quête:da break

If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.

Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.

In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.

Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.

“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”

For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.

LP presented on Crystal Clear vinyl.

'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.

Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”

Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.

On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”

Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.

Spatial stalwart and ambient master Aural Imbalance returns for a fresh slice of atmospheric heaven with Unknown Universe. A1 - Alien Lifeform A serene, distinctly atmospheric synth intro with light hats introduces Alien Lifeform, Aural Imbalance toying with filtered breaks and a deep bassline which ushers in trademark melodic pads and a thoughtfully constructed amen pattern. Rolling and intense, the track embodies Spatial’s love for the floor as well as the absorbed listener, nodding along to the laid-back rhythms on the 2am train home. A2 - Indigo Soothing, calming synths create an evocative introduction peppered lightly with cymbals and gentle intrigue, before the Circles break takes center stage with a delightfully constructed and crisply programmed pattern. A spirited breakdown with a subtle trance-like quality ensues before the breaks take over again, all set to a suitably earthy 808 bassline humming away below. AA1 - Empty Universe Deliciously clean and chunky Hot Pants breaks provide a DJ-friendly intro to Empty Universe, a blissful rolling track which sees Aural Imbalance fusing incredible 80’s synthwave vibes, rolling deep basslines and micro melodies with that timeless and evocative break - programmed to perfection - culminating in a stunningly atmospheric piece, fresh for the discerning listener - just as we like it at Spatial. A2 - Lunar Phase Kick back as Aural Imbalance closes the EP in fine form with a leisurely trip to the dark side of the moon. Lunar Phase opens with a short intro featuring sullen tones and light hats before a hypnotic break pattern takes over proceedings, and airy padwork circles above. A meandering melody builds throughout the piece and develops its final form during a luscious breakdown, and through the closing stages of this truly beautiful track. Words by Chris Hayes (Spatial/Red Mist)

The incredible talent that is Jamie Myerson returns with another stellar EP packed with old school sensibilities and atmospheric charm. A1 - Photosphere Photosphere opens with a warm synth and filtered beats before a raucous kaleidoscope of breaks take over your senses, while a devilishly simple piano melody, layers of airy vocals and sampled effects jostle for your attention adding texture to an already immense array of sounds. All elements are clear and distinct in the mix, offering something new with each listen in exceptional detail and clarity. A2 - Naked Eye Changing up the vibe with a twist, Naked Eye is a a deeply atmospheric piece that opens with synths and light percussion before a relaxed old-school breakbeat and bassline drop and kick start a gloriously laid-back journey which builds and builds with trademark JLM Productions panache - adding a flurry of strings, micro melodies across the soundscape and a perfectly-tuned amen layer to the breaks. AA1 - Evolution Operator Next up: enter the sounds of Evolution Operator, opening with a DJ-friendly filtered break intro coupled with intriguing, intense padwork which builds towards a drop of dancefloor two-step beats featuring none other than the legendary Apache break. Combining driving atmospheric energy delivered from a plethora of melodies and effects with old school sensibilities results in another fine floor filler for the discerning setlist. AA2 - Lightlike Completing the EP we are treated to Lightlike, another gloriously reminiscent piece of music reflecting yesteryear with JLM’s crisp, detailed approach to production. Opening beat-free with glistening pads, subtle drums are gently added before classic Airtight breaks drop with a cacophony of synthwork, cymbals and crafted melodies swirl throughout the elements to create a classic yet modern collage of atmospheric drum & bass. Words by Chris Hayes (Spatial/Red Mist)

2026 Repress

DJ Support: Luke Una, Leftfield, Ewan McVicar, Optimo, Damian Lazarus, Jimpster, Hifi Sean, Lovefingers, Heidi Lawden, Justin Robertson, Damian Harris, Sean Johnston (ALFOS)

Electronic music icon Jon Dasilva continues to push forward into the future with “Sun Brings Joy”, alongside Swedish production compadre Skyskrapa and vocalist extraordinaire Donald Waugh.

Coming in a few different flavours, the Bass ID mix has already piqued interest on the socials... is it house? Is it techno? Is it bass music? Who knows, but Luke Una has already called it “the tune of the year”…
The package is completed with a remix from in demand genre bending dj/producer Spatial Awareness.

A mercurial producer, he has had a string of cutting-edge productions to his name spanning over two decades, on labels including Ellum Audio, Rush Hour, Soma, Mute, Deconstruction, Better Days, Eskimo, and many more. His early productions were considered seminal works, combining breaks, African influences, Acid and Bleep culture.

He is in the process of finishing a number of electronic projects for labels such as Balkan Vinyl, Mighty Force, I Love Acid and Hottwerk.

Using the original stems, Aroop Roy turns this MJ classic into a unifying dancefloor moment.
The arrangement is key here, building the suspense with an infectious disco/house groove, that will gradually pull in each person on the dancefloor. The raw proto house organs from the original get their moment to shine, before breaking down to euphoric horns and an anthemic vocal drop.
'Badstrumental' maintains the drama of the A side, whilst leaving the vocals to the imagination. The alternate mix saves the vocal for the very end.

Chronicle continues his journey through the cosmos on Spatial bringing a stunning array of inspired atmospheric bliss with Aqua Pura. A1 - Pure Alchemy Chronicle opens his latest EP for Spatial with a sprightly track, introduced with purposeful synthwork, echoing effects and a wonderful 808 bassline reminiscent of the late 90's Progression Sessions era. Energetic, layered breaks drive and build throughout Pure Alchemy with joyous vigor, while a cluster of subtle melodies intertwine across a varied and memorable mix from the label regular. A2 - Endless Ocean Next up Chronicle treats us to an amazing array of atmospheric synthwork with Endless Ocean, notes yoyoing across the soundscape through a gorgeous intro. Flecked with shimmering, buoyant melodies and bringing an immediate injection of pace, the breaks drop delivering a driving, distinctively head-nodding energy punctuated by a blippy micro melody and suitably deep bass. AA1 - Shared Consciousness Opening with a playful intro featuring subtle hi hats, twisted bells and a classic film sample, Chronicle deftly juggles excitable effects with his inimitable cheery atmospheric style before a real feast for the ears and the feet arrives - breaks reminiscent of those long lost nights at Shepherd's Bush in 1998 bring an essential hypnotic energy to a track simply dripping with style and rhythm. AA2 - Water World Straight into the action with crisp two-step breaks, Water World needs no introduction as a myriad of atmospheric effects, samples and quirky melodies seize your attention for a decidedly dancefloor-friendly track for 160bpm heads. Beautiful breakdowns play their part as well as the subtle yet room-filling 808 bass, rumbling persistently beneath another remarkable track from one of Bristol's finest.

Mihail P – Phantom Broadcast EP

Mihail P delivers four tracks of machine-driven techno exploring classic 90s aesthetics while moving freely between electro, breakbeat and deep house sensibilities. The Phantom Broadcast EP channels the spirit of early 90s records with evolving rhythms, dubby textures and emotive chord work.

“Pulse Memory” opens with a deep electro-techno roller, constantly shifting its rhythmic framework while weaving in subtle deep house elements, recalling moments from the back catalogue of Pacific Records. “Tempest” begins with dubby 909 drums and rolling hats before unexpectedly transforming mid-track into a breakbeat sequence, eventually looping back to its original structure and closing with a distinctly Detroit-influenced finale.

On the B-side, “Cat TV” pushes the tempo to 138 BPM with breakbeat rhythms, 808 low-end pressure and constantly evolving Detroit-style chords. The track builds intensity before easing into melodic tones towards the end, creating a reflective closing passage. “Sights Unseen” blends deep house and techno foundations with a rising acid line that gradually takes center stage, supported by rolling percussion and a driving bassline that keeps the groove energetic while retaining a deep emotional core.

Functional and atmospheric dancefloor material for DJs navigating the deeper and more hypnotic corners of techno.

"Dieses Jahr feiert "Dirty Old Hip Hop" sein 20-jähriges Jubiläum, und wir feiern mit einer Neuauflage dieses absoluten Klassikers. Das ursprünglich 2006 erschienene und für die Worldwide Awards nominierte Album ist eine meisterhafte Sammlung von Tracks von Marc Mac (4hero). Mit den Musikern Somatik und Luke Parkhouse sowie den Rappern Voice und Capital A hat Marc Hip-Hop-Breaks & Beats neu interpretiert und in Grooves eingebettet, die den gesampleten Original-Tunes Tribut zollen. Dieser postmoderne Ansatz hat ein Album mit zeitloser Musik hervorgebracht, das Epochen überdauert und gleichermaßen frisch wie vertraut klingt. Und es funktioniert einfach." - Bob Hill. Remastertes 180g Doppelvinyl.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

KIZZY is the breakthrough EP from rising East London artist Bel Cobain, one of the most distinctive new voices emerging from the UK alternative R&B and soul landscape. Written across 18 months of late-night ideas, scattered sessions, and quiet breakthroughs, the project captures an artist in motion. Following a string of singles that introduced her raw lyricism, KIZZY marks a confident step forward with intimate, sharp, and melodically rich songs that sit in the space between endings and new beginnings.

Across these six tracks, Bel moves with striking emotional honesty through a rich palette that encompasses rock’s bite, jazz’s looseness, R&B warmth, hip hop rhythm, folk intimacy, and fractured breaks. She blends conversational storytelling with her distinct smoky vocals, reflecting on change, learning to let go, and finding light in the aftermath. The EP invites the listener to listen closely to the cracks, the softness, and the pulse of the beauty that still rises when a chapter turns.

Bel Cobain is fast becoming known for her ability to connect deeply with audiences, pairing classic songwriting instincts with a contemporary sonic edge. Early support has come from tastemaker radio and press, with momentum building across streaming platforms as listeners discover her unique perspective on vulnerability and self-awareness. Released as Brownswood Recordings celebrates its 20th year, KIZZY continues the label’s tradition of championing the most singular artists.

Marking a significant milestone in her career, this release is Bel Cobain's first-ever record. It is presented as a Collector's Edition Limited Edition 1xLP gatefold vinyl, pressed on Terracotta colored wax. With short-form video campaigns, targeted digital marketing, radio support, and a growing live presence, this release positions Bel Cobain as one of the UK’s most compelling new artists for 2026.

UK Techno and House lynchpin Mark Broom returns to Radio Slave’s Rekids with the ‘Touch’ EP, landing 8th May 2026. Active since the late ‘80s and widely regarded as one of UK dance music’s most enduring figures, Broom’s catalogue spans key imprints including Warp Records, M-Plant, Hardgroove, and his own Pure Plastic and Beardman, alongside collaborations with the likes of Riva Starr, Baby Ford, and James Ruskin. Since fi rst appearing on Rekids in 2019, he’s gone on to deliver 13 further releases, including his five-part ‘Mutated Battle Breaks’ EP series on sister label RSPX.

Following 2024’s ‘Showtime’ EP, his last House-leaning outing for Rekids, Mark Broom now drops the ‘Touch’ EP.The title track leads the charge, pairing a nostalgic vocal with a Disco-House hybrid feel and jackin’ edge, setting the tone for ‘Eyes’, where he works the filters to build suspense as a loopy sample drives those feel-good dancefloor moments. The B-side shifts into Techno territory with ‘MXM’, a robust, driving groove marked by a machine-like swirl that steadily pushes the pressure, before closer ‘Don’t’ rounds things out with a hard-hitting drumline and tough, strobe-lit stab work.

Hayter steps up on Hilltown Disco with a razor-sharp vinyl release steeped in acid-tinged electro-wave. A core member of the Clear Memory crew, Hayter has left marks on KRI Records, Clear Memory and a run of self-released EPs, plus a standout contribution to Hilltown Disco’s charity compilation.

This record delivers six original tracks driven by icy electro vocals, machine-funk rhythms and a distinctly intelligent, shadow-leaning mood. Dark, forward-thinking and unapologetic —this is electro for the future.

Mastered by Alden Tyrell.

Limited to 300 vinyl.

Laars presents Ghost Hunter, a four-track, club-focused EP blending funky, acid textures, and melodic house-trance influences. Drawing from 90s dancefloor language while maintaining a playful and contemporary edge, it moves through heavy drum work, hypnotic melodies and tight basslines. While each track carries its own mood — from darker, hypnotic tension to more emotional, break-inflected moments — the release holds together as a cohesive late-night journey.

Having tirelessly contributed to shaping the UK dance music over the past decades, Special Request needs no introduction. From the underground and resurgences of Jungle all the way through to major Pop music projects, this man can do it all. Timedance welcomes Paul Woolford's infamous alias for the first time here, unleashing the devastating “Uncanny Valley”. Woolford combines his signature comb filter rave synths alongside cavernous breaks for ultimate mindf*ck peak time energy, anticipation has been huge for this one since Paul showcased the track on his social media last year to a huge response.

Alongside the original “Uncanny Valley” comes alongside remixes from two of maddest breaks scientists in our address book. Timedance stalwart Metrist nods to his love of hi-tech neurofunk with devestating technicality and flair, whilst gyrofield adds a more hypnotic and psychedelic angle, leaning into the eeriness of the original.

Proper dancefloor wreckage here from a real power trio.

Hekt's debut album Forever is released 1st May 2026 on Numbers, with the first single "Someday" featuring Valeria Litvakov out now.

Made with his friends Henriette Motzfeldt & Catharina Stoltenberg (solo and together as Smerz), Copenhagen-based composer/producer Fine Glindvad (who records as Fine), and Valeria Litvakov, Forever is built around juxtaposition: pop and bass brushing shoulders with dopamine fueled EDM. The record is a funhouse of mirrors where polystyrene arpeggios skitter underneath uplifting chords.

As Hekt describes the record: "Forever is desire and digital synthesis, car rides and lingering perfume. It’s missing someone who was never really there, holding on to something you didn’t want in the first place. The songs you hear when you’re falling in love on the dancefloor, and the songs you hear when you open your eyes and realize it’s just you alone with the DJ, the last one to leave. Songs to make out and break up to. A party so good you get depressed it can’t last forever."

Forever is a continuation of Hekt's work exploring the emotional core of pop music. "Someday" is the soundtrack to a hundred imagined futures with strangers in the club, as pristine arps and heartswelling chords skitter under Valeria Litvakov's ruminations, both lovestruck and terrified. Smerz add a level of fantastic to the slanted otherworldly pop of "Up in the Air, So" and "Forever." On both tracks, the melodies are squishy and impressionistic, the sound of all those memories we make in dance floors, taxis home, and in the blurry morning sunshine as we adjust to reality.

And while guest vocalists abound on Forever, Hekt also takes a turn at the mic himself. On "Without You" he shakes up a perfectly mixed cocktail of melancholy and beauty. And on "Promise" his voice is turned into another melodic accent against the fragile IDM sound design. Elsewhere he turns up the aggro. Dueting with Catharina Stoltenberg on Boys Noize's secret weapon, "Anytime Anywhere," the two trade bars across a compressed field of static and feedback while little hints of sub and wiry synths circle the edge of the stereo.

Hekt's music has always attempted to redefine what club music can and might be. This reimagining of the very basic building blocks of the dance floor is felt across Forever where he leans into the emotions of 2010s EDM. "What I loved about hardstyle and jumpstyle was the emotional intensity that kind of music can bring if you’re in the right setting. And I think that is what has stuck with me from EDM too. Emotional intensity," he explains. "It’s just been the soundtrack to some of the most fun moments in my life." On "But I Can't Really Show You," he compresses the EDM-era into 3-minutes. Vocal catharsis, dubstep womp, and soaring chords make it sound like the entirety of Tomorrowland being processed through MAX/MSP. This Skrillex-meets-Calvin Harris colossus is designed to destroy every sub woofer as it pulls on every last heart string.

And then there are the straight-up club stompers. "Baby" is UK club music reimagined with the steely lines of Danish modernism - think DJ Q going b2b with Errorsmith. It has a bassline made out of flubber with a vocal chopped beyond recognition as it bounces across chromatic synth lines. Even when he strips things down on the slinky garage-esque "Big Things," there are still unexpected twists and turns. The melody sounds like an Ibiza House compilation played in reverse, alongside drums that swing in and out of psilocybin bleeps and bloops. On other tracks like "Dream" and "You Won't Believe," the tropes of dance musics past, present, and future are dissolved in baths of synthesis and polished sound design.

Forever is a record where club music and Scandinavian EDM seamlessly mixes into avant-garde pop. Hekt has crafted singular and unclassifiable love songs alongside effortless bangers, making an ode to those eternal dance floor moments where time stops and you start hoping for something big.

G.A.M.O. (Gods Against Man's Oppression) recounts events leading to Napoleon Da Legend transformation after being bestowed a metal helmet, which is a weapon against our modern dystopia. The album features a blend of soulful and dystopic grit featuring the likes of Vinnie Paz, Goretex, General Steele, Skyzoo, Passport Rav, Nejma Nefertiti, Innocent?, SKAM2?, Eloh Kush, CF, Dontique and more. It has production from Dub Sonata, Maitre D, Homage Beats, Passport Rav Proffeny and Napoleon Da Legend. The result is 23 tracks that blend retro-sci fi "Noir Wave" and modern Boom Bap. It features an exclusive 2 page comic illustrated by UK's Dan Lish. Limited to 300 copies only.

East London producer and DJ IZCO announces his debut solo studio album ‘POWERSCROFT’, set for release on 1st May via Brownswood Recordings. The album’s first single, ‘Strike a Pose’ featuring the vocals of Camille Munn offers an early glimpse into the project. To celebrate the release, he will go on a run of UK dates from March to May, culminating at London’s Jazz Cafe.
Named after the road where he grew up, ‘POWERSCROFT’ marks a defining new chapter for an artist who has spent the past decade shaping the sound of UK dance music. Drawing from jungle, broken beat, grime, garage, soul and dub, the album channels the energy of the dancefloor while remaining deeply rooted in memory, instinct and identity. It captures what it feels like to be inside IZCO’s world, where thoughts, memories and influences collide.

Hailing from East London, IZCO is a producer and DJ spearheading a new generation that is bringing soul back to the dancefloor. Shaped by the rich musical heritage of his hometown, he has developed a sound that feels familiar yet forward-looking, diverse yet distinctly his own. That sound has taken him across the globe, from New York to Tokyo, alongside standout sets at We Out Here, Outlook and Glastonbury.

IZCO began his journey making grime beats for local rappers including Capo Lee, Novelist and Reek0, before becoming a key figure in the UK’s evolving garage and dance music landscape. In 2018, he launched his long-running Rinse FM show and released his debut EP Tek 5, earning early underground acclaim. His production credits include PinkPantheress’ breakout track ‘Passion’, created alongside Jkarri, as well as collaborations and remixes for artists such as Katy B and Greentea Peng.
Beyond his solo work, IZCO is a label head, promoter and co-founder of the Brighter Days Family, a collective built on community, craft and cooperation. With ‘POWERSCROFT’, he steps fully into the spotlight, presenting his most personal and fully realised body of work to date. “This album is about channeling my true musical personality and character,” he says. “I’m marking a new chapter by paying tribute to my foundations.”

NEHRUVIANDOOM is Bishop Nehru's debut album. Produced by Metal Fingers and featuring MF DOOM vocals on several tracks, it's a compact nine track, 30 minute long player.

Bishop Nehru's breakthrough mixtapes, released from the age of 15 saw him rhyming over DOOM produced instrumentals. DOOM joined the line of MCs who co-signed the young rapper including heavyweight lyricists Kendrick Lamar and Nas, who introduced him on stage during his set at SXSW as 'The future of music'.

Still only 17, Bishop has wrapped up his debut album for Lex, a collaborative project with MF DOOM.

Italy via Atlanta, say hello to Titino and “Sun Splicer”, the latest release on The Comfort. Three separate ideas connect this EP across 4 tracks. It toys with the expectations of its listener — core features morph as tracks progress, stable kick patterns turn to breaks and in reverse, simple stabs progress to melodic junctions. Acid permeates this record, not as a clear motif but a tinged essence. And it’s sincere, both to the setting of these pieces and where they’ll be listened to and what it honors.

“Shblasted” — a back-and-forth groove machine filled with dub sirens and stepped up acid. Clubby introduction meant for sacred dance floors.

“Ouachita” on the A2 is controlled chaos, snares fly around, synth lines seem to want to escape their own confines and it just bursts onto the listener. Then the keys come in, the groove stabilizes, pads become bigger and new life is given.

The B-side is playful. “Sun Splicer” is perhaps most aptly categorized by a now notorious idea of ‘electro house’, and the pure aggressive euphoria this track carries just might be that, but as we all know the Italians do it differently — it’s a heady dark excursion. “Existenz” is all-smiles no matter how menacing its first contact, a hook of a track that reimagines the weirder side of Italian trance — think Interactive Test at its most wonderful. The dusty snares feel like a balancing tool instead of an homage.

The third release on Children of the Sun welcomes Argentinian mastermind Dani Labb.

We are delighted to present this EP, a body of work that perfectly captures Dani Labb’s sonic wizardry. Through a collection of versatile tracks that engage the mind while retaining a deep emotional undercurrent, the record resonates deeply with the ethos behind the COTS aesthetic.

Each piece unfolds with its own character, blending hypnotic rhythms and emotive textures into a journey that reflects both the artist’s vision and the spirit of the label.

The Zurich rooted duo H:B:E:M (Antinio Di Benedetto & Alfonso Bianco) deliver a deep and hypnotic journey on Moto Music 22, blending raw techno energy with emotional and atmospheric depth. The opening track “In Orbita” sets the tone with a driving bassline and a subtle oldschool hit sample, perfect for dark peak time moments. The talents from Prince De Takicardie take things into proto trance territory on his remix of “Jupiter Love”, injecting a warm, nostalgic and uplifting vibe. The original “Jupiter Love” dives into mental, melodic deep techno with an addictive bass and immersive flow. Spacetravel delivers on B2 a smooth and atmospheric reinterpretation of “Interstellar Overdrive”, keeping things hypnotic and refined, while the closing track explores breaky ambient textures with swirling rhythms and a dreamy, cinematic feel. A versatile and classy release built for both the floor and deeper listening.

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

Human Tree Records proudly presents Ghost Town, the third EP by Bam Bam’s Boogie, landing on 30 January. Following the exclusive vinyl release on Bandcamp, this marks the digital edition of the record

The project unfolds across four tracks that push the band’s hybrid language into darker, heavier territory, while also marking a new point of departure. Ghost Town consolidates what makes the trio so compelling, a rare alignment of sound, research, and pure energy, sharpened into a focused statement that still refuses to sit inside one genre.

Ghost Town is a collision of drum and bass, funk, breakbeat, and afro inspired grooves, built for maximum impact. Expect pounding rhythms, sharp textures, infectious melodies, and lyrics that cut deep. At the core is Jacopo Aluzzi, producer, bassist, and multi instrumentalist, transforming the bass into guitars, synths, and otherworldly noise through live looping and effects. On vocals, Kiko King delivers haunting words with magnetic presence, while Eric Oder on keys and synths expands the palette and amplifies the band’s live intensity. A visceral soundtrack for nocturnal movement, a chase through neon streets and empty corners, where the ghosts of the title feel uncomfortably close.

Official reissue of a German under-the-radar disco tune. The original from 1979 is a bubbling dancefloor stomper with freewheeling synth lines. For the flipside of this 7" Korkut Elbay created a spaced out balearic dub rework. Picture sleeve with a funky painting by Holger Kurt Jäger that picks up on the original.

The melody of 'Butterfly Dance' came to Dieter Bührig's mind as a butterfly floated through the recording studio during a session break. The resulting track landed on a compilation with mostly cover versions of disco hits. Now, more than 45 years later, the tune found its well-deserved single release on funkscapes.

Korkut Elbay is a fixture of Cologne's electronic music scene for over 20 years. He's part of the Cómeme camp and with remixes and edits for labels like Permanent Vacation or funkscapes he prooves his sensitive feel for the dancefloor. So does he on this rework, giving the orginal space to breathe and calm down without leaving the dancefloor.

Dieter Bührig studied electrical engineering and sound recording in Berlin. Afterwards he worked several years as a sound engineer for the music industry and as a producer. Later on he worked as a teacher for physics and music, trained trainee teachers for secondary schools and wrote articles and publications on musical education, choir and band arrangements. Nowadays he's writing, among other things, musical crime stories.

Solee - XX EP (FURV5)

Twenty years in the game. With XX, Solee celebrates two decades of shaping his own unmistakable sound. An artist who, from day one, has written and produced his music independently, XX is more than a retrospective. It’s a curated journey through the tracks that defined his career, opened doors, and left a lasting mark on dance floors around the world. From early breakthroughs to timeless anthems, XX brings together the most successful, most played, and most influential releases from the past 20 years. While the whole digital album contains 20 tracks, here is a matching vinyl EP release with the most requested Solee classics "Zebra", " Pink Panther", "Morgenrotsonate" and "Watoto".

Rythm Of Paradise launches his brand new label “Ritmo Adriatico” with "Divina EP", a sonic manifesto of Italian house music. This four-track journey blends the power of main stages with the warm intimacy of clubs, always driven by a profoundly Mediterranean soul. A first release that doesn't just present a sound, but tells a story.

The EP opens with main track "Divina" , powerful and immediate groove built for the dance floor, wrapped in warm atmospheres and bright pads that create a sense of high energy, with emotional breaks that reminds French Kiss sound.

Followed by its remixed version of Divina by St. David where he reimagined and elevate the impact on main stages. The bass becomes more prominent, the groove expands, and the voice became more hypnotice, without ever falling into cliché.

B1. Italia Novanta is where, Ritmo Adriatico reveals its beating heart. "Italia novanta " is a respectful and modern tribute to the golden era of Italo House, diving into the Mediterranean soul of the 90s, reinterpreted with today's power.

Closing with B2. Te Quiero where takes the dreamy atmospheres and immerses them in a deep, meditative dub treatment of spacious bass lines and captivating Italo house piano licks.

Written and Produced by Michele Lamacchia.
Mixed & Mastered by St. David

2026 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

MUSICA SOLIDA Vol. 3 finally touches down.

Flexi is wrapping up their 40th-anniversary celebration with a bang, and trust me, the wait was worth it. This VA 12” is a heavy-duty blend of family ties and international heat.

The Breakdown

* Gratts: The Adelaide-based crate-digger returns to Flexi with "Ghost Swell." It’s a deep, atmospheric builder that keeps the soul intact.

* Slowaxx & Ai Lati: Pure "rollin" energy. This Tuscan duo delivers a rhythmic, four-handed organic groove that’s been the secret sauce in the Italian underground.

* Melchior Sultana: The Maltese Deep House maestro brings the sub-heavy vibes. Total class, total depth.

* Robotalco: Fresh off his LP, he drops an Acid House banger. This 303-laced heater is strictly for the warehouse heads.

* DJ Soch: the "Italian Stallion" puts his classic old-school vein aside and reveals a darker, more minimal side: sharp drums, soulful vocal touches, and an essential, hypnotic groove shape a timeless track.

Forty years of curation distilled into one essential plate. It’s raw, it’s solid, and it’s built for the crates. Don’t sleep.

For their third release, FREE UNIVERSE welcomes Brooklyn's JÄK-87, making his debut EP with two acid-soaked jams along with remixes from Will Automagic and FU label head, Gee Dee. The Good Room staffer delivers Acid Bath, a subtle yet driving downtempo excursion complete with cheeky samples and a powerful 303. On the flip is Re_Cognition; a booming breakbeat stomper with distorted synths and bouncy bass. The Carry Nation's own Will Automagic ups the tempo with a speedy remix of Acid Bath, with a throbbing bass line and jacking percussion ready for 2am peak moments while Gee Dee brings a minimal approach to Re_Cognition with analog synths harking back to the likes of Liaisons Dangereuses. This record is dedicated to David G. Holland. Limited to 300 copies.

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!

Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality.

Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a rare balance of elegance and DIY ethics - it is truly an ode to life.

Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.

A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.

black.round.twelve returns with Dancing Tiger EP, a new vinyl release from Tagir exploring the deeper edges of Minimal House and Tech House. Rooted in the label’s vinyl-only ethos and focused curation, the record leans into long-form grooves, subtle detail and controlled movement.

The title track “Dancing Tiger” is a slow-burning minimal piece stretching across twelve minutes. Oboe-like tones and modular textures sit alongside processed vocal fragments and acoustic percussion, anchored by a steady low-end that develops with patience.
“Break It Love” moves into a more direct framework, combining vocal loops with an elastic bassline and a steady 4/4 pulse, while modular elements add texture and forward motion.
On “Off Smoke”, the structure becomes more abstract, with a repeated vocal phrase stretched, pitched and fragmented across a pumping groove. Subtle variations and underlying swing create a controlled but fluid sense of movement.

With Dancing Tiger EP, Tagir delivers a groove-led record that aligns closely with black.round.twelve’s approach, balancing functionality with detail and maintaining a clear focus on the dancefloor.

Originally from Florence, Italy, Elio made an impression in the Seattle underground through his deejaying at DAZED parties alongside his evolution as a producer. On his first vinyl EP, two original productions channel an early 2000s melodic minimalism with a touch for evocative composition paired with memorable grooves. A remix of each completes the record.

The title track “Still Love” opens the EP with a series of contemplative notes. As the bass stirs, the track expands, adding energy alongside the breakbeat. The synth unfurls in a melodic crescendo before pads add emotive accents.

Kurilo steps into the lab to reconstruct “Still Love” into an afterhours potion. The Ukrainian producer showcases the psychedelic and sumptuous grooves that established him as one of the finest purveyors of hypnotic tech house at Trance Pandemic. The influence of cinematic acid house washes over the driving groove.

“Vegas Jam” opens side-b and again emphasizes Elio's sense for musical composition and progression. Adding swing and jazz techniques to the synth melody, variations of the piano hook improvise blissfully above the rolling bass.

A warm yet powerful kick sets the tone for the final track of the EP. China's electro and techno wiz B.AI remixes “Vegas Jam” into a mind melting sensory stimulus. The remix gathers intensity and drive, an irresistible late night brain worm.

KNEECAP return to bend genre, language, and rules. The most talked about artists in the world are turning the page. A new chapter, new sounds, new manifestos.
A blistering album that revels in darkness while bursting through the void with illuminated revery. This is FENIAN.

Produced by Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg), FENIAN upends expectations with an expansive sonic palate, traversing acid house, trip-hop, dubstep, and more - Masters of rave and rap theatre, FENIAN represents Kneecap’s most sophisticated exploration of language and sounds.

More darkness. More confrontation. More craic. More energy. More solidarity. More absolute bangers. And more fuel for the unrelenting engine that powers this unstoppable force. For their remarkable second album, Kneecap have come out fighting.

Throughout, the sirens and alarms ring, and the chorus’s blast. Revolutionary and rebellious, confrontational and impossibly catchy, inescapably intelligent and brilliantly rendered, FENIAN doesn’t just represent the next phase in Kneecap’s trajectory but stands as a remarkable record that thrills as much as it surprises. The mayhem of their breakout year is a memory now. But Kneecap are neither dwelling on that nor merely persevering through it. In FENIAN they excel, reaching a new peak that is undeniable in its mastery.

Pressure makes diamonds, and FENIAN glistens with Kneecap’s uncut gems.

KNEECAP return to bend genre, language, and rules. The most talked about artists in the world are turning the page. A new chapter, new sounds, new manifestos.
A blistering album that revels in darkness while bursting through the void with illuminated revery. This is FENIAN.

Produced by Dan Carey (Fontaines D.C., Kae Tempest, Wet Leg), FENIAN upends expectations with an expansive sonic palate, traversing acid house, trip-hop, dubstep, and more - Masters of rave and rap theatre, FENIAN represents Kneecap’s most sophisticated exploration of language and sounds.

More darkness. More confrontation. More craic. More energy. More solidarity. More absolute bangers. And more fuel for the unrelenting engine that powers this unstoppable force. For their remarkable second album, Kneecap have come out fighting.

Throughout, the sirens and alarms ring, and the chorus’s blast. Revolutionary and rebellious, confrontational and impossibly catchy, inescapably intelligent and brilliantly rendered, FENIAN doesn’t just represent the next phase in Kneecap’s trajectory but stands as a remarkable record that thrills as much as it surprises. The mayhem of their breakout year is a memory now. But Kneecap are neither dwelling on that nor merely persevering through it. In FENIAN they excel, reaching a new peak that is undeniable in its mastery.

Pressure makes diamonds, and FENIAN glistens with Kneecap’s uncut gems.

Repress!

Belgian techno powerhouse Charlotte de Witte has unveiled brand-new EP ‘Apollo’, out 14th October on her own KNTXT label.

An uncompromising collection of club tracks, ‘Apollo’ opens with ‘Missing Channel’, a turbo-charged acid techno cut pairing pumping kick drums with squelching 303s. Next up, the title track shifts things into warehouse techno territories, juxtaposing bludgeoning kicks with haunting, ethereal vocals, while ‘Mercury’ cultivates a striking interstellar energy. Closing things out, ‘PPC’ is by far the record’s most experimental track, a shimmering, beatless creation laced with samples of space transmissions.

"The vastness and solitude of space always interested me. A compelling contrast between monumental power and the vacuum in between.” Charlotte explains. “This diversion can also be found in techno music, a pure simplicity divergent in power."

Charlotte de Witte has become known for her dark, stripped-back brand of techno, acid and anything high energy. She’s often crossing borders but maintains a deep form of respect for the underground. Highlight performances across the continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Heavy, breakneck club fodder, ‘Apollo EP’ is Charlotte de Witte at her bold and brilliant best.

Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL- ‘Twice Like Rice’. It’s a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. The Ep is full of deep, pulsating rhythms, lush textures and emotive peaks - all road tested in Stevie’s Iconic home turf: Sub Club.

Stevie Cox has long been a name long ruminating on everyone's lips, as a resident DJ of the iconic ‘Sub Club’ with an ever-growing tour schedule and back catalogue of releases via the likes of Klasse Wrecks and Optimo. Whilst the name Ansboy may be new to some, it is a fresh alias for the grammy nominated producer and mixdown engineer Robert Etherson who has long been a staple in the Scottish scene with an international touring repertoire under his belt.

The two friends met in their hometown of Glasgow and began their musical journey together last year after Robert taught Stevie how to do mixdowns. The pair clicked effortlessly, quickly discovering they shared the same passion for emotive, deep and progressive dance music. Their first track together - which took shape in the form of ‘Drift’ - a high-energy synth led anthem, came out with a special selection of tracks curated by Bradley Zero for his exclusive SHOUTS Summer sampler in 2025.

For the Twice Like Rice EP, their work evokes all corners of the dancefloor, kicking things off with ‘GC’ - a peak time breaks-infused trancey-heater - a master class in building dancefloor tension which gives way into a searing crescendo. Things spin towards a darker percussive focus on the more intense ‘Twice Like Rice’.

On the b-side things return to blissful euphoria with ‘Virgil’ - a warm up dub-techno ballad, before the emotional release of ‘Subculture closure’ inspired ‘Carter21’.