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With the “Extrasensory” EP, Slices Of Life welcomes one of the most versatile producers in the UK minimal house scene. Since 2003, Tom Ellis has been creating funk- and jazz-inspired house and techno, distinguished by his keen sense of organic rhythm. His extensive discography spans labels such as Logistic/Telegraph, Minibar, Wisdomteeth, KANN, Banoffee Pies, Onysia, among many others. Beyond his solo work, he is also the mastermind behind the electronic jazz ensemble Soulstatejazz.

The four tracks on “Extrasensory" distill this wealth of musical experience into diversely textured minimal house productions. Precisely placed drums and percussion, and rolling grooves form the foundation - clearly shaped by Ellis’s background as a drummer, percussionist, and bass player.

All the tracks share a warm, organic atmosphere, oscillating between lightness and relentless drive. The title track, "Extrasensory", blends almost pop-like melodies with shimmering vocals. "Bring Forth" takes us into deeper, dubby, and driving territories, while "Be The Moment" reveals a playful and melancholic side. Finally, "Vividly" immerses us in a dense, dreamy, yet pulsating sonic world.

Kraak & Smaak formed in Leiden in pursuit of a particular blend of funk, disco and electronic soul, and over two decades and seven albums, Oscar de Jong, Wim Plug and Mark Kneppers have sharpened a sound that's unmistakably their own: warm, analogue, and always twisting old soul into something new. That sound has carried them from small European clubs to Coachella and American late night TV.
Their 2025 album Velvet Seas was written between Leiden and Los Angeles, and it shows: Californian light and a touch of psychedelia sit easily alongside deep funk and a cinematic reach. The record leaned on a wide circle of guests, among them IVAR, Berenice van Leer, Izo FitzRoy, Butter Bath, The Undercover Dream Lovers, iogi, Kosta G and Kainalu.

Velvet Seas Remixed hands the album's best moments to a curated set of international producers. British disco heritage, classic French touch, Brazilian disco funk, Melbourne club music and homegrown Dutch groove all take a turn, with each producer bending a familiar song toward their own instincts while keeping the album's character intact. Longer, extended versions and alternate mixes round out the full release, letting several of these tracks land in more than one form.




a 01: Nothing Is Forever (Yuksek Remix) [feat. Kosta G]
[b] 02: Travel Light (Diogo Strausz Remix) [feat. Ivar]
[c] 03: Velvet Seas (Ray Mang Remix) [feat. Izo FitzRoy]
[d] 04: Heat (Anoraak Remix) [feat. Butter Bath]
[e] 05: Real Love (Harvey Sutherland Remix) [feat. Kainalu]
[f] 06: Tracel Light (Sound Support Remix) [feat. Ivar]
[g] 07: Heat (Stirmouth Remix) [feat. Butter Bath]

[a] A1 | Nothing Is Forever (Yuksek Remix) [feat Kosta G]
[b] A2 | Travel Light (Diogo Strausz Remix) [feat Ivar]
[c] A3 | Velvet Seas (Ray Mang Remix) [feat Izo FitzRoy]
[d] B1 | Heat (Anoraak Remix) [feat Butter Bath]
[e] B2 | Real Love (Harvey Sutherland Remix) [feat Kainalu]
[f] B3 | Tracel Light (Sound Support Remix) [feat Ivar]
[g] B4 | Heat (Stirmouth Remix) [feat Butter Bath]

Children of Zeus return with their third studio album ‘As The World Burns…’

Five years on from their highly-acclaimed sophomore album ‘Balance’, Manchester’s kings of hip hop soul, Tyler Daley and Konny Kon, bring us a brand new 16-track opus.

Sonically the duo continue their story where they left off; crafting an amalgamation of street soul, alternative r&b and boom bap hip hop, with a sprinkle of flavours taken from their original multi-genre pirate radio influences, and a dash of forward-thinking new sounds, ensuring all tracks are destined to become future classics.

The features are sparing but powerful, enlisting the talents of revered UK rapper Knucks (‘Before We Drown’), Colorado-native Young Old Soul (‘Dopamine’), MCR family K S R (‘Do You Want To Get High’, & Australian/Mauritian up & comer Anieszka (‘Water & Vibes’).

As with previous projects, this album is largely produced by the duo themselves, though there are guest productions from previous collaborators too, including Grammy Award-winner Beat Butcha, Grammy-nominated Teo, and broken beat pioneer K15, along with an assortment of new players making moves in the underground neo-soul & beats circuit.

Conceptually, this project continues on with the story to date. An eternal search for sunsets and soulfood, as a respite to the anxieties of the modern world; personally, professionally and globally. Assertive swagger is matched with brutal but sincere candidity. As ever, it encapsulates the rough with the smooth, with reflections on where they’ve been, where they’re at and where they’re headed. There’s no preaching to be found here; just an acceptance of things as they are, an embrace of the environment and people they were nurtured by, and a celebration of some of the finer things in life; slow jams, weed & rum, water & vibes. Raps for listeners, blunt heads, fly ladies and prisoners. All packaged together as another perfect sonic love letter to sound system culture. 50 minutes of big people music.

Since the release of their anthemic debut single ‘Still Standing’ a decade ago, to the subsequent EP ‘The Story So Far’, and their critically-lauded debut album ‘Travel Light’, the duo have received numerous accolades, including nominations for AIM Awards & Worldwide Awards both, along with tons of ‘Album of the Year’ nods care of Clash Magazine, Bandcamp, Complex, Wordplay and many more. This along with huge swathes of support from DJs, radio stations, press outlets, tastemakers, luminaries & fellow artists across the globe.

Children of Zeus have performed sessions for COLORS, Soulection (Apple Music), DJ AG, Boiler Room, BBC 6 Music and at the infamous Maida Vale studios for BBC 1Xtra as well as touring across Europe, Australia and South Africa. This is in addition to collaborating & touring with Mercury Award Winner’s Ezra Collective, including a Wembley Arena show. Other collaborations over the years have included Shy FX, Juls, Goldie, Black Milk, Kofi Stone and the late great Lenzman.

From the Broke ’n’ English / Hoodman-era, to the present day, Children of Zeus have been omnipresent in the fabric of British black music. Proud ambassadors of Manchester music, and of UK soul, it really is “Zeus to the world”.

Children of Zeus have been adorned with plenty of flowers over their career. The unbridled quality and poignance of the music and the message on display throughout this project will see the algorithmic needle move some more. It’s undoubtedly set to be a Zeus Summer. As the world burns…

Available on all digital platforms and physical formats, Friday September 4th 2026.







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







t 07: Do You Want To Get High? (feat. K S R ) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[t] 07: Do You Want To Get High? (feat. [ K S R ]) - Children of Zeus03:26







[g] B3 | Do You Want To Get High? (feat [ K S R ]) - Children of Zeus03:26

Mack Loenz delivers his debut album From The Heart on Maceo Plex’s Lone Romantic imprint, expanding his razor-sharp, cinematic sound through analog synthesis and retro-futurist design.

Across its ten tracks, the album moves through a palette that is both nostalgic and forward-facing, with glistening arps, soaring pads and growling basslines shifting between physical club function and emotional extremes of melancholic yearning, romantic tenderness and futuristic intensity. ‘Follow Me’ opens with shimmering arpeggios and driving bass building to a euphoric crescendo, while ‘Switching My Flow’ pushes into heavier territory with gritty hoover synths, skittering vocals and chest-rattling subs. Elsewhere, ‘It’s Complicated’ brings a more tender, melancholic edge with rolling drums and expansive, symphonic synth work, and ‘Trust Issues’ leans into a nocturnal, romantic yet dystopian mood carried by sweeping leads and pitched vocal splicing. ‘Waiting Game’ moves into darker, industrial-leaning tension, before ‘Back To The Stars’ closes on a reflective, emotional resolve.

Shaped by a vision to push electro into a more expressive space, From The Heart carries a clear emotional core throughout. As Mack Loenz puts it, “In a time where there is a lot of darkness, this album is about bringing light, spreading positive energy, and creating moments that people can feel both on the dancefloor and within themselves.” That sentiment runs through the record, shaping a cohesive statement that balances club functionality with atmosphere, emotion and forward-facing electronic production.

With Shadows is the darkwave alter ego of Jordan Lieb, the acclaimed North American electronic producer also known as Black Light Smoke. Recognised for his house and techno releases on Scissor & Thread, The Hacker’s Zone and Tiga’s Turbo Recordings, Lieb explores a darker, more introspective sound under his With Shadows alias. Drawn from two digital releases on his own Ancient Spells imprint, this collection of electronic darkwave traces a journey in reverse: opening with dark Italo and EBM-inflected technopop, it gradually slows down, sinking into a shoegaze universe steeped in atmospheric melancholy. Cold synthesizers, basslines that pulse like a heartbeat and haunting vocals give way to blurred textures and dreamlike spaces, carrying the listener from the dancefloor into a more intimate inner world. On “There’s a Hole”, his instinct for rhythm meets a deeply personal voice, revealing the emotional weight beneath the electronics. With Shadows gives Lieb room to reach beyond club structures and express himself through songs, bringing his songwriting, vocals and multi-instrumental talents to the forefront and revealing a facet of his musical identity distinct from his work as Black Light Smoke.

Precious Bloom producer Dea returns on the Rush Hour Store Jams imprint with a fresh four tracker... tip!

The idea for Fairlight began shortly after Aradea Barandana purchased a Yamaha DX1 synthesizer. While exploring its presets, one sound in particular—called Fairlight sparked the initial concept for the EP. From there came the desire to create an Italo wave inspired track that would feel fresh to contemporary ears while still referencing the character of early electronic music.

Rather than following the traditional structure of dance music where drum machines and synthesizers lock into repetitive synchronized patterns the EP approaches composition more like a narrative. The music gradually unfolds, allowing melodies and harmonies to evolve so the listener is encouraged to stay with the piece from beginning to end.

Some of the harmonic ideas draw inspiration from Baroque music, particularly chromatic ascending progressions and voice-leading techniques. In contrast, other moments introduce playful bubblegum-inspired synth lines, adding lightness and color to the overall sound.

The result is a small collection of tracks that sit between nostalgia and experimentation where vintage synthesizers meet a compositional approach that values movement, surprise, and a sense of musical journey.

Planet Trip Records presents Sydney underground heroes Hugh B & Setwun’s first album, 2020’s Yeah Definitely, and its long-awaited follow-up, 2026’s Nah Maybe, as a deluxe vinyl LP package. Underpinned by the low-end heft of dub and soundsystem culture, their albums draw deeply from an expansive array of sensibilities: tones, textures and patterns shaped by post-punk and ambient music dovetail with abstract, sampledelic hip-hop drum loops. Meanwhile, Setwun’s mysterious neo-soul/modern R&B vocals glide on the beat. Punctuated by dialogue snippets, these songs feel like exploring the multiverse with an interdimensional boombox.

Yeah Definitely began as a batch of instrumentals. Having previously worked with an MPC, drum machines, instruments and Logic Audio, Hugh used a borrowed PC and Renoise, a tracker DAW associated with 21st-century jungle/drum & bass production. Afterwards, he sent them over to Setwun, who sketched vocals on top with ease.

If Yeah Definitely came together quickly, Nah Maybe was a longer process. Still inspired, Hugh B knocked out a second folder of beats with neon-lit city-pop references, slow-jam grooves, and elegant guitar figures. This time, however, something wasn’t clicking for Setwun. The only cure here would be the passage of time.

Over the next six years, Hugh and Setwun continued to collaborate while pursuing solo projects. Hugh released jungle, ambient house, dub and post-punk records through Planet Trip Records, Not Not Fun, and his OTIS Records label, while performing live, DJ, and leading the Modern Pop Ensemble. Similarly, Setwun, also a multi-instrumentalist, producer, and DJ, released a series of records that explore jazz, soul, house, and broken-beat electronica, forming a loose constellation for Mandarin Dreams and Extra Soul Perception. Alongside these efforts, he played shows and began performing with his backing band, The Soulstranauts.

Early in 2026, something clicked, and Setwun drafted vocals for the second batch of beats over an evening. Not long after, he invited Hugh to mix Nah Maybe, every bit as special as Yeah Definitely. By waiting for the right moment and putting themselves outside of their comfort zone, Hugh B and Setwun have bottled lightning twice. We’re very pleased to be able to share Yeah Definitely and Nah Maybe with you.

2026 Repress

Another holy grail from the catalogue of SOUNDS. in the rebound. Billy Nightmare aka Mystic Bill - Reality Check from 1996.
Recorded from original DAT, re-mastered and back on vinyl August.
Highly recommended!

Celestial Echo Records heads to the Cayman Islands for CER014, produced in association with Whale Rider Records and longtime friend of the label Medlar.

This release shines a light on two incredible sides from the legendary Memory Of Justice Band, one of the Caribbean's best-kept musical secrets. Formed in Grand Cayman during the 1970s, the group blended soul, reggae, funk and island influences into a sound entirely their own, becoming one of the region's most beloved bands in the process.

On the A-side is a gorgeous piece of sweet modern soul — warm, uplifting and packed with the kind of effortless musicianship that makes you wonder how it stayed under the radar for so long. It's exactly the sort of record Celestial Echo was built for: soulful, timeless and impossible not to fall for.

Flip it over and things move firmly onto the dancefloor with a reggae-boogie burner produced by the legendary duo Sly and Robbie. Built around a heavyweight groove, tight rhythm section and infectious hooks, it's the perfect counterpart to the sweetness of the A-side and a reminder of just how interconnected Caribbean music was during this period.

As always, Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

Daybreakers reaches a milestone with DBR010, and it felt right to mark the occasion with something truly special.

Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential records on Lazy Days and beyond, the Montreal based producer has quietly become one of the most respected names in deep house. A producer's producer, a DJ's DJ, and someone whose records seem to reveal a little more with every listen.

The story behind this release starts in Hackney. A few beers at the BBE Store, a conversation about old DAT tapes and eventually enough persuasion to get Fred digging through his archives. What came back was pure gold: three previously unheard tracks recorded between 1998 and 2004, sitting untouched for over twenty years.

There's something special about hearing these recordings now. Made during a period that saw Fred establish himself as one of deep house's leading voices, they capture that unmistakable blend of musicality, groove and craftsmanship that made his records stand out in the first place. This isn't nostalgia or a history lesson. These tracks still sound fresh, still sound relevant, and most importantly, still sound like they belong on a dancefloor.

Three lost gems, finally seeing the light of day.

Deeper than deep house.

Buy or cry.

Following the success of the rework releases of Trip To Your Mind by Delfonic, LTJ Xperience, and DJ Friction, the time has finally come to reissue the original mixes of this essential and still highly sought-after Disco Funk classic.

Both the original Hithouse Mix and the re-mix by Chris Hill & Robbie Vincent were released in 1979. However, newly uncovered evidence has revealed that the track was actually recorded much earlier. After extensive research, including the rediscovery of Reginald Hudson's original flight ticket dated September 7, 1976, from Los Angeles to London, proof has emerged that the recording sessions took place in late 1976.

Due to unfortunate circumstances, the track remained shelved for several years and did not see release until 1979. By that time, the original backing band, Body Heat-a group of U.S. Army musicians stationed in Germany-had already disbanded. As a result, the record was released under the project name Hudson People.

Reg Hudson has since shared additional photographs and previously unknown information, which will be revealed in the coming months. To further celebrate the record's legacy, an official music video is currently in production and is scheduled for release this summer, marking the track's 50th anniversary.

As the original master tapes have unfortunately been lost, the audio has been transferred and restored using highest end equipment from the best available sources. In particular, the original Hithouse Mix now sounds better than ever before.

The 12-inch release will be presented in a faithful reproduction of its rare original "Disco 45" sleeve, believed to have been included only with the earliest pressings.

The Story Behind the Record

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, although its true origins remained largely unknown. While the track was recorded at London's Advision Studios, Hudson People were neither a British group nor a London-based project-a fact first brought to light through the official 2022 reissue on Backatcha Records.

In interviews with label owner DJ Scientist, songwriter and producer Reg Hudson revealed that the musicians behind the recording were actually members of Body Heat, a GI band based in Germany. Like Hudson himself, most of the musicians originally came from the Chicago area.

"The band included Tony Palmer on guitar, Herva Middleton on drums and lead vocals, Charles Walker on saxophone, Harvey Perry on trumpet and trombone, and Rickey on bass-a five-man lineup," Hudson recalls.

Recorded in late 1976, the track remained unreleased for several years. By the time it finally appeared in 1979, Body Heat was already on the verge of breaking up, prompting the decision to release it under the Hudson People name.

Since the late 1990s, Trip To Your Mind has been heavily bootlegged, widely compiled, and continuously championed by DJs and collectors worldwide, cementing its reputation as one of the most enduring and in-demand Disco Funk records of its era.

50 year anniversary edition! Recorded in 1976, first released in 1979.

This album is a personal diary, assembled from fragments of different chapters of a life. It took shape over five years and holds everything: inspiration and pain, hope and anxiety, light and darkness.

Some of the tracks were written at the height of the pandemic, when the world stood still in uncertainty. Others came in a darker, more restless time, during the war, when every feeling cuts deeper, and music becomes the only way to say what words cannot.

Each track is a moment frozen in time. Together they form a journey through inner states in which every listener may recognize themselves. This album isn’t about genres or trends. It’s about a life lived in music.

Veronica Everheart has just announced that her new project Lighter in the Morning (3/2) will be out on November 13th via Pack. Records. The news arrives alongside her link-up with Mumbai-raised electronic artist the sound chalk makes for their new collaborative single, “2222222222222222 + Climbing”. A colorful, club-ready take on “22 & Climbing” from Everheart’s Lighter in the Morning (2/2) EP, the track is also accompanied by an animated music video for the original song, which was made with Source Filmmaker software from the gaming developer Valve using models from their game series Half-Life.

Hailing from Phoenix, Arizona, Veronica Everheart writes and produces all of her own music alongside her creative partner, Justin "Juni" Neugeboren, and has built a cult following for a distinct sound that pulls from indie rock, electronic, and folk. Released in May, Lighter in the Morning (2/2) was led by singles "NO LOLITA SHIT", "Unknowable Distance", and "12/21” and serves as the sister tape to Everheart’s 2024 EP, Lighter in the Morning (1/2). Now, she’s gearing up to release Lighter in the Morning (3/2) (Deluxe Edition), curating a slate of leftfield producers that includes ideasforconversations, nikki nair, atlgrandma, E_DEATH, and Oskie (alongside the sound chalk makes) to craft remixes for the project.

After a stellar debut on the No Guestlist label Blay steps back into the light with an ambitious new record Wave Formations. This record finds Blay pushing further into the space where afro-centric jazz and deep house collide, weaving together synth heavy production with organic rhythms and live instrumentation.

From its opening moments its title track ‘Wave Formations’ holds you captive. From field recordings blurring into a dreamy atmosphere, taking you on a 9-minute spiritual journey across the cosmos.

Its counterpart ‘Rhythm Of Love’ is equally dreamy; A reverb-soaked vocal track with live-band-like energy shape-shifts around its steady and forward pushing rhythm before unwinding into a meandering, melancholic piano outro.

On the flipside, ‘New Teacher’ is an invitation to dance — call-and-response synth phrases on top of driving percussive polyrhythms. What starts off simple and stripped down transforms into a full-on celebration; a boisterous rush of sonic afrofuturism that tries to reach the sun.

Keeping the joyful spirit high, the record closes off with the festive and playful ‘Faith In Us’. This highlife and afro funk inspired record reimagines band members feeding off of one another, switching from recognisable motifs to energetic solos pushing each other further into the light.

2026 Repress

¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light.
The title track of the EP, already known from the album (D1 - Extrawelt - ¡No Pasaran!) carries a commanding presence, pulses with a rolling, insistent bassline that anchors shifting rhythmic currents and evolving sonic layers. Between tension and release, shadows and melody, it's a track that moves like a living entity.
Arctic Dead Run hits like a surge of raw energy. Acid lines roll relentlessly, building tension that feels alive. Then a melody sneaks in - soft, almost fragile - cutting through the intensity, until hi-hats erupt and the groove snaps into full focus. Maximal yet controlled, every element finds its place.
Clipping Me Softly dissolves the pressure with a dark, playful groove. Precise rhythms meet spacious pads, opening into a dreamlike state where night slowly gives way to warmth and light.
A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.

Katsunori Ishida’s vision of true crossover music reaches its peak. Powerful grooves and striking sound define the resurrection of Zerosen’s legendary first album.

Zerosen was a group led during the 1970s by Katsunori Ishida, who would later gain recognition as a producer, composer, and arranger of numerous television and film soundtracks. With a fluid lineup and only a brief period of activity, the group disappeared almost as quickly as it emerged. The only recordings left behind were two albums originally produced as audio component test records. Yet these recordings would later gain worldwide attention as landmark examples of Japanese rare groove.

Remarkably, this debut album already presents a fully realized concept and sound. Highlights include the rolling groove and vibrant keyboard work of “Scramble”, the hard-driving beat of “Circuit”, and the mellow Caribbean-infused groove of “Majo no Sasayaki”. There is not a weak moment to be found.

Outstanding arrangements and performances generate a groove of exceptional power, while the album’s origins as an audio component test record contribute to its vivid and dynamic sonic character. Here lies crossover music in its truest sense—a timeless fusion of musicianship, groove, and sound quality.

Sol Novo is a tale of three parts, created by João Comazzi and Murrin of Púca Sounds & Jogada. In many ways a sequel—and a not-so-distant cousin—to 2022’s Cavalo, the pair return to blend their references into a new, ultra-visual language. Spinning through a sonic world mired as much in greenery as it is in the underground, Sol Novo invites you along for the ride.

The title track, "Sol Novo," whirls into a dubbed-out dawn break, collaging through samples and organic ear-catchers while sun-drenched choruses weave through the mix, reverberating as the light lingers.

On the second track, "Pindorama," Paszarinha’s call to the space-warp curls out from under dark blue bass. Fitting equal parts dreamland and dance floor, the track builds a world to get lost in through ever-orbiting breaks layered with Côco rhythms echoing in the deep.

The final track, "Brasia," arrives in full color: a story led by elements of Gagaku with Axêxê chants and a shimmer bathed in vintage synths. Landing like a call to movement that pulls you up and keeps you moving, it’s a kaleidoscopic sound caught between ancient ritual and electronic nostalgia.

2026 repress!

Here is the debut, self-titled album from a.s.o., singer/songwriter Alia Seror-O'Neill, and producer Lewie Day. 'a.s.o.' is a thematic consolidation of the previous three singles and an impressive artistic progression. Day and Seror-O'Neill show they've mastered the format of the radio-friendly pop song and found how to subvert it completely. Across eleven songs, they have built a rich and compelling body of work.

We know where we are now, emotionally complex, trip-hop torch songs for club freaks. But the palette has broadened to encompass ethereal dream pop à la Cocteau Twins, slow- burning AOR-soul, and dubwise stylings. As a result, 'a.s.o.' is a satisfyingly coherent listen but never a musical monoculture. Variously there are nods toward Julee Cruise, Fleetwood Mac, and the uneasy listening of Portishead. It's an album that wears its influences lightly, is never weighed down by them, and always sure of its own identity.

It's anchored by Alia's unique voice. Her words speak of restraint and release, taking us from the elegiac to the euphoric. This elegantly crafted, perfect pop music sounds like it has had enough of your shit. And Day's music is the perfect foil; deep, slightly menacing, restrained, and powerful. The album has a cinematic texture, as with David Lynch; the seemingly familiar becomes uncanny and strange the closer we look. a.s.o. take our emotions for a joyride before leaving us floating in space.

'a.s.o.' is a journey; by its end, we all are changed

Limited Edition 180g Vinyl ( 500 Only Worldwide No Repress ) Download Token Inside & Hype Sticker - More Rare & Brilliant Lost Tracks.

Another compilation of French Post-Disco sounds curated & presented by collector & compiler John K of CTR.

12 more rare deep cuts, unearthed & re-appraised hard to find original 7” 45 - quarante-cinq versions made for radio & club.


In 2025 Volume I of "Histoire" gained much love & praise, lighting up some very discerning dancefloors across the planet & well beyond La France. Featured on BBC 6 Music & on radio across Europe.

Portugal-based percussionist Gabriel Ferrandini spent years honing his skills in various free jazz ensembles, where he demonstrated his absorption of the styles of pioneering rhythm liberators like Sunny Murray and Milford Graves while forging his own energetic and agile sound. During this time, Ferrandini performed with everyone from Evan Parker and Alexander von Schlippenbach to Thurston Moore and Dirty Beaches' Alex Zhang Hungtai. At some point, the percussionist grew restless and began taking a more compositional approach, using his drums as primary sources from which to produce spectral tones and timbres via electronic manipulation.

In Ferrandini's hands, cymbals become generative instruments with endless reverb tails and choir samples are distilled into vapor. With its subtle evocations of light and color and meticulous editing, Romance suggests an almost cinematic scale. The strings and grainy synthesizer of "Crying Game" lend an air of giallo dread to the deep sub-bass rumbles; "Afters Lisboa" processes cymbal crashes through a Leslie speaker to create a siren-like Doppler effect; "Fallen Angels," one of the few tracks to feature Ferrandini's mostly untreated percussion work, stacks layers of reverb effects of varying lengths (an old Autechre trick) to add friction and give the spatialized sounds a dissociative quality. Album highlight "Cova da Vaporwave" utilizes creative sidechaining, warbly VHS-like tones and drums amplified through a Fender Twin to gather apocalyptic momentum.

Romance is a formidable artistic statement, establishing Ferrandini as one of the most vital composers on the contemporary avant-garde music scene. He is influenced by Renaissance composer Carlo Gesualdo, whose passionate yet dissonant chromatic approach can be detected throughout the album's seven uncanny tracks.

Early support from Rocky (X-Press 2), Lovefingers (ESP Institute) Ross Allen (NTS), Sean Johnston (ALFOS), Logan Fisher (Tryouts), Chris Sweet (Northern Soul Rave Patrol), Darren Stewart (La America), David Elders (MFSB Edinburgh), Craig Christon, Linda Boyle (1BTN), and Dave Jarvis (Faith).

Skyrager, aka Danny McLewin (Psychemagik/Ghost Vision) delivers a long awaited, genre-busting trio of edits on the legendary Moton label to light up all rooms and dancefloors this season...

Black Sheep is the influential hip‑hop duo from Queens, New York, formed by Andres “Dres” Vargas Titus and William “Mista Lawnge” McLean. Although both members hail from New York, they met as teenagers in Sanford, North Carolina, where their families had relocated. The duo became part of the celebrated Native Tongues Collective, alongside Jungle Brothers, A Tribe Called Quest, and De La Soul, a movement known for its creativity, positivity, and forward‑thinking approach to hip‑hop. After joining forces in 1989, Black Sheep made an immediate impact with their 1991 acclaimed debut album A Wolf In Sheep’s Clothing. The record earned widespread recognition for its inventive rhythms and sharp, witty, often humorous lyricism.

Their second album Non‑Fiction arrived in 1994, continuing their signature blend of jazzy hip-hop and clever, tongue‑in‑cheek storytelling. The album featured two singles “Without a Doubt” and “North South East West”.

Following its release, the group remained largely inactive throughout the decade, with the exception of Dres, who recorded a solo project under the moniker Dres The Black Sheep. Black Sheep eventually returned in 2006 with their long‑awaited third album 8WM / Novakane. Shortly thereafter, Mista Lawnge departed, while Dres has continued to release music under the Black Sheep name.

RADYO BOMBERO - ABOUT THE LABEL
Radyo Bombero is the record label founded by acclaimed filmmaker, author, DJ and record collector Fatih Akin. Born out of his personal passion for vinyl and film music, the label will initially focus on soundtracks from his films: previously unavailable works will be released on vinyl for the first time, while out-of-print titles will return as carefully produced reissues. Its inaugural release is the soundtrack to Akin's new film Geister, scheduled for release in November 2026. Further projects are already in development.

ABOUT THE RELEASE

MALAKOFF KOWALSKI - GEISTER
ORIGINAL MOTION PICTURE SOUNDTRACK
Composed by Malakoff Kowalski, the soundtrack to Fatih Akin's Geister is the inaugural release on Radyo Bombero.
Born in the United States, raised in Hamburg and now based in Berlin, Kowalski is a composer, pianist and multi-instrumentalist whose work moves between film music, contemporary classical composition, theatre and pop. He composed the music for eleven films by Klaus Lemke, as well as for productions including Schweigend steht der Wald and Stasikomödie. His solo work has been released by MPS and Sony Classical, and he has collaborated with artists including 2raumwohnung, Igor Levit, Chilly Gonzales and Nils Frahm. His sound combines elegiac melodies with a warm, cinematic atmosphere and a subtle sense of unrest beneath the surface.

For Geister, this distinctive musical language meets Fatih Akin's vision of a deliberately anachronistic and romantic score: a tribute to Ennio Morricone's great love themes that plays a defining role in the film's tragic love story and atmosphere.
LP 1 contains Kowalski's complete original film score.
LP by JUGGLERZ opens up a second musical world, bringing together four productions by the internationally successful Jugglerz on a four-track 12-inch disc at 45 RPM: the film's title song Ya Mami, performed by Aya Samra; Mood by Cloudee, Milaa and Jugglerz; Tip by Jugglerz, Limitlezz, Maureen and Demarco; and Beirut Nights Riddim. The four tracks bring Arabic tarab and contemporary Levantine pop together with hip-hop, urban beats and dancehall rhythms.

FATIH AKIN ON RADYO BOMBERO
"Radyo Bombero is on the air. Don't miss a tune!
"
Music is - alongside cinema and literature - a fundamental source of inspiration for me. Having grown up in the 1980s, the way I listen to music has hardly changed: I buy records, listen to them carefully and then copy them onto a portable device. It used to be a Walkman, then an iPod - today it is my smartphone with my playlists.
I do not use Spotify or any other streaming services. Why that is, I do not know. In most other areas, I try to keep up with technological developments. Not with music. I like unpacking a record, cleaning it before listening, holding the sleeve in my hands and reading who worked in the studio, who wrote the music and where the record was made. These things interest me. And they lower my cortisol levels.
Music plays a major role in my films. It is not that, as a director, I want to impose my favourite music on the audience. The music must always serve the story. In Head-On, for example, it tells us something about the characters and their biographies. Crossing the Bridge - The Sound of Istanbul is the musical portrait of a city. Its music tells us about the people who live there: where they come from, the cultures they brought with them and how those cultures have merged with local traditions. The Cut was conceived as a Western, and the music had to help reinforce that idea.
Geister tells a tragic love story. The music was meant to be gloriously anachronistic. And romantic. Just like the light and colours, it had to shape the atmosphere of the film. My films are often about cinema itself, and Geister is no exception. Its music is a tribute to Ennio Morricone's great love themes.
In Malakoff Kowalski, I found the perfect creative partner. He immediately understood my idea and realised it brilliantly. That made it all the more painful when I was told by the music industry that there could be no soundtrack release for Geister because soundtracks were too expensive to produce and would simply sit on the shelves.
It is not as though I am a spoiled child who absolutely has to have a lollipop. But this music is simply too good to withhold from the audience. The idea that there would be no soundtrack release felt like a great injustice.
Then several friends and collaborators advised me to release the record myself. No sooner said than done. But Radyo Bombero is not a one-off project. Geister is only the beginning.

Finally, I have the opportunity to gradually release all the soundtracks from my films that have remained unavailable. Soundtracks that were previously released but have since gone out of print will also return as reissues.
Hainbach's soundtrack to Amrum is already in development, as is a double album featuring the unforgettable German pop songs from The Golden Glove. And, finally, a vinyl soundtrack to Head-On.
Fatih Akin

More good news for fans of Luke Vibert's Plug output. Hot on the heels of the Variety Magic album, released earlier this year, De:tuned returns to the vault with four more previously unreleased Plug tracks.

Following the hugely acclaimed 11-track Variety Magic, which saw Vibert unearth and hand-pick a collection of forgotten jungle and drum & bass gems from his original mid-90s DAT archive, Robotic Futuristic digs even deeper into the same treasure trove. Four more raw, playful and highly distinctive Plug cuts, all previously unheard and finally brought to light.

The EP takes its title from one of the tracks and opens with Luke Vibert's personal favourite: 'Bring A Fuckin' Army'. A full-on jungle workout driven by rolling breaks, heavyweight bass and that unmistakable Plug funk. Put the needle on the record and let it rip. Go 'Head - Do It!

Robotic Futuristic also marks the 17th anniversary of De:tuned, making this a particularly fitting release for the Belgian label.

Visualised by the Variety Magi. Stencil art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.

More good news for fans of Luke Vibert's Plug output. Hot on the heels of the Variety Magic album, released earlier this year, De:tuned returns to the vault with four more previously unreleased Plug tracks.

Following the hugely acclaimed 11-track Variety Magic, which saw Vibert unearth and hand-pick a collection of forgotten jungle and drum & bass gems from his original mid-90s DAT archive, Robotic Futuristic digs even deeper into the same treasure trove. Four more raw, playful and highly distinctive Plug cuts, all previously unheard and finally brought to light.

The EP takes its title from one of the tracks and opens with Luke Vibert's personal favourite: 'Bring A Fuckin' Army'. A full-on jungle workout driven by rolling breaks, heavyweight bass and that unmistakable Plug funk. Put the needle on the record and let it rip. Go 'Head - Do It!

Robotic Futuristic also marks the 17th anniversary of De:tuned, making this a particularly fitting release for the Belgian label.

Visualised by the Variety Magi. Stencil art by Pablo Fiasco and rewired by Openmind. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops.

Revelling in adventurous, malleable synthesis and a strong melodic instinct, long-standing techno heavyweight Oscar Mulero brings his Trolley Route alias to Dekmantel. Across four rush-inducing cuts of studio exploration the Spanish veteran showcases a lighter side to his muse without sacrificing maximal dancefloor impact.

Oscar Mulero first debuted Trolley Route back in the early 00s through albums and EPs for Pure Plastic, Minuendo and others, offering a more playful strain of machine music to contrast with the steely output under his own name. Embracing dub textures and Detroit-coded synth leads, the recently-revived alias has become a haven for the looser styles that spill out of his studio. It just so happens these outliers are as crucial as any of Mulero's primary club smashers.

From the swampy chord sequence that dominates 'New Visual Order' to the meaty sub-bass and delay-soaked synth sweeps of 'Relativity Of The Vision', the whole EP is spilling over with madcap charm and a casual boss-level quality that can only come from a true legend letting their hair down.

Returning to Discrepant after 2023's 'Atheitsaregods', Humboldt County, California's most mystical entity continues to reshape its own patented processes of lysergic invocations on 'Squall Lines'.

Conjuring a vast array of sound sources, both organic and electronic, from vocals, violins or flutes to synths and pedals, the duo of Brian Pyle and Merrick McKinlay conveys a carefully sequenced and ritualistic aural tapestry from ancient futures. The synth beam and out of reach field recordings at the beginning of 'Sin Idioma' unfolding a dirge-like procession of drums and bells, flowing into the cave-like ambience of 'Nightshade', populated by echoes of unidentified origin, bleeding seamlessly through a foggy half-light drone into the fractured melodies and creeping voices of the pummelling 'No Chance'.

The B side sequencing from 'Squall Line' to closer 'Totality', drifting from faraway war cries, dissonant strings and crumbling percussion through post- apocalyptic landscapes, hazy pads and murky atmospherics to a final glimmer of processed flutes. A revelation. End time visions for the unquiet spirit.

Sentimental Ultra marks DJ HEARTSTRING’s debut proper on Steel City Dance Discs, and their first album project, releasing November 13th 2026. Starting life as a mixtape before a happy accident or two took it down a different path, the 15-track album finds the pair chasing not just peak-time euphoria and what they can conjure in a club setting, but everything around it, too. The befores and the afters. The soft and the supercharged. What life felt like when they were young. Featuring collaborations with SWIM, Spriitzz, BAUGRUPPE90, Sam Gellaitry, Saidah, DMA’S, KennyHoopla, Monk, 3NDLES5, David Jackson and secret act, they fold formative years influences such as indie rock, rap, ambient and breakbeat into their sought-after sound, and balance them with contemporary-coded ideas.

This blend of worlds is at the crux of the album’s concept visually as well. Sentimental Ultra is an exploration blurring the lines of hard and soft, taking inspiration from subculture communities around football hooliganism and skateboarding. The cover is shot by iconic British photographer Ewen Spencer, renowned for his work around Skins, The Streets and more. The collaboration has seen DJ HEARTSTRING land features in Numero Berlin, Notion Mag and other cross-cultural editorial platforms ahead of the album announcement.

To date, the project has already received various milestones across international radio, including Arielle Free’s Big Whopper for third single ‘Another Year Alone’ and DJ HEARTSTRING landing a coveted BBC R1 Residency in November. Adding to this is the slew of digital looks and accolades for DJ HEARTSTRING’s set recordings including their closing set at Soenda Festival earlier this year which is on 115k views since being published in May 2026, their Melbourne Boiler Room published in 2025 with +1 million views and their Belfast Boiler Room published in 2023 with +1.1 million views.

Since DJ HEARTSTRING’s 2021 debut, when they rollicked through the club door with their Destiny of the Moment and Eternal Euphoria EPs, alongside a slew of self-released, pop-and-R&B-indebted edits, DJ HEARTSTRING have followed their hearts and won over legions more with an emotional dance music style that’s fast become synonymous with their name.

There’ve been big releases such as 2025’s You Are The Sun, I Am The Sky EP, and buzzy collaborations with fellow synapse-igniters like SWIM, Narciss, southstar and S.C.D.D.’s KETTAMA. The past few years have also seen remixes for Charli XCX and Sam Smith, Romy, Sugababes and Empire of the Sun, sets everywhere from Berghain to London’s 3000-capacity Roundhouse, their own Teenage Dream parties and a must-listen contribution to the BBC Radio 1’s Essential Mix series, which showcased just some of the sonic inspirations behind their signature, like Eurodance and trance, plus heaps of DJ HEARTSTRING material.

And now, Sentimental Ultra arrives off the back of DJ HEARTSTRING’s busiest summer to date with landmark festival plays at Awakenings in the Netherlands, Lost Village and Maiden Voyage in the UK, We Love Green in France, Lost Paradise in Belgium, Movement Festival in Detroit and Arc Festival in Chicago. Hot off the heels of their festival run, the Berlin duo show no signs of slowing down with a 3-date Australia tour at the end of September whereby they sold a cumulative 15,500 tickets across Melbourne, Sydney and Perth shows, all on presales. In addition to some pop-up in key markets around album release including Ireland, Scotland, Berlin and London, the Sentimental Ultra official tour also encompasses a European hard ticket run including Belfast’s Telegraph Building (2,000 cap), Brussels’ Braindance (2,000 cap), Paris Phantom (3,400) and DJ HEARTSTRING’s biggest London show to date - Brixton Academy (5,000) - an apt follow-up after selling out Magazine (4,000 cap) weeks in advance in February 2026.

There’s plenty still in store, and plenty of places to catch them throughout the rest of what’s set to be a landmark year. Shows from Miami to Manchester (for the sold-out KETTAMA presents Steel City Dance Discs WHP takeover) to Dublin’s District X, a hometown Teenage Dreams event and 2 colossal ADE headlines at Dockyard and Sugar Factory - with more plans bubbling behind the scenes. DJ HEARTSTRING season is well and truly upon us.

Hier ist das definitive Beat Konducta-Box-Set: 7 LPs, die alle sechs Teile von Madlibs legendärer Instrumental-Serie vereint - erstmals gemeinsam erhältlich in einem hochwertigen, schweren Deluxe-Schuber. Zusätzlich enthalten ist Vol. 0, eine zuvor offiziell unveröffentlichte Promo-LP mit weiteren Tracks. Das 7-LP-Box-Set umfasst alle sieben Teile von Madlibs "Beat Konducta"-Reihe aus den Jahren 1994 bis 2008. Die Volumes 1-2, 3-4 und 5-6, die lange vergriffen waren, erscheinen hier erstmals als Doppel-LPs im klassischen schwarzen Vinyl und im aufklappbaren Gatefold-Cover. Exklusiv in diesem Set enthalten ist zudem Vol. 0: Earth Sounds, gepresst auf grünem "Northern Lights"-Vinyl. Die Tracks auf Vol. 0 entstanden im Zeitraum von 1994 bis 1996 und wurden dann ursprünglich 2001 als streng limitierte Promo-LP veröffentlicht. Die musikalischen Einflüsse reichen von Library-Musik aus TV und Film der 70er Jahre bis hin zu Bollywood-Soundtracks und weiteren Produktionen aus Indien (aus den 60er bis 80er Jahren) und gipfeln in einer Hommage an seinen verstorbenen, großartigen Freund und musikalischen Weggefährten J Dilla. Essentiell, keine Frage.

With »The Future Is Futuristic«, the fifth album for Haleiwa (and third with Morr Music), Stockholm’s Mikko Singh draws from a deep well of nostalgic feeling, while making music that feels razor-sharp, on point, and full of hazy dream-pop pleasure. After 2019’s »Cloud Formations« and 2022’s »Hallway Waverider«, which imagined psychedelic post-shoegaze and mantric pop songs into being, »The Future Is Futuristic« feels like both consolidation and magnification; the noise-drenched songs feel thicker, heftier; the electronic interludes playful and kinetic; the rhythms boundless. It’s as though Singh has truly found his metier, his voice, a place from which he’s comfortable to indulge in the kind of home-recorded worldmaking that has always marked Haleiwa out as something special.

»The Future Is Futuristic« passes by in a rush of whiteout tones and scurrilous energy; the whole thing is over within half an hour, Singh ensuring his songs say exactly what they need to say – no more, no less – before bustling through into the next ecstatic pop moment, pushing the music further into the zone. While his music often has a similar, drenched quality to shoegaze, on »The Future Is Futuristic«, Singh seems to be settling in alongside other spirits – there are touches of the experimentation of both A.R. Kane and Flying Saucer Attack here; the more motoric tunes recall New Zealand’s Snapper; the glitchtronics have a City Centre Offices sensibility, while the sparkling folksiness of the melodies can recall Bristol bands like Light or AMP.

But it’s ultimately not about influence, beyond perhaps Haleiwa nestling alongside some like-minded souls in perceptive listeners’ minds. Instead, thrill to the rush of rhythms that float between jungle and punk on »Flourishing« and »96«, the latter a reference, from Singh, to moments of early revelation – »it’s about being thankful for having found punk rock and skateboarding at a young age, in 1996.« There’s also the hypnotic dream-rush of the opening »Smoke Will Rise«, the beautiful Cure-esque guitars swimming through »Sunset Street« and »Strange Notes«, the tumbling rhythms and heady, elated chord changes that grant lift-off to »Wave Chaos«… A real panoply of pleasures, in fact.

»The Future Is Futuristic« was recorded solely by Singh on four- and eight-track in his home studio, with a quick trip to Telefonstudion to record drums. Recording at home grants a certain intimacy to »The Future Is Futuristic«, even as the songs, at times, bliss their way off into the skies; there’s something both expansive and intimate about the music here, as though Singh is grappling immensities into intimacies. It also feels deeply personal for Singh, a summation of much of what he’s done over the years; as he says, simply and clearly, »The album is in my interpretation a mix between punk, electronic music, and dream pop.« The threads that connect these creative phenomena? Energy, texture, melody, tone, sensuality; pure pop pleasure.

Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.

Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.

There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.

Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.

For over three decades, Berlin-based DJ, producer, and curator Marcel Dettmann has remained a central force in electronic music, continuously pushing the boundaries of the craft. Deeply rooted in early influences ranging from post-punk and industrial to synth-pop, his dynamic DJ sets and expansive discography, including seminal releases on Ostgut Ton and Dekmantel, effortlessly weave together raw techno, Chicago house, electro, and avant-garde soundscapes.

Far beyond club booths and releases on his own imprints, MDR and Bad Manners, Dettmann’s multidisciplinary ethos has led him into artistic territories spanning gallery soundscapes, ballet compositions, and cinematic film scores. This relentless creative curiosity defines a career built at the intersection of dancefloor functionality, collaborative experimentation, and perpetual sonic evolution.

Dettmann introduced My Own Shadow last year, a project where music, visual art, and photography converged in two EPs, Approaching (2025) and Faultline (2026) prior to the release of the full album this coming Autumn. More than just a name, this project lets sound, image, and vision blend organically, reflecting his intuitive process of deconstruction, resonance, and emotional discovery.

Speaking about the project Marcel says “My Own Shadow wasn’t born from a big concept. I simply liked the idea of working under another name and started following it. Different things I was doing - music, photography, visual work - slowly began to connect.

It happened quite naturally. My Own Shadow is me - just seen from another perspective.” Neither an alter ego nor a departure, My Own Shadow: Album is an intimate reflection of the artist; a transient, ever-shifting form that dances with the light and subtly reshapes its contours to reveal new depths.

My Own Shadow: Album is built with textural minimalism through rhythm, tension and release, embarking on a path through the recollections and experience of the dancefloor. This space remains the ultimate proving ground where history, instinct, and transcendence collide, guiding Dettmann through his musical interests.

My Own Shadow - Album is driven by rhythm, texture, space and tension. Across tracks such as ‘Gravitational Scar’ and ‘Resolution Vector’, these elements are constantly reshaped, connecting Dettmann’s past with a sound that remains firmly in motion.

Following the critically acclaimed Fantômes… Futurs, praised by FIP, France Inter, Radio Nova, ARTE and International jazz press, double bassist and composer Kham Meslien returns with Vévés électriques, a deeply immersive second album where memory, landscape and improvisation merge into a singular sonic journey. Joined by Laurent Bardainne, Roger Raspail, Naïssam Jalal and David Neerman, Meslien expands the intimate language of his double bass with subtle loops and organic textures, weaving together echoes of Iceland, the Caribbean and imagined territories. Blending spiritual jazz, contemporary classical influences and ambient soundscapes, Vévés électriques is an invitation to drift beyond geography and into a profoundly personal exploration of emotion, identity and freedom.

Set upon an oil-smooth sea, an immense range of directions opens up before Kham Meslien for “Vévés Électriques”, his second album after “Fantômes… Futurs.”

With only his double bass and bow as vessel and sextant, a distant journey nevertheless begins to take shape. Vibrations and the striking of strings against wood quickly trace lines and winding paths across the surface of the water—so many routes to follow before leaving them behind, allowing the outward journey to become an inward voyage as well.

After an improvisation intended to shed light on the course ahead, isolated lands came into view: the shores of Iceland, the lands of the far north, places cut off from the rest of the world by vast expanses of water. Islands battered by a harsh climate that can only be endured by drawing warmth from deep within oneself.

Then the Caribbean arc appeared. The archipelago, a setting for joyful and unsettling experiences, takes Kham back to a childhood from which the passing years have carried him away. Rather than following the conventional channel of the music of these places, the West Indies emerge through memories whose colors are still vivid.

Through the morning mist, Roger Raspail’s percussion locks into the same frequencies of the groove. Double bass and struck skins then become companions on a road that intersects with Laurent Bardainne’s saxophone. Carrying a dreamlike message, David Neerman’s vibraphone also joins the narrative to write a few chapters of its own, while others are enchanted by the flute and voice of Naïssam Jalal, or struck by the metaphorical rhymes of rapper Rocé.

On the surface, through the themes along which the pieces navigate, landscapes slowly reveal themselves and change shape as the shore draws nearer or recedes. Straying from the marked course and allowing oneself to drift, breaking free from pure acoustic sound by adding loops first played live and then sampled, allows Kham to explore the depths. The depths of the ocean, as well as those of his soul. To enter a world of improvisation that reveals itself even as he explores it. Examined up close, feelings become shells to pick up and hold to one’s ear, so that they can be felt intensely until they take material form.

This sea, which had appeared peaceful, became the stage for a succession of stories and images, which then accumulated to give birth to a larger narrative.

2026 Repress

Few producers embody the soulful heart of House Music quite like Move D. Being a mentor of the label since day one, All That Jelly brings together two defining and desirable cuts from David Moufang’s recent history to one record.
'To The Disco ’77' 2013 original version for the A-side and the 2017 live rework finds its way to the B-side, both freshly remastered by the amazing and sought after Andreas Kauffelt. 'To The Disco ’77', opens with a clean, electro-styled beat that has a restrained power and a controlled tension that gradually blooms as the keys start to lift the mood into something lighter. When the iconic 'to the disco' vocal sample cuts through, it’s like a wink
from the past, threading disco’s golden exuberance through the disciplined swing of classic house. The track is a seamless blend of Funk, Disco, House and Electro with each element raw yet playful, woven into a groove that never stops urging you forward. It’s a masterclass in balance: sleek but deeply human, nostalgic but alive in the moment. It's like listening to the history of dance music in one special track.
'To The Disco ’77 (Move D Live Rework)' stretches the idea out into something even more fluid. The groove loosens, the funk rises to the surface and the extended runtime gives space for guitar and bass lines to share center stage, riffing around each other with organic warmth. The 'to the disco' mantra remains, grounding the track in its celebratory intent. It’s the kind of tune that closes a night perfectly and makes you not want to leave the dancefloor. Reissued together, these versions show Move D’s masterful ability to bridge eras and genres, reminding listeners that the dancefloor is as much about emotion as it is about motion.

Pulsinger & Irl is the collaboration between Austrian producer and techno pioneer Patrick Pulsinger and Bavarian producer and sound engineer Sam Irl.

After ten years of dub-driven live explorations, Pulsinger & Irl are now focusing on a raw, uptempo, and sample-driven take on techno.
Their new album and live set is stripped to the essentials — two classic samplers, the SP-1200 and MPC2000XL, and a 16-track mixer. By pushing these machines beyond their intended boundaries, they craft a gritty and textural sound.
This is first of two 4-track EPs that will make up the entire album („AALLIIAASS“).


The duo met in 2012 at Pulsinger's Feedback Studio in Vienna, where Sam began as his assistant engineer before becoming a studio partner.
Coming from different musical backgrounds, they found common ground in experimental techno, dub, sampling culture, and analogue gear.

Since their debut album Mud (2016), they've released the EPs Function Creep/Woodpecker (2017), Exu (2018) and Retrieval (2019), along with several remixes — most recently a rework of iO's 1994 classic Claire (2024). Their music has received support from Move D, Gilles Peterson, Mr. Scruff, Lefto, among others.

They've performed at Berghain/Panorama Bar (2016–2018), Sonar Barcelona, ://about blank, Golden Pudel, Blitz, Sziget, Elevate Graz, Lighthouse Croatia, Rote Sonne, Ars Electronica Linz, Zukunft, and more.

Over the past three decades, Patrick Pulsinger has released music on his own label Cheap Records as well as R&S, M Plant, Disko B, Compost, and has produced for DJ Hell, Hercules & Love Affair, Elektro Guzzi, Fennesz and others.
Sam Irl has released music since 2007 on labels such as Freerange, Jazz & Milk, Brownswood, Pulver and Frank Music.

Following up the launch of his own Dustbin Digs label, Manchester local Rossiter piles four of his own atop the stack of goodtunes97 wax.
Side A lifts off into the clouds with Feels So Good. The rhythmic shuffle, hint of UKG, and a determined bassline get to the gate as spacey chords are cleared for takeoff. Go Straight carries the trajectory, pressurizing the cabin in breezy dubbed transit. Keys vaporize on the periphery as Rossiter mitigates turbulence with careful cadence, maneuvering high-altitude with grace.
With two stops still to go, the B-Side gets off and running upon arrival. Round & Round kicks up dust as the low end stomps out the homestretch, tenaciously hitching a ride to our final destination. P45 is the long awaited return to familiar territory – nostalgic chords carrying beats so blissed they stutter. Interview samples from legendary UK producer/DJ Grooverider give the track a cultural anchor, connecting its contemporary sound to the lineage of UK dance music and the culture that shaped it.
Each side balanced with equal parts heavy and light, Rossiter’s Round & Round EP firms up the fifth release for goodtunes97.
– Forrest Camire

2026 Repress

DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.

Anton Ivanchenko aka Light The Fuse and Ivan Moskvin (who is half of Fankin) met while judging Red Bull's beatmaker battle back in 2021, but it took years before they actually made music together. Decades of vinyl digging and a knack for sampling weird, unexpected fragments turned into studio jams, then into their debut album, Ghettoblaster Twins. There's no forced concept when they work together - they let the music happen naturally and it shows: breezy, curious, over before you know it. Source material ranges from obscure jazz to a Soviet film theme, all floating between funk, hip-hop and breakbeat, laced with a warm, nostalgic pull. A lovely debut, hopefully with more to come in future.