contained sonic world, where animistic and ancestral traditions are refracted through unfamiliar forms of technology. It’s an album which moves effortlessly from moments of deep and contemplative abstraction, as heard in tracks like ‘Sunlessness’, with it's atmosphere of otherworldly field recordings and ancient rites, to propulsive tracks that will guide clubs through ceremonial trance states such as ‘Floating Island’, where industrial kicks underline expressive poly-rhythms, evocative synths and snarling digital glitches.

The release is a gripping and immersive listening experience filled with spellbinding and expertly conjured sounds alongside highly effective moments of dance music that will surely find their way into the sets of the most expressive and fearless DJs. This is one for fans of Coil, Shackleton, Andy Stott and Demdike Stare.

Behind the work is Andrija Čugurović the Belgrade-based artist. A graphic designer by day (and in-house designer here at Phase Group), he dedicates his nights and time away from work and production to Belgrade’s underground electronic scene, digging deep into the worlds of Bass, Techno, Industrial, Ambient, IDM, Experimental and Computer Music.

A regular attendee at spots like Drugstore and the 20/44 boat since a young age, Andrija has honed a deep connection with the music he creates and DJs and that is evidenced in this highly original collection of music. This is his second release on Phase Group, coming after his debut EP ‘o o o o o’ in 2020, the second release on the label.

'Summa 2018-2021’ is available digitally and on high-fidelity C-90 cassette, dubbed at Tapeline UK and distributed by Rubadub.
All tracks composed and produced by Andrija Čugurović.
Mastered by Giuseppe Ielasi.
Artwork by Andrija Čugurović.

DJ Deep and Traumer continue the Get-Rooted journey with a new four-track EP that once again reflects the label’s concept: two artists sharing their individual perspectives while complementing each other’s musical language.

The release opens with DJ Deep’s original version of “Come Get It”, a timeless House cut deeply inspired by the spirit of the early ’90s, with a subtle nod to the legendary sound of Murk. Traumer then delivers his own interpretation of the track, transforming it into a more contemporary and forward-looking production while preserving its original essence.

Bridging the two versions is a dedicated DJ Tool, designed to seamlessly transition from one interpretation to the other, or to be used creatively in the mix alongside other records.

The EP closes with “Le Coton”, an elegant and sophisticated House track whose timeless groove perfectly rounds off this third Get-Rooted release.

Hysterical Love Project return with February’s Album, ten warm compresses steeped in the hum and hiss of late season humidity. Downcast guitars are aerated by sanguine refrains and flitting e-waste, languidly driven by a persistent low-end throb. Contentment pulsates with delerium; sweetness ripens into pressure.

You ask me, what’s the point of doubt? What’s the price of peace of mind? I open the windows to let the insects in and the light out.

FFO: Chris & Cosey, Labradford, City Centre Offices, YL Hooi

Written and recorded by Brooklyn Mellar and Ike Zwanikken
Physical Distrubution by Rubadub

Drop the needle on this latest dispatch from the tape vaults, and we are back in Chicago at The Curtom Studios in 1977. For instalment number five in the "Hutson Sevens" series, Home of The Good Groove Records are so very honoured to deliver this previously unreleased cut from Leroy Hutson—a true titan of soul music and an absolute master of his craft.
"Betting On My Love" carries that signature smooth orchestration we have come to expect from Hutson’s finest hours. It moves with a wonderful, breezy optimism. Hutson’s joyful, velvet lead tones skip effortlessly across the groove, wrapped in lush backing harmonies that instantly evoke the feel of the Hutson II
classic, "I Think I’m Falling in Love".

Now, a brief confession of pure, crate-digging indulgence: if tailored strictly for the dancefloor, the track arguably hits its logical peak and fade just past the three-minute mark. But to cut it there would strip away the raw human magic of the session. If you let the wax ride to the very end, the arrangement dissolves into a wonderful, lingering instrumental outro, culminating in the studio players purposely "clattering" their instruments in a moment of pure creative release. It is a brilliant, candid studio artifact that was fortunately preserved on the original master recording. Essential listening for the global soul family—do not sleep on this debut pressing.

For the flip we present Leroy Hutson’s 1979 cut “ So Nice”, a masterclass in late-70s soul music. A stand out track from the “Unforgettable” album and a vital reminder of Hutson’s unmatched ability to inject sophisticated romanticism into the bleeding edge of that disco era.

Slightly edited for the 7-inch pressing, up steps our remastering and editing maestro Mr Phil Ward. Phil always has the utmost respect when remastering and editing original content, ensuring that every second of the groove is fully respected and preserved. His stellar work here includes the studio recording of the three-count drum intro, never heard before now, leading into that meditative smooth groove layout.
It is an exquisite arrangement of simmering electric keys, nimble basslines courtesy of the legendary Keni Burke, and subtle bongo accents that collectively deliver a timeless masterpiece. Now available on 7-inch vinyl for the first time.

Rod Bartlett
Home of The Good Groove Records

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.

For its second chapter, Esoteric Ears switches up mood, presenting two tracks for extended sessions, memorable moments and special sunrises.

Lead track ‘Minute Machine’ comes from mysterious new entity Sektor 13. A sleek, contemporary take on Kraftwerkian Teutonic electronic funk, it slinks and slides its way onto any open open-minded dancefloor.

On the flip, bonafide legend Carl Finlow provides a remix, operating under his renowned Random Factor alias. This retains the spirit and vibe of the original, but amps up the funk and composition, swaggering its way into an epic emotional crescendo. Up there with Random Factor's finest work, it’s a true honour to share this with the world. Gracias Sr. Finlow.

Esoteric Ears is a new label from Barcelona’s Conor Brophy.

Its first release comes from an unsung hero of the early 00s: Julian Foddy. As Katakana, Foddy released a string of now sought-after EPs, with a signature, brooding sound in the sweet spot between progressive, breaks and tech house. EARS 01 represents Katakana’s first release in over two decades, archival tracks forgotten for 20 years but that sound like they could have been produced yesterday, perfectly tuned for contemporary dance floors and listeners.

Side-long A1 ‘Incline’ is a driving but patient percussive progressive groove: heavy but spacious. On side B the stabs and bass pressure of ‘Xii’ are primed for peak time play; B2 ‘Fear of the Unknown’ is more heads down and pensive, with gradually unfurling hopeful melodies, perfect for mornings and after hours.

“What Robot Says L” on What Robot Says Records is a deeply immersive Dub Techno journey crafted for demanding listeners who seek atmosphere, precision, and emotional depth beyond conventional dancefloor music. Across four carefully sculpted tracks, the release moves through shifting moods and textures, balancing raw energy with subtle elegance while exploring the deeper and more hypnotic side of techno.

A1. Nicolas Barnes – Dusted Maze opens the EP with a smooth and introspective approach, combining delicate textures, refined grooves, and floating harmonic layers that capture the timeless spirit of classic Dub Techno through a modern lens.

A2. Continuing the journey with TM Shuffle, Monoder – Vihreesametti delivers a warmer and more fluid interpretation of the genre, blending rolling grooves, dub-driven chords, and sophisticated sound design into a deeply immersive experience.

On the B-side, B1. Denizo – Versus follows with dark dub pressure, stripped-back rhythmic architecture, and evolving ambient detail, creating a hypnotic late-night atmosphere filled with tension and movement.

B2. Closing the EP, The Open Circle – Shinkai dives into deeper and more mysterious territory, emphasizing submerged atmospheres, minimal rhythmic tension, and profound spatial depth that slowly unfolds with every listen.

WRSL1 – “What Robot Says L” is not designed for casual listening, but for those who appreciate Dub Techno as an evolving exploration of mood, space, and sonic detail — a refined and highly immersive statement from some of the genre’s most skilled contemporary artists.

but wait a minute.. Does anybody know What Robot Says?

No Home is the new album by Lane Hartley, releasing October 23rd 2026 on Royal Oakie Records. Produced in collaboration with David Hartley of The War On Drugs & Adam McDaniel (Animal Collective, Angel Olsen, Geologist), the album was recorded at Drop of Sun Studios in Asheville and features contributions from North Carolina’s tight knit music community–including Mary Lattimore, Seth Kaufman of Floating Action & Dream Sitch, David Hartley, Jack Victor Johnson, and more.

After recording his debut album Naming Horses, Lane left Los Angeles and returned home to the Carolinas, eventually landing in Asheville. It wasn’t too long until the songs started flowing and Lane found himself reaching out to Adam McDaniel at Drop of Sun Studios–a vaunted space that’s been at the heart of indie-rock the past few years, bringing to life recent albums from MJ Lenderman, Wednesday, Fust, and more. McDaniel introduced Lane to David Hartley, and what originally started with discussions to record one song quickly turned into a plan to track a whole album live with a six piece band. Once in the studio, co-producer McDaniel encouraged the group to lean on intuition–“All of the players on this record really brought it to life in such a cosmic way. They instilled so much childlike wonder and fun into the making of the album. It inspired me to keep going” says Lane.


Lyrically the album is a collection of vignettes about people who’ve become alienated from their deepest desires of connection, belonging, intimacy, and autonomy–inspired both by Lane’s own life and the lives of people he’s loved. The unique character of the album emerged when Lane made the decision to pair the dark lyrical content with bright & lush arrangements, inspired by Gene Clark’s No Other, Neil Young’s After the Gold Rush, and Amen Dunes’ Love. In Lane’s words, “The content of the songs got way darker, and my reaction was to make the songs catchier, and to lean harder into the music that influenced me. I wanted each song to feel like a room in a haunted house, with a beautiful garden growing outside”.

Album opener “I Am Not Ashamed” was inspired by the anti-memoir of actress Barbara Peyton, a 1950’s Hollywood starlet who met an untimely end; “It’s about knowing that whatever you’ve done to survive, you still deserve love” says Lane. “Mother” pairs lyrics about ancestral trauma with the sunshine-pop influence of Colin Blunstone, featuring backing vocals from Lane’s sister Barrett Hartley. “It's about coming to terms with the fact that the people meant to protect us are dealing with their own trauma…”

Meanwhile, “All Of This Is Yours” and “Tone Poem” form the spiritual center of the album, an attempt to transmute anger & pain to bittersweet acceptance in the wake of a breakup. “I feel like on the surface this is essentially a breakup album, a lot of these songs are about mourning the end of a relationship and reflecting on what went down. I was falling in love and getting my heart broken, then waking up and driving across the country and doing it all over again.” “Love Is Not A Song” was inspired by Margo Guryan’s Love Songs, pairing bright piano with playful lyrics about an old man who’s been beaten down by life but still believes his greatest love is yet to come. Last but not least, title track “No Home” sums up the album’s key theme of alienation, “It all goes back to this feeling of wanting to belong to someone or somewhere, wanting to belong in your own body.”

Following the acclaimed Milano Undiscovered, Italia Undiscovered and Italia Synthetica series comes Italo International: a new collection celebrating the enduring legacy of Italo Disco. Eight exclusive tracks by established European artists reimagining one of Italy's most influential musical movements with originality, respect, and a contemporary vision.

Italo International is a journey through the many shades of elegant and visionary electronic music, moving between Italo Disco, Synth Pop and dancefloor-oriented sounds. The talented and steadily rising Polish producer Rafał Lachmirowicz, aka Also Playable Mono; Hungarian artist Gianni Durante, aka Electro Potato, who for years has been bringing back the sound of early-Eighties Italo Disco with passion and a contemporary sensibility; Norwegian Tommy Holsen, aka DJ TinTin, who together with the Eighties band Go explores the classic sounds of Nordic Synth Pop; British producer Mark Wilkinson, aka Kid Machine, who for over fifteen years has been creating productions made for the dancefloor; Tyrell Corporation, the alias of Dutch producer Alden Tyrell, who joins forces with Italian duo Italoconnection to rework a track destined to set the dancefloor on fire; Swedish multidisciplinary artist Tobias Bernstrup, who for three decades has been reinventing the more sophisticated side of Italo Disco with elegance and a distinctive vision; the Dutch project Sfera Celeste Project, which blends Moroder-inspired sounds with a hypnotic minimalism reminiscent of Jeff Mills; and, closing the journey, British artists Heartbreak, Ali Renault and Sebastian Muravchik, with a poignant and slow-burning excursion into the melancholic world of Synth Pop.

""Early Morning"" is the result of an intimate, personal experience within Mexican territories. It unfolds as an open-ended narrative, suspended in vast and indefinite environments where sound merges with the landscape.
Trumpet and electric keyboard act as the central forces within the composition, guiding its emotional core. Around them, additional elements are woven in through subtle interventions-reinforcing, dissolving, and reshaping the piece. The result is a form rich in suspense, positioned between electroacoustics and contemporary experimental music, maintaining a strong focus on timbre, spatial perception, and the relationship between acoustic sources and real-time processing. Jacopo Buda (born in 1994) is a trumpeter, composer, and sound artist. In addition to his work as a musician, he is an artistic director for experimental music festivals within the Italian underground scene and has been the co-curator, alongside Demetrio Cecchitelli, of The Cave hosted by Casa Madiba (Rimini) since 2021.

WRWTFWW Records proudly announces the release of sfs/in vain (selected tracks) by UK jungle heavyweight and Future Retro London founder Tim Reaper, a limited-edition 3LP bringing together selected tracks from two previously digital-only albums, sfs and in vain.
An insane collection of slower 140 BPM wonders, sfs/in vain explores jungle, dubstep, UK garage, R'n'B, grime, liquid D&B and broken beats through Tim Reaper's fresh and informed approach. Deconstructed and reconstructed club music, rooted in tradition but looking forward, these tracks reveal another side of one of the key figures in the modern jungle revival.
The selection comes from 2 albums. sfs collects a body of slower material Tim Reaper worked on throughout 2025, stretching across various genres of UK electronic music. in vain comes from a much more personal place. Written during a period of instability, heartbreak, financial and professional uncertainty, the album became a way for Tim Reaper to process what was happening around him and find some kind of escape. The tracks were made at a point when the effort he had put into rebuilding his life felt as though it had all been "in vain" - hence the title. The result is warm, melancholic, soulful, simply very human.
Together, these selected tracks highlight the incredible range of Tim Reaper's production, proving that his understanding of jungle extends far beyond the traditional boundaries of the genre. From heavyweight bass music to delicate melodic passages, sfs/in vain (selected tracks) is a beautifully varied snapshot of an artist constantly pushing UK club music into new territories.
Tim Reaper has been leading the resurgence of jungle for years, with releases on AKO, Skeleton Recordings, 7th Storey Projects, Green Bay Wax, Dalston Chillies, Parallax, Myor Massiv, V Recordings, Deep Jungle and many more. He is also the founder of Future Retro London, one of the most respected labels and platforms in the contemporary jungle scene.

Cultivated Electronics celebrates two decades at the forefront of electro with its landmark 50th release on the main label, returning to the very beginning with a new release from Signal Type - the collaborative project of label head Sync 24 and Matt Whitehead. The anniversary EP pays homage to the sound that launched Cultivated Electronics back on CE001 A1, with Signal Type delivering "Break Through", a snappy, driving and psychedelic electro workout built firmly for the dancefloor. Funky, spacey and packed with the restless energy that has defined the label since its inception, the track feels both like a nod to CE's roots and a statement of where the label stands today. The celebrations continue with three remixes from long-standing Cultivated Electronics collaborators and influential figures within the electro scene. Keith Tenniswood, aka Radioactive Man, brings an old-school, Mad Mike-esque Underground Resistance flavour to his rework, injecting the original with raw Detroit-inspired energy and machine-driven propulsion. Carl A. Finlow, operating under his Silicon Scally moniker, takes things deeper, delivering a heady after-hours interpretation built around immersive, late-night club sonics. Rounding out the EP, Finnish electro pioneers Morphology deliver a hypnotic, 90s-inspired roller, bringing their distinctive analogue sensibility and futuristic groove to the original. The vinyl edition arrives on blue marbled translucent coloured vinyl, housed in a full-sleeve package featuring artwork from Geometric Love. From its first release to its 50th, Cultivated Electronics has remained dedicated to forward-thinking electro, connecting classic machine funk with contemporary club sounds. CE050 marks both a celebration of the label's history and a salute to the artists and sounds that continue to shape its future. Here's to another 50 releases.

By the time Michael Nau completed Popfly, the songs felt less like compositions than companions. Arriving in fragments, notebook lines, and fleeting observations, these pieces kept company for years until taking their final form. The result is one of Nau's most openhearted, expansive records, both homespun and otherworldly at once. Radiant folk melodies, tape-warped textures, and flashes of everyday wonder coexist in perfect balance on Popfly. Nau has never been a songwriter who forces songs into existence. Instead, he follows them, trusting intuition over agenda and allowing songs to gradually reveal themselves. Writing and recording often blur together, with melodies evolving before lyrics are finished and stray recordings forming the basis for new songs. Popfly showcases these creative detours: thoughtful folk songs, sonic experiments, and accidental beauty transformed into fully realized compositions. Many songs began at home, growing in meaning. Since he entered the Vermont studio, Little Jamaica, with longtime friend and collaborator Benny Yurco, many of them had already lived several lives. "Studio recording feels like covering my own songs," Nau says. This idea flows throughout: performances are lived-in, feeling effortless, as if assembling itself. The title track carries a flicker of wonder in its simple observations. "New Slack" moves with the loose confidence of a song content to follow its own path. On "Lost Station Hideaway," soft static and fading signals become something strangely comforting, as if the song itself is being broadcast from somewhere just beyond reach. Family and friendship are deeply woven throughout the record. Nau's children contribute vocals, bringing warmth and spontaneity to the album's communal spirit, with longtime collaborator and wife Whitney McGraw lending her serene voice. The harmonies that drift from them extend the album's central impulse of people gathering to make something beautiful. Across Popfly, loose-limbed folk songs mingle with homespun psych-pop, porchside country-folk, dreamlike atmospherics, and quietly profound observations. The record moves with the ease of conversation among old friends, finding beauty in tiny revelations, strange coincidences, and everyday mysteries. The record is full of transmissions from different moments in Nau's life, stitched together by instinct, affection, and time. Taken together, they form a portrait of a life spent paying close attention to the world and its small miracles.

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.



The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.



FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

With his last three records all landing within a calendar year (2024-25), enigmatic Swedish producer Civilistjävel! (aka Tomas Bodén) is on a hot streak of releases, his singular vision increasingly ambitious and expansive. There are few artists working at this level so consistently right now, reinventing, revising and continually developing their language. Following on from 2025’s radically re-worked ‘Versions’ (of Mayssa Jallad’s ‘Marjaa…’), Bodén returns to break further fresh ground with his new album, ‘Älvgång’. Featuring contributions from Soccer Committee, Carrier and guest (aka Jabu’s Jasmine Butt), ‘Älvgång’ foregrounds a more brittle and insistent rhythm-based sound, whilst comprising his most broad-ranging collection of material to date.


‘Älvgång’ grew out of a series of sketches made from late ‘24 and throughout the whole of ‘25 at Stockholm’s renowned EMS Studios, which gave Boden free rein to its extensive collection of vintage analogue equipment and rare modular synthesizers such as the Serge and Buchla systems. As a loose framework of tracks began to take shape, so did a reflection of sorts, on family and foundations, underpinned or influenced by sounds that drifted into Tomas consciousness around this time - ancient Swedish pastoral music, Georgian lithurgical chants, gongs, chimes. An idea settled into place, a dedication to his Grandfather, as the earlier release Fyra Platser (tr. ‘Four Places’) was to his Grandmother. Älvgång is grounded with the sense of time and place of an old family photograph, with the tracks over each side bearing one of two names that are more or less the same location - Strinne was the old name for a this loose collection of villages. These days it is more commonly known as Bjärtrå. Metaphorically speaking, the river runs through both.


Civilistjävel! conjures so many adjectives and descriptors, ‘glacial’ and ‘ambient’ frequently among them - but while not altogether untrue, such terms belie the tension and drama so often present in Tomas’ music. Listening to ‘Älvgång’ is not a passive experience. The eight tracks here feel like a patchwork of memories that bathe in the same ethereal, otherworldly glow of Tarkovsky’s polaroids’.


The machine pulses that dominate this landscape are reigned in and tempered by a human hand; lithe, untethered coils, breathing in and out. ‘Strinne Ett’ sets out with purpose, sensing awe and wonder through the murk, but as the final tone unfurls like a question mark, another chapter begins, unfolding/building like a Tarjei Vesaas novel. These lyrical, abstract miniatures combine to reveal a wider context, fragile humanity standing alone against nature.


Guest appearances on Civilistjävel! records have become a regular occurrence (including recent collaborations with Mayssa Jallad, Laila Sakini, Cucina Povera, Thomas Bush, Eldon + Withdrawn), but are used sparingly and with increasing precision. On ‘Strinne Tre’ Mariska Baars’ (Soccer Committee) voice feels like a balm, a clearing. But as her simple, three-word incantation drifts further into fog, the meaning changes, and her words seem to curdle. Carrier’s beats widen the parameters on ‘Strinne Fyra’, a skittering promise that builds tension then refuses to release it; all false starts, Photek gongs, and trinkling modulars. Jabu’s Jasmine Butt pulls all the threads together for the final track, Thomas Tallis’ ghost walking over offset machine impulses, that work against their own symmetry.


Side two begins inquisitively, scanning bleached, alien surroundings, its sparse pads recalling Aphex Twin’s ‘Selected Ambient works Vol 2’. 'Bjärtrå Två’ picks up the baton from ' Strinne Fyra’ with a ruptured Simmons SDS200 analogue drum synth set free from its shackles, the rhythm eventually slotting into the spaces that were hiding in plain sight. What follows seems like an epiphany; ‘Bjärtrå Tre’ is achingly beautiful, a euphoric, winding ascent that leads to devotional plainsong. ‘Bjärtrå Fyra‘s final unheralded shift feels both tragic and haunting.

Naarm/Melbourne-based artist Now Always Fades returns with Coalesce, the follow-up to his widely acclaimed 2025 album Into The Doldrums. The project of Xavier Bacash, Coalesce sees the musician evolving his modernised approach to downtempo and trip-hop, genres in which he has been heralded as a leading new voice amid their growing popularity. Across the record, NAF's musical and thematic universe expands with the return and addition of a series of new vocal collaborators, speaking to the versatility of a voice as a contextual instrument. In doing so, throughout 'Coalesce', he continues to develop a kind of sonic consistency that focuses on shared emotion above all else. In pursuing those feelings, Now Always Fades finds himself alongside a series of strong and soulful voices: Alia Seror-O'Neill, otherwise known as Alias Error; Lili Hall; and Olive Kimoto, NTS Radio host and singer behind influential 90s band Locust. Throughout the record, each vocalist finds themselves on tracks entirely for them, and in doing so, the NAF project provides everyone involved, and the listener, with something sonically new but emotionally familiar at every turn.

Do you know what time it is? It’s Prime Time, the new EP on Punctuality from mischievous French duo Pureblast . Marking the label’s twelfth release, the record serves as a bold statement of intent from the Parisian pair and demonstrates why they’re quickly earning a reputation as one of France’s most exciting live acts.

Across the EP’s five tracks, Pureblast weave together a broad spectrum of influences while remaining deeply rooted in the duo’s singular vision. Every cut is fat, pumping, gritty and playful, ready to turn heads and hips on the dancefloor.

Side-stepping easy genre classifications, Prime Time is modern rolling prog at its most energetic. Tightly wound low-end, pummelling drums and restless basslines drive each track forward with purpose, while sa+ga’s vocals are manipulated and distorted to humanoid perfection. The result is something distinctly personal beneath the machine funk: robotic yet seductive, gritty yet playful.

Deep listeners will spot nods to tranced up breakbeats, Ray of Light-era big beat, Detroit electro and contemporary UK techno with psy-fluenced synth swirls and texture. Far from pastiche, these influences are absorbed into the Pureblast machine and transformed into something entirely their own.

Gritty, pumping, sexy and playful. It’s Pureblast, it’s Prime Time.
credits

For more than two decades, Vidmantas ?epkauskas has occupied a singular position within European underground culture. As the driving force behind Opium Club and gallery 1986 in Vilnius, founder of Ant Bangos, Alfavilnius and OLE festivals, curator, label owner, promoter, DJ and artist, he has spent much of his life creating the conditions for other people's music to be heard.
It makes sense then that he has no shortage of friends and collaborators in play. Across ten tracks, V presents shades of Italo, krautrock, post-punk, minimal synth, industrial pop and neon-noir romanticism, arriving somewhere between the dancefloor and a dream-state. The cast of collaborators both contextualize and help sharpen the vision.
First and foremost, much of the album was crafted alongside Frankfurt's Philipp Lauer, whose friendship with V grew through marathon studio sessions. Curses lends his unmistakable blend of dark romance and theatrical energy to "Is This What You Want?", Australian cosmic journeyman Dreems joins for the kaleidoscopic "Blitz Disc," Domenique Dumont brings their unmistakable emotive touch to "Avventura," while Lithuanian artists Noyus and Ruta MUR, both distinctive voices from the country's queer scene, whose vocals add another dimension to the record's emotional palette. As V puts it, "These are the people I've been vibing with."
That he finally delivers a full-length LP with such elusive qualities is more than a clue to his character. The title itself, a nod to Magritte's famous paradox and his years living in Brussels, suggests that any attempt to define V through a single image is destined to fail. At once playful and philosophical, 12:55 (Ceci n'est pas une V) questions ideas of identity and artistic value while marking the closing chapter of the musical persona that followed ?epkauskas' earlier success as Vidis. Neither retrospective nor statement of intent, it feels like a connected set of reflections spanning a lifetime of influences.

“My Love” is one of its key tracks on “Summer End”, the current album by French singer & songwriter Al Sunny. Now that summer really has ended, Al Sunny asked a few producers and DJs from all over France to deliver their interpretation “My Love”. Featuring a wonderful organic take by Ludovic Llorca aka Art of Tones this EP is available digitally and as limited four track 12inch vinyl edition including the Art of Tones, Hugo LX and Jared mixes.

Art of Tones

Art of Tones is the house and disco project of acclaimed French producer Ludovic Llorca. Launched in 2006, the alias quickly earned international recognition through its distinctive combination of soulful musicianship, powerful grooves and dancefloor energy. His catalogue includes releases on respected labels such as 20/20 Vision, Local Talk, Glitterbox, GAMM and Toy Tonics, establishing him as a highly regarded producer and remixer within the global house scene.

Hugo LX

Hugo LX is a Paris-based DJ and producer whose musical universe moves effortlessly between deep and soulful house, downtempo beats, jazz, hip-hop and ambient influences. Known for his refined production style and wide-ranging musical knowledge, he has released music on respected labels including NDATL, MCDE, Balance and People of Earth, alongside projects on his own Doma Music imprint. Both behind the decks and in the studio, his work is defined by warmth, subtlety and a deeply personal approach to electronic music.

Jared

Jared is a French DJ, producer and event curator based in Bordeaux, with a strong connection to house music and club culture. Over the years, he has performed at a wide range of events and international stages, including Tomorrowland, developing a reputation for energetic and carefully constructed DJ sets. His musical approach combines a deep understanding of the dancefloor with warm grooves, contemporary production and an enduring passion for house music.

On their third album, FANGS, London collective HMLTD have created an entirely new genre: Götherdammerüng (or ÜberGöth). Predictably unpredictable, it could not be further away from their last outing, 2023 rock opera The Worm. The sixteen-piece orchestra has been traded in for Ableton, the timpani and violins replaced with side-chained four-to-the-floor and rave synths, and the gospel choir swapped for guttural gothic howling and black metal screams. The result is both unique and terrifying: a total reinvention and rehabilitation of the goth genre, through the looking glass of modern electronic and doomscroll-era dance music.

This new beginning was accompanied by a change in personnel, with Theo Spark and Andrei Martynchyk joining the fray alongside original members Henry Spychalski and Duc Peterman. Decamping to a ruined château in the Loire Valley, the quartet became obsessed with vampire lore, and the EBM and goth sound that inspired their early work: Fad Gadget, DAF, Nitzer Ebb, Suicide and Bauhaus. FANGS also points to more contemporary influences like Crystal Castles, German hardcore, 2000s blog-house a la Justice, and 2020s sleazepop.



The world crafted in FANGS is full of cosmic pessimism, glowing horror, imperceptible evil and digital dismemberment, ancient curses and ruined castles, Vampires. But it is also a thoroughly fun, and funny, record, as danceable as it is deep. Born of the club, some tracks would not sound out of place on Brat. Like a Smiths song which sounds happy and carefree until your brain tunes in to the misery of the lyrics, it can be listened to - and enjoyed - on two levels. One can get lost in the throb of bass and ludic synths, or tune into the horror of the lyrics which overlay them.



FANGS attempts to offer up a reflection to a culture that - like a Vampire - has lost its own. The result is something not only thoroughly modern, original, and inventive - but that feels genuinely dangerous and potent. FANGS delights in this ambiguity: simultaneously indicting decadence, decay, and moral rot, while luxuriating in its intoxication by it. Cacophonous sub-bass becomes a chthonic call of the void; seraphic rave synths become the screech of Valkyries; four-to-the-floor becomes a deathly funeral march. Vampire apocalypse.

Underoath reinvents the balance between chaos and harmony with each successive release. Their compositions, conjured from creative tension, become iconoclastic anthems. Even when the band almost combusts, the crackling energy coalesces into something deeply resonant for millions.

Each time they have a chance to do something safe, Underoath challenges themselves instead, with integrity and attitude. Their pair of gold albums and three Grammy nominations stand in stark defiance of the idea of commercial compromise. The Underoath catalog weaponizes noise, aggression, and ambiance as skillfully as melody.

They're Only Chasing Safety is the fourth studio album by American melodic hardcore band Underoath. It was released on June 15, 2004, through Solid State Records. Following the release of their third studio album, The Changing of Times (2002), half of the band's members were replaced. After finalizing the line-up with vocalist Spencer Chamberlain, the band recorded They're Only Chasing Safety with producer James Paul Wisner (Dashboard Confessional, Further Seems Forever, Paramore). In the heavy and punk music scene, the album is considered a watershed moment. The blend of heavy metal and hardcore influences with a strong pop/punk sensibility spawned a new branch of heavy music. The sound eventually became synonymous with the screamo scene of the mid-2000s. The record went gold in 2011.

“Kjorstad is an intriguing musician. He’s fascinated by the world, its history and future, nature and sound.”
Songlines

“Routinely blurs lines between folk, jazz, free improvisation, experimental, and contemporary music. Impressive, elusive, superb. I’m never less than spellbound.”
the Quietus

“Just as likely to appeal to followers of classical, folk and improvised music as to the jazz fraternity…A deep listening experience. Enchanting.”
Jazz Journal

Norwegian multi-instrumentalist Hans P. Kjorstad debuts on Phantom Limb (following works with Sam Gendel and Ernst Reijseger) with new album Inn, a nuanced, lower case, orchestra-in-miniature full of curiosity, charm, and sensitive mastery of its form."

Composed over a period of twenty years, these four electroacoustic pieces by Ivo Malec reflect the richness of his sonic universe and reveal the unique power of his musical writing. His strength lies in an ability to harness emerging sounds and techniques (ranging from complex editing to early computer music and electronic synthesis) and develop them through an exploratory approach, giving rise to musical ideas of rare clarity. This sense of determination, not only in terms of the future of sounds but also of musical forms, is what makes Ivo Malec an essential composer on the contemporary music scene and a key figure in the GRM’s repertoire.
François Bonnet, Paris, 2025

Soul Ex Machina continues the SEMPLATE series with its third installment, welcoming Sibla for a three-track EP rooted in the foundations of early dubstep and shaped by a strong jazz sensibility. Named after its opening track, "The Seekers" explores spacious arrangements, refined musicianship and carefully sculpted low-end, drawing a natural connection between soundsystem culture and contemporary harmonic language.

"The Seekers" opens the record with rolling jazz-inflected drums, deep dub weight and a dim, immersive atmosphere, unfolding with patience and quiet confidence. "Paper Bags" shifts the mood through harsh textures, subtle dissonance and restrained percussion, building tension without sacrificing space or balance. Closing the release, "Pace" settles into a driving stepper rhythm, where flowing grooves, precise basslines and understated melodies bring the EP to a focused, purposeful finish.

To celebrate three decades of a dancefloor masterpiece, Boris Dlugosch’s 1996 classic house anthem "Keep Pushin'" is receiving a 30th-anniversary reissue. Featuring the unmistakable vocals of Inaya Day and production contributions from Mousse T., the track has been revitalised for contemporary dancefloors.

The package introduces stellar new remixes from Soul of Hex and global heavyweight Purple Disco Machine.

For the purists, the B-side revives the revered DJ Disciple & Mousse T. Hard Dub, alongside the sought-after Path Of Dub Mix.This is a definitive, must-have release for collectors and DJs alike.

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Long Distance Operators (LDO) is a collaboration between the Australian musician Hugo Race and the Belgian violinist Catherine Graindorge. Hugo Race, singer, songwriter, producer and author, has a long and wide-ranging history, from the trans-global Dirtmusic and his groups True Spirit and Fatalists to his origins in the 80's Melbourne post-punk scene with Nick Cave & the Bad Seeds and The Wreckery. Catherine Graindorge, violinist and composer, is known for her solo work and collaborations with International artists such as Iggy Pop, John Parish, Pascal Humbert (16 Horsepower), Simon Huw Jones (And Also The Trees). She also plays and composes for theater and cinema. The music of LDO is an intensely atmospheric dreamweave of violins, electronics and Hugo's darkly evocative voice. The duo explores metaphysical lyrics, experimental sounds and retro-baroque orchestrations in a romantic, song-based context.

Tommy Lefroy has never been afraid of existential questions. From their critically acclaimed debut EP, Flight Risk, the band has captured audiences with their candor wrapped in wit. Both lyrically intimate and sonically vast, the band’s catalog is confessional and commentative, balancing irony with sincerity. They broach their biggest subjects yet on their first full length album, The Precariat. An economic term, the precariat refers to a growing class of people facing increasing instability. “Most people we know are experiencing an unprecedented level of precarity, permeating into the collective psyche. We feel like the best we could strive for in a body of work is an unflinching capture of the moment. The Precariat felt like the perfect title, and emblem of how it feels to be alive these days.” Recorded in Los Angeles at Blue Canyon Studios, The Precariat was produced by band members Wynter Bethel and Tessa Mouzourakis, with co-production from Stephen Sesso, and executive production by Mike Crossey (The 1975, Wolf Alice, MUNA). The album’s songs were written by Bethel and Mouzourakis, over the tenure of their friendship, across apartments and tour vans, phone calls and late night conversations. With themes of friendship, coming of age, personal and collective grief, environmental uncertainty and political decay, The Precariat offers a sonic landscape in which to contend with our rapidly changing world. The album’s title track (largely inspired by Springsteen’s critical narratives mistaken for bleeding heart patriotism) grapples with constant exposure to global suffering, and feeling entrenched within systems that fail us. “The Precariat” disintegrates into the ‘American cities’ outro, an idea started while the band lived in London, about missing home while watching it destabilize from afar. The Precariat faces this head on – all the sheen of the American empire has worn off, and there is much work to be done. “We hope to foster an antidote to precarity – community.”

Brutal, uncompromising Slam from Greece. Years of obsession, ignorance, and absolute contempt spent keeping slam locked in its lowest, most primitive caveman state. Through collapse, and complete disregard for ourselves, we persevere. The "Embryectomy" project clawed its way from a deranged slam duo into a fully armed three-body beatdown slam monstrosity through uncompromised fury alone. No trends. No mercy. No concern for acceptance. Anyone who stood in the wreckage with us knows what it took to get here. We are now signing with Unique Leader Records. What you will endure in our next release is not meant to inspire or connect. It was composed in a chaotic state of antipathy, and absolute emotional absence. This is the most brutal material we have ever created—not for everyone, not for growth, but for those who understand that misanthropy is the only constant. We thank Unique Leader Records, who pushed us beyond what we thought possible: brutality to its limit while stripping away anything human. No benevolence. No empathy. No relief. Only violence, executed with intent.

Dusky return to Anjunadeep with their forthcoming studio album ‘Signals’. The London duo first debuted on Anjunadeep in 2011 with their critically acclaimed album Stick By This. Expanding the boundaries of deep house and UK club music, the record marked the beginning of Dusky’s rise as one of the scene’s most respected acts. Their breakout track ‘Careless’, released via Aus Music, further cemented their reputation, amassing more than 14 million streams and becoming one of the defining UK house records of its generation. In 2014, the pair launched their own imprint, 17 Steps, which has since hosted releases and remixes from artists including Nathan Micay, LTJ Bukem, Interplanetary Criminal, Denham Audio and Shed. Since then, Dusky have released two further studio albums, Joy and Pressure, alongside a string of acclaimed singles. Their music has earned support from Pete Tong, Danny Howard and Sarah Story on BBC Radio 1, as well as widespread backing from leading DJs including Jamie Jones, Peggy Gou, Gorgon City, TEED and TSHA. While 'Signals' represents a natural continuation of the Dusky story, it also ventures into more reflective territory than previous releases. The album's wider range of influences and more contemplative mood offer a fresh perspective on the duo's sound, while also paying subtle homage to their acclaimed debut album ‘Stick By This’. Featuring multiple collaborations with vocalist Rromarin, alongside a contribution from Nadeem and Pritt, 'Signals' reflects a creative process that unfolded over many years. Some tracks grew from ideas first sketched long ago, while others emerged more recently, giving the album a sense of both history and momentum. Across its 13 tracks, 'Signals' balances Dusky's club-rooted instincts with downtempo offerings. Tracks such as 'Next Life', 'Kadhalan' and 'Lab' showcase the duo's signature combination of bold basslines, driving rhythms and emotional resonance. Elsewhere, 'Elm' and 'Bindweed' slow the tempo and draw on the warmth of soul, the deeper edges of disco and richly textured live instrumentation.

Flamingo Pier, the New Zealand–born, London shaped trio of Luke Walker, Dominic Jones and Brad Craig, step confidently into a new chapter with the announcement of their second album ‘Woven Together’ arriving in October. Long celebrated as one of the southern hemisphere’s best kept dancefloor secrets, the group now move firmly into global view with a record written, produced and released entirely on their own terms. Since first emerging with their Kitsuné debut in 2015, Flamingo Pier have carved out a distinctive space in contemporary dance. Their 2019 Soundway EP earned international acclaim was played on BBC Radio 1 and KEXP, with their 2021 debut album featuring jazz icon Nathan Haines.

Further releases on Razor 'N' Tape and Soundway included collaborations with Nigerian disco legend Steve Monite.

The first glimpse of ‘Woven Together’ arrives with lead single ‘Cool Nights’, a modern, playful take on 80s Italo Disco - powerful on the dancefloor yet built for top down drives along the Italian coastline. A late night story of connection and possibility, the track sets the tone for an album that brings Flamingo Pier’s melodic warmth, rhythmic precision and global influences into sharp, confident focus.

Released in 2013, Forward features vocal performances by N’Dea Davenport and Dawn Joseph and combines classic Heavies grooves with a polished contemporary production. Highlights include “Sunlight”, “Do You Remember”, “On the One” and “Lifestyle”. Our release marks the album’s first-ever appearance on vinyl. It has been prepared as a high-quality 180g 2LP gatefold edition, cut at 45 RPM. This album will also be reissued as CD Digisleeve

The songs of Jules de Corte are condensed, folky gems with an almost effortless charm. Poised between the intimate and the universal, between lightness and darkness, they touch on religion, love, loss, and the small dramas of everyday life. Yet they resist easy translation. Packed with wordplay, de Corte’s signature alliterations, humor, and local cultural references, the songs inevitably lose something in another language. Still, when a Belgian quartet of improvisers takes them on, joined by American songwriter Bonnie ‘Prince’ Billy, the songs are reborn rather than merely transposed: literal fidelity gives way to interpretation, and what is lost in words is often gained in spirit.

Even without tracing every change, their overall effect is fascinating. Songs are slowed down, often doubled in length, and filled with unexpected musical intrusions. They gain fuller arrangements and are placed in an entirely new context. Replacing de Corte’s piano with guitar can create a radically different vibe, as in “Mariska.” An added solo can heighten the contrast between childlike perspective and the almost matter- of-fact brutality of “Little Anita.” In “The Stranger,” another use of contrast unsettles the everyday harmony, transforming it with a subtle, disorienting twist.

Ultimately, these performances show that interpretation is not successful simply because it is literal. With the groundwork laid by Linus, Bonnie ‘Prince’ Billy further liberated the songs from their original versions. Lyrics and melodies become malleable, shaped by his recognizable cadences, timbre, and personal quirks. Like his collaborators, he allows himself the freedom to bend the material to his own approach. There is no radical break between this performance and his other records. Listeners familiar with the originals may be puzzled at first; for those new to de Corte, it is a wholly different experience.

Does it really matter that the original “Little Jesus, Mighty God” is a 100-second nugget combining playful naivete with biblical fervor? In the hands of these five explorers, the song becomes an intriguing contemplation, with subtle musical shades and a recitation in which every syllable carries a maturity that offers a new perspective. Then there is “The Outsider,” which feels as genuine as any original American folk song. The musicians’ process is more than reinterpretation—it is reimagination, bringing new musical compatibility and emotional depth. Whether that depth was there from the start, waiting to be uncovered, or created in the process is beside the point. What matters is that Linus and Bonnie ‘Prince’ Billy have made the essence of these songs their own, paying homage yet dancing to their own tune.

Linus is the Belgian duo of guitarist and banjo player Ruben Machtelinckx and reedist and synthesiser player Thomas Jillings. Across five previous albums — Onland (2014), Linus + Skarbø / Leroux (2015), Felt Like Old language at the crossroads of folk, jazz, minimalism, chamber music and free improvisation. Their music is adventurous, shaped by a particular sensitivity to texture, timbre and the subtle interaction between musicians.

What began as a duo gradually grew into a flexible musical world, bringing Linus together with musicians such as Nils Økland, Ingar Zach, Niels Van Heertum, Øyvind Skarbø and Frederik Leroux. Yet each new constellation has remained recognisably Linus: music in which carefully considered forms leave space for intuition, interaction and the unexpected.

For their sixth album, Linus takes a new step by moving into the world of song and text. Inspired by a shared love for the late Dutch songwriter Jules De Corte, the album is a reimagining of De Corte’s unique repertoire. More than simply interpreting De Corte’s songs, they absorb and reshape them, bringing them into dialogue with their own musical language. In keeping with this open approach, they are joined by celebrated vocalist Bonnie “Prince” Billy. With albums such as 1999’s I See a Darkness appearing on several greatest album lists, Bonnie “Prince” Billy is a cult figure in the alternative folk scene, and his highly intuitive way of singing seamlessly matches the subtle interplay Linus has developed over more than a decade.

Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.

“Neither from here nor from there” is often used to describe migrant identities in territorial terms. In the case of Siete Catorce, it works better temporally: his music has always been so far ahead of its moment that it ultimately carved out a space of its own within both Latin American and global electronic music.

Born in Mexicali and shaped between the Bay Area and northern Mexico, his musical identity emerged through hip hop, dubstep, and the independent borderland scenes. After several years in Mexico City — without a clear place inside the local circuit — he created his own space through his music, developing a distinctive DJ/live set and a singular vision of contemporary Mexican electronic music, becoming a key figure within the city’s most forward-thinking underground.

In 2026, he releases El Valle, his first album in nearly three years. The record moves through different currents of electronic music — ambient, techno, cumbia, and tribal — filtered through a unique rhythmic language marked by syncopation, unpredictable breaks, and a constant tension between restraint and energy.

The album opens with “Mexicali,” alongside Andre Pereda, a tribal track stripped down to its percussive essence, evoking the genre through an ambient and synthetic approach. From there, “Aragón” and “El Rancho” progressively increase the tempo and intensity, combining cadenced phrases with minimalist tribal beats and unexpected turns.

In the second half of the album, now moving through territories of 140 BPM and beyond, tracks like “Montecarlo 1” and “Tierra Roja” drift between futuristic bass music and large-scale techno structures. This is followed by the 8-minute epic “East LA,” where Siete Catorce expands the energy of syncopated techno before releasing it into a pre-Hispanic tribal journey with flute and all the drums required for the occasion.

The closing section arrives with “Tlatelolco,” accelerating into an epic cumbia infused with trance references, and “Los Pinos,” a direct and forceful finale sustained by some of the album’s most precise sound design.

More than genres, Siete Catorce’s work is defined by meticulous sound design and an exceptional rhythmic sensibility — qualities that have established him as one of the most respected drum programmers of his generation.

DJ Support Mark Knight, Dj Spen, Brian Tappert, David Penn, The Shapeshifters and many others.

Serge Funk’s "You Treat Me Right" EP on Groove Culture is a definitive masterclass in modern disco-house that belongs on every DJ and collector’s turntable. Impeccably curated by the Italian imprint Groove Culture, this four-track 12" vinyl balances future funk playfulness with crisp, contemporary production. It delivers high-octane dancefloor energy that rewards listeners both in a packed club and on a high-fidelity home setup.

With MYSTERIUM COSMOGRAPHICUM, the ALIEN CODE series opens a new transmission within the Cosmic Tribe universe — a speculative exploration of ancient futurism, extraterrestrial civilizations, sci-fi architectures and hidden technologies through electro-oriented sound research.

Across six tracks, the compilation moves through atmospheric electro, cosmic electronics, galactic basslines and contemporary machine-driven structures, combining cinematic tension with underground functionality.

MYSTERIUM COSMOGRAPHICUM unfolds as an episodic interstellar narrative — where each track operates like a different scene, transmission or passage within the wider ALIEN CODE universe.

For this transmission, Cosmic Tribe brings together an international selection of artists exploring contemporary electro and futurist electronic sound, featuring Raakel Bloody Raakel, Lups Digga, Aztronouth & Machinefunk, EC13, Lloyd Stellar and NOAMM.

Visually and conceptually, ALIEN CODE continues Cosmic Tribe’s investigation into lost and unknown civilizations, symbolic technologies and non-human futurist aesthetics — where ancient structures and ultra-advanced systems coexist beyond historical time.

Pirka Vinyl Cuts hits its 11th volume with a nod to the classics, leaning heavily into revered disco and house chops.
Stripped back for maximum impact, these edits flip instantly familiar vocal hooks and grooves into high-grade DJ weapons, revitalizing peak-time sets with a sharp, contemporary edge.

Crossing their distinctive techno practices in the spirit of mutual appreciation and experimentation, DJ Nobu invites JakoJako to Bitta. Each delivering an original track and then remixing each other's work, both artists examine where their creativity converges, and what happens when their differing qualities collide. JakoJako has forged a reputation within techno and electronica circles centred on her accomplished exploration of modular synthesis. While she comfortably embraces ambient projects, she's also firmly entrenched in the club matching a tough rhythmic sensibility with adventurous textures and subliminal emotional content. As Nobu himself describes, "Beyond standard techno functionality, I deeply respect JakoJako's approach to music making, which stems from a pure, unyielding curiosity about sound itself. Her sound aligns perfectly with Bitta's core philosophy--the coexistence of experimentation and physicality." Nobu's own 'Wax and Wane' opens up the release in a melancholic mosaic of bleeping leads and natural-sounding drum tones, patiently laid out over a dense pad and developed with the elegant but driving style he's made his own over many years. JakoJako's 'Nodus' is a more cybernetic affair--lithe layers of frequency modulation moving over the rugged kick drum thump before opening up to celestial arps and jagged flurries of percussion. For the remixes, Nobu immediately reframes 'Nodus's melodic crescendo as the core theme while steering the track towards an immersive, linear arrangement that ebbs and flows with poise. In the process, he finds his own expressive sound design language to put a unique spin on JakoJako's original sound. Meanwhile, JakoJako steers 'Wax and Wane' into a mesmerising lattice of needlepoint percussion and swooning synth strokes, creating emotive swells out of the raw ingredients of Nobu's original melodies. The end result is a record made up of four distinct pieces, all logically compatible but bringing forth different aspects of two dedicated, ceaselessly curious practitioners of contemporary techno.

Toneblind continues charting its course with a second release for 2026: TB03 presents four sleek, spherical groovers from AI Robot.

A relatively new project of Romania’s Calin Dumitrescu, with previous releases via EYA and Lirica Archives, the Damage Control EP is AI Robot’s most focussed release to date. All four tracks fit snugly with Toneblind’s developing vision: sci-fi inflected, craftily contemporary, dancefloor tested and ready for immediate play.

Side A is perfectly primed for peak time, with the playful vocal snippets of ‘Random Factory’ and slinky, snaking bass showing of ‘Damage the Disco’ providing serious fun. Side B is more pensive but still propulsive, with the bubbling arpeggiations of ‘Take Control’ and spiralling synth lines of ‘Bridge to Bliss’ already both Toneblind sound signatures.

Strut proudly presents an expansive deep dive into the world of Quatermass Sound Lab, the prolific under-the-radar East London studio founded and run by producer, engineer and The Heliocentrics co-founder Malcolm Catto. Over the last two decades, Catto has quietly established himself as a sought-after sonic architect in contemporary music. Revered for his analogue-first approach, he has built Quatermass Sound Lab around vintage recording equipment, valve preamps and live performance, creating recordings that feel warm and timeless. Equally inspired by punk, hip-hop, psychedelic rock, jazz, funk and electronic music, Catto has developed a production style that rejects genre boundaries in favour of instinct and atmosphere. Describing himself as "50% musician and 50% listener," Catto approaches each session as a collaborator rather than a conventional producer. That philosophy has made Quatermass Sound Lab a creative home for an extraordinary range of musicians, from established innovators to emerging voices. His remarkable discography spans collaborations with Yussef Dayes, DJ Shadow, Madlib, Quantic, Mulatu Astatke, Orlando Julius, Idris Ackamoor & The Pyramids and countless others, each project using analogue wizardry to shape bold, contemporary recordings with a character all of their own.

For its second outing, Sonum invites Matteo Point, whose Acid People EP expands the label's catalogue with four cuts navigating the space between acid house, progressive textures and analogue-driven club music.

The title track, "Acid People," sets the tone with tightly wound 303 sequences, sparse drums and a hypnotic sense of momentum, landing somewhere between functional peak-time tool and late-night trip. "Fresh Morgen" follows with a rolling low end before gradually unfolding into darker, more melodic territory, recalling the subtle tension of late-'90s European underground records.

On the B-side, "Musika Progressiva" revisits progressive house without falling into nostalgia, reshaping familiar motifs through a contemporary lens while maintaining its analogue warmth. Closing cut "Vvvaneggg" shifts towards Detroit-inspired rhythms and understated machine funk, offering a stripped-back groove built for patient selectors.

Across four tracks, Matteo Point delivers a collection that feels both immediate and enduring—club-focused without sacrificing character. With Acid People EP, Sonum continues to carve out its own space, championing records that draw equally from the past and the future of underground dance music.

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.

UK Garage has ridden a new wave of hype and exposure over the last few years. Artists like Sammy Virji and Interplanetary Criminal have crossed over to the mainstream, while dancefloors across the world have shaken to a switched-up version of the sound that defined the UK underground either side of the millenium.

Hidden beneath a pink balaclava, the mysterious DJ Jackum has lurked this rejuvenated scene while dropping some of the most defining bangers of the period. Often surfacing in the form of moody edits released on Soundcloud, Jackum productions inevitably demolish dancefloors whenever dropped, as they frequently are in the sets of Virji and the other big guns.

Landing on Hotflush, a storied label of UK underground music, ‘Context’ is his most substantial work to date. Six tracks covering the full spectrum of the Jackum sound, from 4/4 heaters to dubstep-adjacent eyes-down bass pressure.

And in the form of opening track ‘Floo’, Jackum spreads his wings into a place that transcends the narrow confines of genre definition. From the UKG building blocks of bass, drive, cut-up vocals, and melody, the track emerges as something both familiar and wholly unexpected - the mark of a producer at the peak of their powers.

‘Clip Empty’ is another highlight of this standout EP. Showing a flair for the cinematic, a breakdown of militaristic snares gives way to a trademark rolling bassline and earworm vocals.

Away from the 4/4 bangers, ‘Take Your Body Higher’ is a guaranteed half-step rewind, while ‘Step Up’ recalls memories of smokey Plastic People sessions of the mid-2000s.

New Time is an ode to musical innovation, a captivating fusion of nu jazz, nu funk, and soul that captures the essence of the contemporary era. Mr. Thruout's skillful production combines with Sandro Lilliu's masterful guitar work, creating a unique sonic experience.
New Time is a work that redefines the concept of contemporaneity in the music scene, offering a unique and engaging experience for enthusiasts of nu jazz, nu funk, and soul. With the signature of Mr. Thruout and the collaboration of Sandro Lilliu, this vinyl is destined to become a modern classic.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

FUNKSOULSEX is the debut album by London-based Liv East and the culmination of years spent refining a sound entirely her own. Blending R&B, funk, neo-soul and contemporary electronic influences, the album explores love, desire, intimacy, lust and connection in the modern age through smoky grooves, sensual vocals and vintage-inspired production. Featuring production from Brighton duo AMIcity and incorporating vintage equipment & textures, FUNKSOULSEX bridges timeless influences with a fresh, forward-thinking perspective, creating a sound that feels both nostalgic and unmistakably modern.

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.“

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."

SIMPLR is a dab hand when it comes to editing, tweaking and touching up classics tracks just enough to make them bang on contemporary flors, but not so much that they lose the essence of what makes them standout in the first place. Already this month he kicked off this label with a doozy rework of a soul great and now offers two more gems - 'Downtown Soul' is steamy and hot house with big trumpets and funky bass loops and 'Those Days' gets deeper, with louche, live-feeling grooves that loop back on themselves and bring the funk.

As Eerie Enterprise, upsammy and Piezo have funnelled their singular styles into a classic-feeling but ultra-modern album of elegant, angular electronica. With a strong melodic sensibility and a highly developed palette of playful sound design in their toolkit, the unexpected pairing grew spontaneous jams into a considered collaboration, and Places Remember Events is the end result.

Individually, Thessa Torsing and Luca Mucci have carved out strong identities within contemporary electronic music. As upsammy, Torsing has applied a delicate precision to ambient and uptempo approaches alike, building up a striking catalogue of releases including her 2020 LP for Dekmantel, Zoom. Meanwhile, Mucci has taken a wayward path through contemporary bass music and techno that matches edgy sound design with playful unpredictability. As Eerie Enterprise, both artists tap into their respective creative instincts while arriving at a unique sound with a nurturing quality they were both missing from modern dance music.

Having appreciated each other's work for some years, in July 2024 Torsing and Mucci seized an opportunity to carve out two days in the studio. There was no expectation of an end product, but the sketches conceived during those open-ended, hardware-oriented sessions felt worthy of a deeper exploration developed and finalised over the following year-and-a-half.

Places Remember Events has an unapologetically nostalgic streak, calling to mind the warm glow of melodically-charged, golden-era electronica. The twitchy rhythmic make-up of tracks like 'Decay + Collapse' and 'Folding Origin' speak to the duo's shared affinity for ravey energy, but even within faster frameworks they lean into half-time space to maintain a light-footed agility that allows the relatively busy arrangements to feel grounded and patient rather than frantic.

There's an appreciation for mystery in the emotional make-up of many of the tracks, not least in the slithering textural exploration and spatial tension of 'Capsule', but elsewhere fragile melancholia guides the melody direction of 'Superradiance' and 'Things Fall Upwards'. The final impression is crisp and modern while delivering an accessible experience that seeks to soothe rather than shock when so much contemporary club music tips towards uneasy intensity.

Finding malleable approaches to their chosen sonics and applying them to intentional song structures, Eerie Enterprise collectively land on a sound that promises a lasting reward for the repeat voyager — satisfying headphone gear in the grand tradition of introspective electronic music, but also with a physical immediacy that will manifest in the live set upsammy and Piezo have put together to perform later in the year.

Arno E. Mathieu returns with a new EP on Musiq Voyage

A Mediterranean horizon in motion.
Arno E. Mathieu returns with a new Balearic journey where electronic disco grooves meet funky guitar, atmospheric synthesizers, mystic chants and driving percussion.
Rooted in the warmth of the Mediterranean but built for movement, the EP unfolds like an endless landscape — from the coastline to the distant horizon. Organic guitar lines, hypnotic bass and percussive rhythms lock into spacious electronic textures, creating a sound that feels simultaneously earthy, cosmic and deeply danceable.
Balearic in spirit, disco at heart, house and psychedelic in atmosphere and driven by a strong sense of place.
After releases and remixes connected with labels and artists including Compost, Real Tone, Earthrumental, Joe Claussell, I:Cube, Mark E, Beanfield and Max Essa, Arno E. Mathieu continues to build a body of work where dance music becomes a form of landscape painting.
Sun on the water. Bass beneath the feet. Guitar in the distance. The horizon keeps moving.

After vocal-led 12”s featuring the likes of Razor and Sikka Rymes, Low End Activist pivots back towards purely instrumental territory for further explorations in the hybridised hardcore sphere. There’s an over-arching air of introspection to the five tracks assembled here, as LEA’s signature bass ructions and jagged, roughly-hewn drums offset with a widescreen line in melancholia.

Introducing Relik.

A new sub-division from Earth Dog Records, reissuing overlooked gems from the North American underground

The ‘90s to early 2000s saw US dance music experience a uniquely innovative gold rush. Records from that period narrate a burgeoning rave-obsessed sub culture, experimenting with the psychedelic sounds of tech house and progressive, with further flirtations with trance, breaks and beyond.

Many of those era’s artefacts have been increasingly difficult to find, and even rarer to hear out in the contexts they were constructed for. Relik exists as a means to preserve the legacy of this formative era, honouring the artists and labels that helped shape an ethos and sound unique to North America, and pivotal to the Earth Dog vision, while exposing this music to a new generation of listeners.

Each reissue will be released with permission and in collaboration with the original artists.

R001: The Vortex Archives

Volume one shines a light on Gainesville’s legendary Vortex Records.
Founded in 1996 by Boyd Westerman and Kyle Hogan, lifelong underground innovators (with Boyd remaining the undisputed king of the Discogs comment section). Vortex was home to a catalog of sounds that helped define a unique tech house and progressive flavoured corner of the North American underground.

Vortex Archives compiles four of our favourite cuts from the label’s discography, that for our money showcases their unmistakable sound best; a seamless fusion of progressive house, tech house, trance and breaks.

Nearly three decades on, these tracks (and the label from where they came) are as timeless and prescient than ever. We’re honored to certify their legacy by bringing them back into circulation.

A huge thank you to Boyd for trusting us with this release and helping to bring a sample of the Vortex catalog back into the world.

Endless respect to all the OGs who archived their catalogues, continued to make incredible music and subsequently paved the way for future generations. We wouldn’t be here without you.

Priding themselves in having cultivated a community and culture at their club nights, they play some of the best music ever cut to wax. It might not be quite what you’d expect from a typical northern soul night, it isn’t stepping back into the past, it’s the music stepping forward into 21st century.

“We’re not interested in nostalgia – we love soul music because it’s brilliant. It probably still resonates with young people because it has a message of something bigger than what’s inside your own head – that what really matters resides in relationships with other people, not material things. We think that is beautiful” – DNSC.

“Deptford Northern Soul Club have emerged as the new faces of northern soul” – Yuck.

As featured in Alan Byron’s documentary Northern Soul: Still Burning (2026).

“By recontextualising northern soul in a modern context, they empower the genre to continuously evolve, imparting new meaning to younger, perhaps previously unaware audiences” – Pilot magazine

Kapote presents: ITALOMANIA Vol. 4.

Toy Tonics Italomania Vol. 4 is a compilation dedicated to new ITALIAN DISCO. Not ITALO DISCO.

10 new tracks made by young producers from Italy, exclusively made for Toy Tonics. All songs with Italian vocals.

Made with a lot of love by

Cleeeo, Giorgio Lopez, Magnolia, Juan Soto & Sam Ruffillo, KOKO, Luca Averna, Ricardo Baez, Euro Nettuno, The Cube Guys and Paccone.

The Italomania compilation was initiated by Mathias ‚Kapote‘ Modica. Creative mind behind Toy Tonics and half italian producer himself.

The series is a manifesto to show the status of Italian disco of today.

Kapote invited the most relevant producers to show different new styles of modern Italian disco and house music.

With a wide range of influence: Live disco, indie dance, italo pop, and italo house.

Italian disco is not Italo disco. The last few years saw a big revival of the trashy pop music of the 1980s called Italo disco, mostly with English lyrics.

But this compilation is about something else. It is about this new Italian disco. Toy Tonics wants to show a new way to combine Italianity with dance culture.

The Italomania Vol. 4 Artists

Cleeeo - Come Tocchitu: A sexy and sophisticated disco house track by 22 year old newcomer DJ and producer Cleeeo. Driven by a warm, uplifting groove and strong dancefloor energy. The record is dedicated to Brazil. The vocals move between Italian and Portuguese. This creates a natural bridge between two cultures.

Giorgio Lopez - Italiani Brava Gente: Giorgio Lopez is an important player from the much talked about new music scene from Napoli.

For "Italiani Brava Gente," he teams up with Los Angeles artist Sueño. The track is a tongue-in-cheek take on the stereotypical Italian male. It pays homage to late Italodisco legend Pino D’Angiò. The story unfolds from the perspective of a foreign tourist navigating the contradictions of self-proclaimed Casanovas.

The Cube Guys - Saper Ringraziare: The legendary italo house duo shows their Italian vibes and musical taste with “Saper Ringraziare”. The track captures the warmth of summer and the infinity of urban nights. A combination of early Italo disco elements mixed with their typical groovy beats.

Magnolia - Vesuvio: Magnolia’s “Vesuvio” is a cover version of a song from the 1960s by artist E’ Zezi. While the original is more in a folk vibes, the new version is an irresistible piano house track with groovy, sun-soaked vibes. It is made for the dance floor. This track blends Mediterranean roots with the euphoric energy of modern house. Some might know the vocals already from another cover version by Nu Genea from the previous album.

Juan Soto & Sam Ruffillo - Italomexicano: What happens when a Toy Tonics artist hangs out in Mexico city and teams up with the local scene? The result is here. A blend a Toy Tonics sound and tons of vintage synthesizers and some additional production by Mexican producer talent Juan Soto.

You get "Italomexicano". A fuse of the mystique of Mexican mariachi with the magnetic pulse of Italo disco.

KOKO feat. Elena Moroder - I Can't Understand: This melancholic piano house track is a serious floorfiller! Goosebumps! Italian DJ and producer KOKO teams up with Elena Moroder on "I Can’t Understand". Elena delivers a captivating vocal performance. The track explores the misunderstandings of a relationship where emotions were never fully expressed. It blends an iconic piano melody with warm, uplifting grooves.

Luca Averna - Le Luci Della Pista: Luca Averna is a DJ, producer, and resident at the iconic Pikes Hotel in Ibiza. "Le Luci Della Pista" is an energetic track designed for peak-time Ibiza moments while keeping a strong groove and a playful spirit.

Ricardo Baez - È Venerdì: Ricardo Baez is an Italian-Venezuelan DJ and producer. He is known for his distinctive blend of house, dark electro, italo disco, and leftfield electronics. Well respected in Italy's contemporary electronic scene he has been releasing on labels such as Running Bag, Permanent Vacation, Bordello a Parigi, Correspondant, Mule music, Live at Robert Johnson.

Euro Nettuno - La Notte Chiama: These guys are hot! Part of the Polyamore Crew, one of the rising italian new disco collectives their sound mixes Italo house from the 1990ies, electro and Pop in a very cool new way.

Paccone - J'Adore Napoli: Vincenzo Paccone is a DJ, producer but also very renowned graphic designer. He is co-founder of NSS. A fashion agency that is by now one of the leading italian fashion crews. He has been also working as a designer for Circoloco Ibiza for many years and organizes some of the hottest parties in Napoli currently. He makes his official debut as a producer with “J’Adore Napoli”. It is a vibrant tribute to the house music culture born in Naples. The track draws inspiration from the late 1990s and early 2000s. And is part of a NSS campaign about the ’new coolness of the city of Napoli“.

Few have dared to record all twenty of Philip Glass’s piano Etudes in their entirety. Even fewer have attempted to remix them. Vanessa Wagner’s 2025 album, Philip Glass: The Complete Piano Etudes, crowns a longstanding passion for Glass’s compositions. While it focuses less on the dialogue between composer and producer that she cultivated with Murcof on Study Of The Invisible, Inland, and Statea, Glass’s music resonates deeply within the world of contemporary electronic music. This EP, part of InFiné’s “Versions” series, passes the baton to a new generation of composer/producers who radically reinterpret these unique piano pieces: Aho Ssan, Carmen Villain, Cucina Povera & Tauceti.


Vanessa Wagner’s album of Philip Glass’s Piano Etudes received unanimous critical and public acclaim, both in France and internationally. This success earned the pianist a nomination for the 2026 Victoires de la Musique Classique. Following numerous sold-out concerts across France, Vanessa Wagner is currently continuing her tour around the world. She will also serve as curator of the Folle Journée de Nantes in 2027 and 2028.

WHIMM formed around the shadowy heart of the Toronto post-punk underground over a decade ago. The partnership between Mounir Al Shami and Andrew Matthews has emitted sporadic musical shards over time, while slowly evolving into something so much bigger than its beginnings. Ideas seep out of every corner of No Promotion, showcasing a burning desire to explore and challenge while delivering very direct sonic offerings. The result is an album that feels as if you took the entire Coil discography and smashed it into pieces, assembling these precious songs from the fragments. Or as if Vangelis beckoned Section 25 to the studio in hopes of recording the score to a seedy film. The resulting LP is in a state of flux – equal parts motion and decay.

Patrick Flegel, of Cindy Lee, welcomed Al Shami and Matthews into REALISTIK Studios in Montreal to engineer half of the tracks for the album, including lending guitar to the opening track "Five in Decline." That influence is evident early on, as the first three songs are taken from those sessions. "Five in Decline" throbs and barks before racing through the hallways closing in around it. "Another Labour" slows to a spidery waltz as anxious melodies call out to one another. "Returnal" pulses, floats through the night sky and haunts you forever. "Rye" carves a percussive pathway toward similar travellers like Terry Riley and Jon Hassell, before the lament of "A Death Remembered" forms the perfect midpoint for the record. A slow build countered by twitching drums and blanketed by organs recorded at Metropolitan United Church in Toronto, it feels like emotion right on the edge of resolve.

"Rhymes of December" screeches through on a solitary train under the towering cityscape as the flickering lights blur past, its doors opening to the candlelit altar of "After the Last Sky" (those beautiful organs again) with an operatic swirl. "K'20" throws you into a claustrophobic and chaotic cab ride (Who is talking? Are those sirens?) until you finally find the quiet of the early morning, waiting at the window for the sun to join you once again as the first notes of "No Promotion" are delicately plucked. The final song from the Flegel sessions, it is over eight minutes of contemplative beauty. A restless heart that is ready to rest. Closing with a final apparition in the key of The Caretaker, "After the Last Sky (Reprise)" is a return to melody when words lose all meaning.

Al Shami and Matthews weave their lyrics throughout, words describing a search for lucidity, and of reactions and reflections. Al Shami – speaking from the Palestinian diaspora – ruminates on displacement, both personal and collective. His journey from having "been without a land and I can still see clearly" in "Rhymes of December" to a more defiant "we will be back again, no matter how it ends or where we've been" in "Returnal" takes a very insular turn on No Promotion. That sense of alienation pulls at the very center of a relationship when land and circumstances separate: "And after our last breath, all that's left in me is our flesh and fears, your last words would swim for years, you'll never find a home in me." Hearts on the outskirts that know the direction.

Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.

A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.

Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.

Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.

Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.

The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.

Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.

Spanish label LOOPAINA hits its 007th vinyl reference with a devastating split EP that bridges the underground scenes of Spain and Argentina. For this special release, the label brings together Argentinian producer NWHR and the powerful Spanish duo MIST GASP on a limited 12-inch wax that redefines contemporary club music. The physical record features 6 meticulously crafted tracks: two original cuts from each artist alongside a crossover remix where each act replicates and transforms the other's work. The result is a cohesive sonic journey that exudes serious, deep, and hypnotic techno, while maintaining a sharp focus on the dancefloor by championing the rawest underground sound. All music written and produced by NWHR & MIST GASP Mastered by: Carlos Koschitzky Label: Loopaina Records CAT#: LPR-V007 Artwork by Rocío Barrio

Battlefield sees No Ice Cream Sound knock on the door of the real foundations of Roots Reggae and Dancehall culture with a heavyweight, riddim-focused multi-vocalist release.

The release perfectly balances a bold and fresh contemporary sound while retaining the spirit; energy and rawness of the classic riddims we all know and love. Battlefield creates a sturdy platform for the carefully curated selection of vocalists to showcase their respective styles and patterns.

At the heart of the release is a unique vocal link-up that reflects the ever-growing globalisation of the Reggae Sound-system culture. Each of the men behind the microphones invites us to embark on a journey; connecting the dots on the map that represent the places they call home. We start in The South West of England and track across country to Southend-on-Sea; from here we make the mission all the way down to Madrid before taking a bearing on the North Star to guide us over hills and valleys to Scotland.

Where the riddim creates a constant, the vocals provide variety. Made by design the track allows them a spacious environment for the individual styles and messages to come across with precision and clarity.

Hailing from different backgrounds; accents of different origins, insights and perspectives drawn from their own stories all come together over one sound. This could be seen as an analogy of the ethos and motivation behind Reggae music itself. Reggae music as a genre tells the same story, Reggae artists tell their version of the story. Via this timeless format we are always building on the teachings of yesteryear while simultaneously learning something new. The gift that will forever more continue to give!

Ghanaian producer, songwriter, and cultural innovator Delasi has earned international recognition for his forward-thinking blend of traditional Ewe rhythms, soul, jazz, hip-hop, and electronic music, with recent releases on Gilles Peterson's Brownswood Recordings and support from outlets including Bandcamp Daily, CLASH, CRACK, COLORS, and BBC Radio 6 Music. His music has also appeared in the indie feature Dreams in Nightmares and the UK Premier League. Joining him are Tokyo's acclaimed experimental pop outfit TAMTAM, whose distinctive fusion of reggae, dub, jazz, soul, exotica, and electronic music has drawn praise from Gilles Peterson, Bandcamp, NTS, Mr. Bongo, and Rolling Stone Japan, alongside performances at Fuji Rock and international tours across Canada, Australia, and South Korea.

This limited 7" brings the two artists together across two richly textured collaborations. A-side "Guardian of The Green" blends alternative soul, downtempo electronica, trip-hop, and cinematic post-rock into a lush, organic soundscape where futuristic electronics meet live instrumentation. On the flip, "Celestial Bodies" explores dream pop, ambient electronica, and jazz-inflected soul, pairing hypnotic rhythms with shimmering synths, expressive guitars, and warm lo-fi grooves. Together, the release showcases a cinematic, globally minded approach to contemporary electronic music that will appeal to fans of Bonobo, Khruangbin, Little Dragon, and Cinematic Orchestra.

“Cue Blue”, the latest and fifth studio recording from Australian down under, gritty jazzfunk grooves ensemble Kerbside Collection sees a return to a more classic, stripped back, meat-and-potatoes, home-cooked, quartet formation sound of guitar, bass, drums and brass.


A sound formed on previous, recent recordings (incl. Golden Rules compilation tune “Fleet Streak” etc), seemingly harking back to the approach of the group’s first recordings (2013’s “Mind The Curb”, “Night in Tunisia” etc), whilst embodying inspirations from more ‘true school’, classic, bluesy New Orleans funk and soul groove flavours à la early Meters, Boogaloo Joe Jones, Melvin Sparks, Billy Butler etc. But it’s not all completely ‘retro’ and ‘looking back’, the album definitely taps into some of the current exponents and leaders of the contemporary deep funk sound – The Greyboy Allstars, Eddie Roberts, The New Mastersounds, The Mighty Mocambos, Breakestra and fellow Aussie funksters Cookin’ on 3 Burners, Lance Ferguson and The Bamboos etc.


The lead single and first tune “Shivers” gives us a clear, picture and definitive opening statement to the record with all the characteristics you’ve come to expect from the Kerbside gritty jazzfunk sound: silky guitar line phrasing, rubbery bass-lines, tight crusty drum breaks, and sweet brass arrangements. Then it’s straight into a frenetic, jangly, mod-funk workout complete with Northern Soul & Motown inflections in the surging B sections. “City Park Avenue” conjures up classic New Orleans funk flavours with its strutting brass, slinky guitar and swinging tambourine groove. There’s classic, b-boy funk territory covered in “Coffee Grinder” (a breakdance move) with its razor-sharp drum break groove and chunky riff complete with sizzling trombone solo. Before the pace of the record changes up with the finger-clicken’, hand-clappin’ boogaloo, reminiscent of early 60s Harlem x Puerto Rican Bronx sounds (à la Willie Bobo, Mongo Santamaria, Ray Barretto) loaded with a scintillating baritone sax solo from long standing part of the collection ‘Papa Joe’ Roberts.


“Sittin’ On The Porch” cools the temperature down even more, delving into slight Southern Louisiana Delta blues territory, while suggesting some of the hot and muggy atmosphere and imagery of their home town location in suburban Brisbane Australia, complete with kooky Casio percussion representing familiar yard sounds such as sprinklers (spinning lawn watering devices) and ‘mozzies’ (mosquitos), passing cars indicated by trombone, and guitarist TC Tyler, channelling some bluesy John Lee Hooker, R.L. Burnside guitar flavours - you can almost feel the humidity on your skin.


Then it’s time for a stroll down memory lane, with their version of a People Under The Stairs hip hop classic “San Francisco Knights”, bringing the tune full circle back into band mode, also with another tasty guitar solo. The album then enters its final stages with a mesmerising, soulful, jazz ballad “Shimmer”, complete with Elliott Parker’s sultry upright double bass, and trombone taking the melody for a gentle stroll down the street. The album finally closes and arrives at its title “Cue Blue”, a classic blue-eyed soul number (penned by bassist Parker), emitting the scent of true school, vintage R&B and soul (à la Donny Hathaway, Marvin Gaye).


An album of funky arrangements and refined compositions, mostly penned by recent new-ish member, guitarist Tyler (for fans of Tower of Power & John Scofield guitar playing) taking the ensemble through their paces with all the usual characteristics of the Kerbside sound, on top a groove that will take you round-the-block-and-back :P Gritty jazzfunk and rustic soul grooves with definite bluesy overtones, some classic 60s, 70s flourishes and down-home funk flavours.