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‘Confession' is an album of quiet upheaval. An album about closeness that arrives late and unexpectedly. About stability rubbing up against desire. About the way friendship can suddenly tilt into something charged — and how that charge unsettles everything around it. Where earlier work often observed from a distance, Confession turns inward. The voice is closer, warmer, less shielded. “This wasn’t the album I intended to make,” says Carla dal Forno. “I originally wanted something veiled and abstract, but I realised I couldn’t hide behind abstraction — the songs only worked when I leaned into emotional truth.”

This is dal Forno’s fourth LP, written and recorded over several years in a small country town, in a studio housed inside a partially abandoned hospital. Long corridors, humming lights, emptied rooms — a place built for care and waiting, now quiet enough for thoughts to echo. That stillness shapes the record: intimate, watchful, unadorned. “I live in a small country town that offers a stillness my life didn’t previously have,” she explains. “In that quiet, feelings I might’ve ignored in a busy city grew loud.” Dal Forno sings plainly and conversationally, with an emotional precision that sharpens the everyday into something quietly unsettling.

The album moves through paired states: going out and staying in, wanting and withholding, devotion and distraction. Domestic calm set against private unrest. A long-held relationship offers safety and routine, while a newer connection opens emotional fault lines — longing, jealousy, fantasy, self-exposure. “At the heart of the album is a friendship that became emotionally charged in an unexpected way,” dal Forno says. “That shift brought daydreaming, jealousy, tenderness, confusion, self-awareness — and eventually acceptance.”

The drama here is internal, incremental, lived. Musically, Confession feels lighter on its feet than its subject matter suggests. Melodic basslines anchor the songs while guitars, harmonies, and gently off-kilter rhythms move around them. There’s a looseness, even a playfulness — “like the sensation of tension lifting once you finally admit something to yourself,” as dal Forno puts it. The album traces a subtle arc: attraction blooming where it shouldn’t; obsession quietly taking hold; fantasy overtaking reality; clarity arriving slowly, sometimes painfully. Visually and emotionally, Confession returns to modest spaces: backyards, beds, night streets, overgrown paths. “The record exists in that contrast,” dal Forno reflects. “Peaceful surroundings, unsettled interior.”

Like all of dal Forno’s work, Confession resists clean conclusions. It doesn’t moralise desire or romanticise restraint. Instead, it lingers in the in-between — where love is stable but not total, where yearning teaches as much as it hurts, where solitude becomes a form of care. Plain-spoken but emotionally complex. Rooted and restless. Held together by bass, breath, routine, weather. An album about admitting what you feel —and living with what that admission changes.

Ottagono Italian Dojo presents the second release on the Ottagono Retro outlet imprint label through South America. This special occasion marks the opening of a second Ottagono headquarters in Argentina, introducing an exclusive project that blends the essence of the Italian music family. If you’re familiar with Latin American music genres like Rock, Post Punk, Industrial, Minimal Synth, New Wave, Synth Pop, and the broader electronic music scene of the last 40 years, you’ve surely heard of iconic bands such as Virus, Soda Stereo, and Sumo. Among these bands, having in common their birth in Argentina, Alfredo Peria is another influential music pioneer and key figure in the entire Latin American underground movement. In the mid-80s, he founded the techno duo Mimilocos. Because of this, over the years, Alfredo has been renamed the “Juan Atkins de Latino America”. Later in the 90s, he joined major labels like Polygram and BGM, living between Spain and the United States. He founded another project called Limbo with Julio Moura, a member of Virus and brother of Federico Moura. In the late ’90s, he released his first solo album with Fonovisa. After spending years travelling the world, Alfredo returned to Argentina and, alongside Cecilia Olariaga, founded his own production company, Pulpería Discos. The music world once again showcases the strong connection between Argentina and Italy, evident in the heritage of artists and figures like Maestro Alfredo Peria and la familia Ottagono, including the new Latin America manager, Federico Luchetti.

A.1: Sentidos is a new wave Latin American classic! After over 30 years, it finally received its first vinyl release. Originally written in the early ’90s by Alfredo and Julio Moura, then members of Limbo, a band formed after Virus disbanded following the passing of Federico Moura, Julio’s brother, Virus frontman. This updated version, enhanced with synthesizers and additional production by tech wizard Franco Colombo , transforms the original lyrics into a retro-futuristic club anthem with 80s vibes, It captures the essence of early Depeche Mode, Nitzer Ebb, and the Chicago Warehouse scene, while also being a great fit for fans of Juan Atkins and Yellow Magic Orchestra as well.

A.2: Yo soy su Cuba – 3.0 Adicta mix is the latest version inspired by the original demo from the 80s. This mix showcases Electro Tech Synth Pop music created by Alfredo, Rudie Martínez, Joaquín Franco, Juan Pablo Bidegain, Germán Moreno, and Pablo Torterolo, collectively known as Adicta.

A.3: Castillitos de arena – original ’87 demo, it’s a classic in Argentina underground music movement, among fans and people lost in club culture, even though it never got an official release in any format. This was frequently performed during the early years of Mimilocos live shows, but it was never officially released. A few years later in Spain, a Latin pop tropical house version was released, presenting a fresh and entirely different take from the original’s obscure essence marked by minimal synth, EBM, and deep, atmospheric sounds, which thanks to Ottagono family will see the light.

B.1: Gesell – From Villa Gesell to Ibiza, from Alfredo with love to another renowned
“Argentino” known as DJ Alfredo. This is an Ottagono tribute to one of the Isla masters and the Balearic sound. Gesell feels like a fresh 90s UK track by Farley & Heller or DJ Harvey, immersed in the emotive Alfredo Peria landscape—something you could easily hear at Café del Mar during sunset, played by another maestro we all miss, José Padilla.

B.2: Yo soy su Cuba – Now available on vinyl for the very first time, featuring the original demo. There’s not much to add—just sit back and enjoy this pure 80s treasure in all its glory.

B.3: Over the past months, Claudio and Federico have listened to many unreleased
demos and tapes from Alfredo’s extensive musical career. Among them, “7 Days” stood out for its simple beauty and potential as a hit for underground enthusiasts. This track seamlessly combines post-punk, new wave, and tropical Balearic vibes. From ’95 to ’25, it has remained fresh and innovative, once again proving that the Ottagono crew understands the essence of timeless music.

Lorenzo Fortino, DJ and producer, already owner of the record store Isoma in South Florence and key figure in the Italian underground scene, releases his sixth record on his own label Futop Musica. Staying true to his style of mental music while exploring other facets of sound.

‘Keep it in the Family Vol. 2’ sees Handy Records return with our first release of 2025- the second instalment of our compilation series- featuring 5 carefully curated house cuts from a range of label mainstays and fresh sounds from artists between Wales, the Netherlands, Brazil and beyond- a stellar array of emergent and established artists.

Following our club-ready releases on our recently launched sublabel Natural Frequencies throughout 2024, we felt it was the right time to return to our roots - providing the finest in timeless and broad-reaching house music.

Nach Bigband-Arrangements von Coltrane-Klassikern nimmt sich Christophe Dal Sasso nun Chick Coreas „Three Quartets“ vor. Unter Leitung des Arrangeurs nimmt sich seine vielfach ausgezeichnete Big Band das legendäre Album des Pianisten vor, das nach dem Vorbild von Streichquartetten komponiert ist. An vorderster Front stehen in den Fußstapfen von Michael Brecker drei außergewöhnliche Saxofonisten: David El-Malek, Stéphane Guillaume und Rick Margitza. Das Album in All-Star-Besetzung ist somit eine Hommage an zwei verstorbene Größen des Jazz: Corea und Brecker

Nicola Dal Sacco treats us to an acid-soaked quartet for his debut solo EP on Aquaregia, a tantalizing follow-up to the Italian producer's contribution to the Acid Analects VA series.

Setting the tone, the title track, "Wirrwarr", revs up with driving drums and swirling pads - a sunrise escapade along a mountain pass. As daybreak approaches, the breakdown hits, introducing warm beaming pads. On the second leg, the journey continues with "Gelato", a spellbinder that melds serpentine acid lines with a vintage flair, navigating hairpins and snaking through narrow hillside corridors; vertigo ensues.

"Parapiglia" continues the trip with an eerie and enchanting lowlight drive. Melancholic acid whines while lush ethereal pads swaddle; a haunting mist rolling over the road. A deep closer, "Linea" guides us down the final stretch through the foothills with a viscous groove and chilled out atmosphere; the final knock back down into first gear.

Carla dal Forno resurfaces with the release of her third album, Come Around, via her own Kallista Records

Carla dal Forno announces her second full-length album, Look Up Sharp , on her own Kallista records.

Dal Forno beckons a bold new era in her peerless output pushing her dub-damaged DIY dispatches to the limits of flawless dream-pop. In a transformative move towards crystal clear vocals and sharpened production, Look Up Sharp is an evolutionary leap from the thick fog and pastoral stillness of her Blackest Ever Black missives, You Know What It’s Like (2016) and The Garden EP (2017). Three years since her plain-speaking debut album, the Melbourne-via-Berlin artist finds herself absorbed in London’s sprawling mess. The small-town dreams and inertia that preoccupied dal Forno’s first album have dissolved into the chaotic city, its shifting identities, far-flung surroundings and blank faces. Look Up Sharp is the story of this life in flux, longing for intimacy, falling short and embracing the unfamiliar. Dal Forno connects with kindred spirits and finds refuge in darkened alleys, secret gardens and wherever else she dares to look.

In her own territory between plaintive pop, folk and post-punk dal Forno conjures the ghosts of AC Marias, Virginia Astley and Broadcast through her brushwork of art-damaged fx and spectral atmospheres. The first half of the record is filled with dubbed-out humid bass lines, which tether stoned hazes of psychedelic synth work as on ‘Took A Long Time’ and ‘No Trace.’ These are contrasted with songs like ‘I’m Conscious and ‘So Much better’ that channel the lilting power of YMG and are clear sequels-in-waiting to dead-eyed classics like ‘Fast Moving Cars.’

The B-side begins with the feverish bass and meandering melody of ‘Don’t Follow Me,’ which takes The Cure’s ‘A Forest’ as its conceptual springboard. It’s the clearest lyrical example since ‘The Garden’ of dal Forno’s unmatched ability to unpick the masculine void of post-punk and new wave nostalgia to reflect contemporary nuance. Look Up Sharp reaches its satisfying conclusion with ‘Push On’ - dal Forno’s most explicit foray into an undiscovered trip hop universe between Massive Attack and Tracey Thorn. The album’s last gasp finds personal validation in fragility: ‘I push on / I’m the Place I’m Going,’ a self discovery lifted by reverberant broken beats and glass-blown vocals.

Adding further depth to Look Up Sharp are the instrumentals, which flow seamlessly between the vocal-led pieces. ‘Hype Sleep’ and ‘Heart of Hearts’ drink from the same stream as The Flying Lizard’s dubbed-out madness and the vivid purple sunsets of Eno’s Another Green World. While ‘Creep Out of Bed’ and ‘Leaving for Japan’ funnel the fourth-world psychedelia of Cyclobe’s industrial-folk into the vortex of Nico’s The Marble Index.

Conceived as a whole, Look Up Sharp is a singular prism in which light, sound and concept bend at all angles. A deeply personal but infinitely relatable album its many surfaces are complex but authentic, enduring but imperfect, hard-edged but delicate. A diamond. Look up sharp or you’ll miss it.

Following her atmospheric masterpiece You Know What It’s Like on Blackest Ever Black in 2016 Carla Dal Forno has released a couple of EPs. Now she has set up her own label, Kallista, for a new 7”, So Much Better.

Silo EP is a strong piece of work from Berg Jaar for Planet Rhythm. Jaar is known for producing powerful & outgoing techno with an exotic touch to it. This 4-track pack covers a lot of ground and should be an excellent choice for lovers of Techno with a more artful approach.

A regular contributor to Figure SPC, it was Jeroen Search who both started the series and also put an end to its story. With this creative chapter neatly closed, he is now bringing his ever-impressive work back to the main label. Across the EP the Dutch artist doesn't stick to one style, instead he lets his infamous machines roam about freely. They take us for a smooth ride along swaying dub chords and gentle ripples until bellowing eches slowly rise above a hypnotic groove.On the B-side Search then pulls out all the stops and barges right in with fidgety claps and whirling bleeps, leaving the track itself gasping for air. This is the renowned ferocity of his live act - carved into wax! Ensuing the sonic assault, a simple synth figure emerges stoically over an almost housy bounce as nostalgic rave strings bring the EP to an epic ending. Firmly rooted in the past while always looking forward, Jeroen Search clearly is still on the top of his game. He simply keeps coming up with timeless techno - time and time again.

Different strokes for different folks. The celebrative 11-track 'xoxo' compilation, originally pressed as a 3xLP, is now also available as three separate EPs. Oceanic takes EP 3 into euphoria on Dala, with sounds that pinch and prickle. Don't DJ follows with nos(e)care, his no-nonsense polyrhythmic signature that'll put your soundsystem's low-end to the test. And there's nothing like a little melancholia to close it out: Haron's De Papaverparade is a tearjerker for the dancefloor

ANNE Returns to Soma Records with "Sleepwalkers EP", Featuring Exclusive SLAM Remixes

ANNE delivers her fourth release on Soma Records, reinforcing her position as one of techno's most compelling new voices. The release also features two special remixes from Soma founders SLAM, adding heavyweight reinterpretations to
ANNE's original vision.

Sharp and uncompromising, this release is a statement moment for ANNE and a
clear reminder of Soma Records' enduring influence at the cutting edge of techno.

Mastered by Conor Dalton @ Glowcast Mastering.

Eine Italo Disco Rarität aus dem Jahre 1985 jetzt wieder als farbige 12“ Maxi Single erhältlich:

Hysterical Fit - - Come And Make Me High

Zusätzlich zu den raren Original Versionen, gibt es als Highlight auf Seite B zwei neue und exklusive Remixe von Flemming Dalum und Rey David Diaz

Stephen Houghs vier Klavierkonzerte von Sergei Rachmaninoff gelten seit Langem als Maßstab für dieses
bedeutende Repertoire. Unterstützt vom Dallas Symphony Orchestra unter Andrew Litton kehrte Hough
bewusst zur raschen und schlanken Aufführungstradition des Komponisten selbst zurück. Damit vermeidet
er den sentimentalen „Hollywood“-Ansatz, der für diesen preisgekrönten Rachmaninoff-Zyklus weit verbreitet ist.
Der Titel erscheint als limitierte Edition auf drei 180-g-LPs in einer vollfarbigen Gatefold-Hülle und enthält umfangreiche Begleittexte. Erstmals innerhalb dieser Reihe wurden die Aufnahmen von Sidney Claire
Meyer in den Emil Berliner Studios (EBS) gemastert – dem renommierten Team hinter den Serien „Original
Source“ (DG) und „Pure Analogue“ (Decca).

A welcome return for Boogie Café on vinyl with one of the standout moments from Piers Kirwan’s COLLABS series receives a high-spec remix package from the legendary Sean McCabe.

Sean McCabe delivers three distinct flavours: the main vocal remix provides a sophisticated, club-ready pulse; the Cosmos Dub shifts gears into syncopated, bruk-leaning territory; and the Instrumental offers pure groove utility.

This physical release features a Vinyl-Only Exclusive Dub, making this a must-have.

REPRESSED !
Patrick Keel is a multi-instrumentalist, composer, producer, and performer. The Pool was his solo project, the sum of fifteen years of experience in live bands, studios, and home recording. Patrick was heavily influenced by the radio of the early and mid 1960's in Dallas. The British bands and Black soul of the era gave him a distinct style, and shaped his musical attitude. The New Wave/Punk/D.I.Y. attitudes of the late 1970s inspired him to express himself in a new way. 1980 saw the release of "Pool One," a sixty minute home-produced cassette. "Pool Two" followed in 1981, which received much praise and little distribution. In 1982 he released a 5-song self-titled vinyl EP of tight, skeletal, synthetic dance music.

In 1983, 'Dance It Down/Jamaica Running' 12' EP was released on Moment Productions. Based on response from D.J.'s in New York and the Bronx, Patrick went back in the studio and remixed two songs from the self-titled EP for rapping, scratching and break dancing. "Jamaica Resting" was sped-up, extended, and reconfigured as "Jamaica Running". The whirlpool synth-strut of 'Dance It Down' came out of the studio as 'Dance In Dub', with a heavier kick and extended dub outro. These spacious versions were optimal for DJ play, slotting regularly in sets at hip clubs like Danceteria. For this reissue we've added two bonus European remixes from the 1984 12' of 'Dance It Down/Jamaica Running', released on Nunk records from Belgium. Both songs employ the use of a Boss DR-55, Korg MS-20, Korg PolySix, and a Prophet 5, and were mixed on a 16- track Ampex recorder. The Pool's spartan, self-assured songs are experiments you can dance to.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes housed in a newly designed jacket by Eloise Leigh, updating the magenta and blue grid and Pool logo of the Moment Productions release. Each copy includes a 12-page booklet with a never seen before photos, press clippings and notes.

Der dämonisch großartige Soundtrack zum erfolgreichen Action-Roguelite-X-Base-Management-Game CULT OF THE LAMB von River Boy (Narayana Johnson). 42 speziell für Vinyl gemasterte Tracks erscheinen auf 180g rot-schwarzem Splatter-Doppelvinyl im Deluxe-Gatefold, verziert mit Kunstwerken des Illustrators Carles Dalmau.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Falls Sie Lowertown - die faszinierende Band bestehend aus Olivia Osby und Avsha Weinberg - noch nicht kennen, ist jetzt der ideale Zeitpunkt dafür dies zu ändern. Es hat einige Jahre gedauert, bis das in New York ansässige Duo wieder zu Atem gekommen ist: Nachdem die Band aufgrund von Streitigkeiten mit ihrem Label, kreativen Frustrationen und einer ungesunden Bindung an ihre künstlerische Partnerschaft jahrelang am Rande des Zusammenbruchs stand, war es Zeit für einen Neuanfang. Ihr neues Album ,Ugly Duckling Union" beginnt mit einem gelassenen Ausatmen von Osby, einem symbolischen Moment, der die Bühne für ihre bisher nachdenklichste, ungehemmteste, eingängigste und exzentrischste Sammlung von Songs bereitet. ,Ugly Duckling Union" ist ein Konzeptalbum, das auf den eigenen Erfahrungen der Band basiert, durch ihre Musik eine Gemeinschaft zu schaffen. Der Protagonist Dale und seine Gefährten schließen sich zusammen, um LBH zu besiegen, ein tyrannisches Medienunternehmen, das in seinem Streben nach Kontrolle auf Spaltung und Isolation setzt. Das Album enthält ein Handbuch mit Überlieferungen und illustrierten Comics von Doctor Nowhere (Silias Orion). Darüber hinaus können Fans mit Plüschpuppen und einer spielbaren Minecraft-Welt, die von ,Ugly Duckling Union" inspiriert ist, noch tiefer in die Materie eintauchen. Inspiriert von der konzeptionellen Kreativität von Bands wie Gorillaz und der Betonung des gemeinschaftlichen Konzerterlebnisses von Fugazi, verbindet Lowertown Online- und Offline-Fandoms zu einem umfassenden Erlebnis.,Ugly Duckling Union" wurde vollständig von Osby und Weinberg geschrieben, aufgenommen, produziert und gemischt. Obwohl Lowertown die alleinigen Hüter ihrer Kunst sind, ist der Titel ihres neuen Albums eine Hommage an die bedeutungsvolle Gemeinschaft, die sie aufgebaut haben.

Falls Sie Lowertown - die faszinierende Band bestehend aus Olivia Osby und Avsha Weinberg - noch nicht kennen, ist jetzt der ideale Zeitpunkt dafür dies zu ändern. Es hat einige Jahre gedauert, bis das in New York ansässige Duo wieder zu Atem gekommen ist: Nachdem die Band aufgrund von Streitigkeiten mit ihrem Label, kreativen Frustrationen und einer ungesunden Bindung an ihre künstlerische Partnerschaft jahrelang am Rande des Zusammenbruchs stand, war es Zeit für einen Neuanfang. Ihr neues Album ,Ugly Duckling Union" beginnt mit einem gelassenen Ausatmen von Osby, einem symbolischen Moment, der die Bühne für ihre bisher nachdenklichste, ungehemmteste, eingängigste und exzentrischste Sammlung von Songs bereitet. ,Ugly Duckling Union" ist ein Konzeptalbum, das auf den eigenen Erfahrungen der Band basiert, durch ihre Musik eine Gemeinschaft zu schaffen. Der Protagonist Dale und seine Gefährten schließen sich zusammen, um LBH zu besiegen, ein tyrannisches Medienunternehmen, das in seinem Streben nach Kontrolle auf Spaltung und Isolation setzt. Das Album enthält ein Handbuch mit Überlieferungen und illustrierten Comics von Doctor Nowhere (Silias Orion). Darüber hinaus können Fans mit Plüschpuppen und einer spielbaren Minecraft-Welt, die von ,Ugly Duckling Union" inspiriert ist, noch tiefer in die Materie eintauchen. Inspiriert von der konzeptionellen Kreativität von Bands wie Gorillaz und der Betonung des gemeinschaftlichen Konzerterlebnisses von Fugazi, verbindet Lowertown Online- und Offline-Fandoms zu einem umfassenden Erlebnis.,Ugly Duckling Union" wurde vollständig von Osby und Weinberg geschrieben, aufgenommen, produziert und gemischt. Obwohl Lowertown die alleinigen Hüter ihrer Kunst sind, ist der Titel ihres neuen Albums eine Hommage an die bedeutungsvolle Gemeinschaft, die sie aufgebaut haben.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Falls Sie Lowertown - die faszinierende Band bestehend aus Olivia Osby und Avsha Weinberg - noch nicht kennen, ist jetzt der ideale Zeitpunkt dafür dies zu ändern. Es hat einige Jahre gedauert, bis das in New York ansässige Duo wieder zu Atem gekommen ist: Nachdem die Band aufgrund von Streitigkeiten mit ihrem Label, kreativen Frustrationen und einer ungesunden Bindung an ihre künstlerische Partnerschaft jahrelang am Rande des Zusammenbruchs stand, war es Zeit für einen Neuanfang. Ihr neues Album ,Ugly Duckling Union" beginnt mit einem gelassenen Ausatmen von Osby, einem symbolischen Moment, der die Bühne für ihre bisher nachdenklichste, ungehemmteste, eingängigste und exzentrischste Sammlung von Songs bereitet. ,Ugly Duckling Union" ist ein Konzeptalbum, das auf den eigenen Erfahrungen der Band basiert, durch ihre Musik eine Gemeinschaft zu schaffen. Der Protagonist Dale und seine Gefährten schließen sich zusammen, um LBH zu besiegen, ein tyrannisches Medienunternehmen, das in seinem Streben nach Kontrolle auf Spaltung und Isolation setzt. Das Album enthält ein Handbuch mit Überlieferungen und illustrierten Comics von Doctor Nowhere (Silias Orion). Darüber hinaus können Fans mit Plüschpuppen und einer spielbaren Minecraft-Welt, die von ,Ugly Duckling Union" inspiriert ist, noch tiefer in die Materie eintauchen. Inspiriert von der konzeptionellen Kreativität von Bands wie Gorillaz und der Betonung des gemeinschaftlichen Konzerterlebnisses von Fugazi, verbindet Lowertown Online- und Offline-Fandoms zu einem umfassenden Erlebnis.,Ugly Duckling Union" wurde vollständig von Osby und Weinberg geschrieben, aufgenommen, produziert und gemischt. Obwohl Lowertown die alleinigen Hüter ihrer Kunst sind, ist der Titel ihres neuen Albums eine Hommage an die bedeutungsvolle Gemeinschaft, die sie aufgebaut haben.

I first encountered Pascal Comelade’s music thirty years ago—and nothing has sounded quite the same since. I was immediately captivated: he is an artist like no other, whose sincere and selfless love of music is always evident, especially in his tender reworkings of other people’s songs.

Comelade seems to work like a watchmaker: meticulous, precise, and obsessive—yet always drifting into something dreamlike. His music opens hidden doors, telling strange and beguiling stories filled with obscurity, kindness, and reserved humour.

Back then, my fascination was instinctive. Today, with a few more words at my disposal, I look to this exceptional 70-year-old French musician and feel exactly the same pull.

Métaphysique Du Hit-Parade is the first vinyl compilation devoted to Pascal Comelade’s favourite cover versions. It spans a forty-year career and traces sixty years of rock and roll history along the way. “Sheena Is a Punk Rocker” becomes a soft, soothing lullaby that may well have made the Ramones weep. Then there are his idiosyncratic tributes to Jonathan Richman (“Egyptian Reggae”) and The Kinks (“Sunny Afternoon”), alongside nods to formative heroes such as The Gun Club, Captain Beefheart, and MC5.

Two exclusive recordings stand out particularly: Bob Dylan’s “Girl from the North Country” and Nirvana’s “Come As You Are”—a song that shaped my early youth. Both were recorded especially for this release.

Jan Lankisch, January 2026

Geboren in Medellín und geprägt von New York, vereint OMERTÁ zwei der einflussreichsten musikalischen
Kräfte Kolumbiens, J Balvin und Ryan Castro, für eine Geschichte über Ehre, Loyalität und Respekt. Das
Album greift den italienischen Begriff „Omertà“ auf und verleiht ihm eine paisa-typische Note. Es ist ein
Album, welches die Grundwerte Medellíns feiert: Vertrauen, Familie und Stärke. OMERTÁ ist noch viel
mehr als nur Musik, es ist ein gelebter Kodex, der eine Welt definiert, in der Schweigen lauter spricht als
Worte.
Mit OMERTÁ erklären J Balvin und Ryan Castro ihren eigenen Lebens- und Musikkodex.

On a remote gravel-covered spit of land on the east coast lie the abandoned buildings of a government facility for weapons testing and experiments with radar.
In the mid 1960s this site witnessed the construction of an over-the-horizon radar, a technological marvel bouncing signals off the ionosphere, built to covertly monitor the activities of other nations.
The reflectivity of the ionosphere is a function of frequency, time of day, time of year and of the solar cycle. In essence, a sympathy for the celestial was required to fully exploit this man made construction.
Plagued by noise that created false returns on the monitors, the intended performance was never achieved, and despite several investigations the system was shut down and eventually dismantled in the early 1970s.
The long dormant Cobra is now a nature reserve.

As humankind strives to create artificial intelligence what will faith, love, or morality look like to a nascent consciousness?
Will it be capable of understanding its creators who often hold logic and superstition within themselves?
In return how will humans comprehend its hallucinations?
And the Sun, a ball of hot plasma oblivious to our existence continually burns hydrogen until it runs out and swallows its three closest neighbours.

RAPRAVE is an exciting collective born out of New York City, specialising in creating music teetering on the cusp of hip-hop and dance music. Consistently great releases like 'Heaven Plus', which is the ninth on the label, perfectly showcase how successful they are at executing this vision. The two tracker, headed by Dallas export Stonie Blue, is a fine display in a mixture of Chicago House, deep house and hip-hop, akin to a Galcher Lustwerk, or from the other side of the pond, Isaac Carter. On 'HEAVEN', smooth, sexy chords and choppy percussion prop up Blue's lyrics: "I found heaven, Heaven in the club". Then, as if in an attempt to make a club ready two-tracker even more club ready, Blue recruits London-based producer tom huna to inject some 2-step flavour into the B-side with 'FWM (S+H MIX)'. On this track, glitchy drum workouts and slick electric piano stabs meld with sensual vocals to create an intimate, late night banger.

“Dressed In Black” was curated and annotated by Cathi Unsworth, author of the book Season Of The Witch: The Book of Goth – a woman who considers herself fortunate to have had Siouxsie Sioux, Lydia Lunch and Diamanda Galàs for role models while she was growing up. For further illumination in Cathi’s own words, read on.

“The music gathered here is an aural manifestation of turbulent times, made by women possessed of supernatural abilities. The music I fell in love with emerged from the dark end of the 1970s: The Winter of Discontent of 1978-79, when intractable industrial action left the dead unburied and mountains of rubbish in the streets. All the promise of punk came to a brutal end with the deaths of Sid and Nancy in New York; IRA bombs exploded in central London and a seemingly uncatchable ripper roamed West Yorkshire with 13 murders under his belt. Ill omens that augured badly for the events of 3 May 1979, when Margaret Thatcher became our first woman prime minister. Dressed in blue and ready to whip the country to her heel.

“But at night, malcontent youth were united by forces of opposition, whose dissenting voices were aired across the land on John Peel’s Radio 1 show, set to the sound of slasher guitars, swirling fairground keyboards, loping basslines and percussion that recalled the echo of jackhammers or the march of insect feet. Here, punk’s unruly offspring distilled the dissonance of the times into a new kind of music. Flirting with the fetishist and taboo, drawing upon horror and science fiction imagery, they were the outlaw leaders of the greatest style tribe of the decade: the goths. Dressed in black, these kohl-eyed women voiced the alienation of their generation during the decade of the Cold War, the Miners’ Strike, privatisation and AIDS.

“To make sense of the absurd is genius enough. But to then cast the glamour of sublime music around those insights – I come back to my point about supernatural abilities. I hope you will find illumination within. You know the dress code.”

Singer/Songwriter Joshua Ray Walker’s made a name for himself with poignant, human portraits of flawed, fascinating characters. Now, on his latest album, Ain’t Dead Yet, Walker’s telling a more personal story – his own. “Human beings are super multi-faceted, and part of the reason I wrote about characters in the first place was because I could explore things about myself that I didn't feel comfortable exploring if I were to admit that it was really about me,” Walker says. “All my songs are about parts of me, I just didn't try to stick them on another fictional character this time.” Beneath the album’s flippant title resides some of Walker’s heaviest storytelling yet. Three years ago, when he started writing Ain’t Dead Yet (his sixth studio album, to be released May 29 via Thirty Tigers/East Dallas Records), Walker hadn’t yet received the cancer diagnosis that rearranged and threatened his life (he currently has a clean bill of health). But that year was still uncommonly fraught with mental, physical, and career stresses. Pulling the songs out of the can to finalize them for the album – including re-writing and re-working almost all the songs – Walker, who was then undergoing and recovering from cancer treatment, was surprised by their prescience.

1984 veröffentlichte P. Lion sein Erfolgsalbum “Springtime“. Jetzt endlich wieder als limitierte farbige Doppel-Vinyl. Sein Song “Happy Children“ ist bis heute einer der größten Hits der Italo Disco Szene. Die Deluxe Edition beinhaltet zusätzlich zum kompletten Album die Radio Versionen der beiden großen Hits “Happy Children“ und “Dream“.

Dazu gibt es zwei Mixe von “Happy Children“ und die Instrumental Version von “Dream“.

Nightcode EP finds UK deep-house craftsman Jacksonville in full control, lacing warm chords, swinging drums and basslines built for red-lit basements. Across “Nightcode”, “Ecstasy in Starlight”, “Octobers in Love” and “Blind Spot”, he fuses classic Detroit/UK house textures with his own emotional, story-telling touch—timeless deep house for DJs who play past sunrise.

Feedbacks:


Laurent Garnier : Octobers in Love <3 <3 <3
Nick Holder : dope
Gina Breeze (Classic / Get Up / Homoelectric) : Feeling the deepness! Look forward to playing.
Nightmares On Wax (Warp Records) : Ecstasy in starl;ight and Blind spot are my jams !
Josh Wink (Ovum) : Deep, old old school flavored with new school production.
Alexkid (Rawax / FUSE / NG Trax) : Lovely
Lauren Lo Sung (LOLiFE records, e1even records) : Octobers in love is nice!
Dj Hutch (Ambers / Rinse FM) : grooves
Louise Chen (NTS) : This is so so sooo good! Can't wait to play on the radio!
Rob Pearson (Evasive Records / Sine 102.6fm) : Nightcode is the standout for me, will play tonight on Evasive
Eviltron / Paul Donton (Bombis / Triangle) : Blind Spot and Ecstasy in Starlight are the ones on the
D'Julz (Bass Culture) : feeling night code and blind spot . merci!
Junior Sanchez (Strictly Rhythm / Cube Recordings) : Really Cool EP!
DJ Three (Hallucienda.com) : this is all very high quality house that feels very much a
nd_baumecker (Ostgut Ton) : Nightcode and Octobers In Love for me. Quality as usual.
Sasha (Last Night On Earth) : Downloading for Sasha
William Kiss (Rekids) : very nice!
Monty Luke (Rekids / Black Catalogue) : thx for this...
Mystic Bill (Classic / Trax / Relief) : Will try some of these out, thanks!
Carista : beautiful
Crackazat (Freerange / Local Talk) : Sick sick sick
Jhobei (Bizarre Trax / FUSE / Felon 5) : Nice smooth deep
Khadija (Rek'd / Rafiki Collective) : Danke
Ben Sims : Now downloading - will check asap!
DJ Bone (FURTHER) : Very nice tunes here, thanks
Bake (All Caps/Rinse FM) : thank you!
Dj Deep (Deeply Rooted) : very nice tracks!
Oliver $ (Classic Music Company / Play It Down) : nice one!
Tripmastaz (Plant 74) : Nightcode is tight
Harvey Sutherland (MCDE / PPU / Voltaire Records) : couple of nice tunes here!
Anthony Collins (Frank & Tony / Scissor & Thread) : super nice deep tunes
Marcel Dettmann : thx
Voigtmann (Subsequent) : Ecstacy in Starlight is the one!
Gerd (4Lux / Clone) : dope house trax from the phonogramme crew once again!
Groove Armada : Great EP - Love Nightcode, Ocotber is love so good too±
Harri (Sub Club) : nice, will play and support
Jorkes (Freeride Millenium) : ecstasy in starlight..yes yes yes yes
DJ Minx (Women On Wax Recordings) : Every one of these...top tier! I'm on 'em!
DJ Rocca (Nang Records, Mantra Vibes) : Great EP. Nightcode is great, super bassline indeed
Jacques Renault : Ectasy In Starlight for me here!
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Mark Farina : dig it
Âme (Innervisions) : thanks
Djebali ( ( djebali ) / INFUSE / Freak n Chic) : Love it ! thanks for sharing. Blind Spot is my fav
Jaye Ward (Dalston Super Store / Netil Radio) : wicked release!! night code is a belter!!! thx
Iron Curtis (Mule Musiq, Morris Audio) : thank you!

Nach dem Tod von Lee „Scratch“ Perry tauchte eine Flut von Aufnahmen auf, die sich alle als das „letzte“ oder „abschließende“ Projekt der jamaikanischen Ikone ausgaben. Sein letztes offizielles Albumprojekt führte ihn jedoch nach Berlin, wo er mit den Pionieren der elektronischen Musik, Mouse on Mars (alias Jan St. Werner und Andi Toma), zusammenarbeitete. Das daraus resultierende Album Spatial, No Problem dokumentiert die einzigartige Begegnung zweier musikalischer Universen – ein vielschichtiges Klangexperiment zwischen Dub, Elektronik und visionärer Klangforschung.
Spatial Audio Listening Event in Berlin in Kooperation mit dem CTM Festival im Juni geplant.

Nach dem Tod von Lee „Scratch“ Perry tauchte eine Flut von Aufnahmen auf, die sich alle als das „letzte“ oder „abschließende“ Projekt der jamaikanischen Ikone ausgaben. Sein letztes offizielles Albumprojekt führte ihn jedoch nach Berlin, wo er mit den Pionieren der elektronischen Musik, Mouse on Mars (alias Jan St. Werner und Andi Toma), zusammenarbeitete. Das daraus resultierende Album Spatial, No Problem dokumentiert die einzigartige Begegnung zweier musikalischer Universen – ein vielschichtiges Klangexperiment zwischen Dub, Elektronik und visionärer Klangforschung.
Spatial Audio Listening Event in Berlin in Kooperation mit dem CTM Festival im Juni geplant.

Damian Dalla Torre returns with People Pleaser, a record shaped by movement, collaboration and an ever-deepening relationship with sound as environment.
The Leipzig-based multi-instrumentalist, composer and producer first found wide attention with his 2022 debut Happy Floating, and his subsequent album I Can Feel My Dreams was named the #1 Contemporary Album of 2024 by The Guardian, an accolade that broadened his audience and deepened confidence in his evolving voice. That second album, written between Europe and South America, opened unexpected doors and took Dalla Torre to stages across New York, Japan and Italy. “When you release music, it’s very intimate,” he reflects. “You show your emotions pretty raw. I was kind of scared. But getting so much positive feedback gave me a lot of self-confidence to try out more.”

People Pleaser begins in that quiet shift of confidence.

The title stayed with him for months before he committed to it. “It was a working title for a long time,” he says. “I didn’t actually think I would use it. But this term also felt somehow relevant in connection with the phase of self-negotiation during the development process. Some aspects are related to pressure, others are positive.” The ambiguity felt right. Rather than presenting it as a statement, Dalla Torre leaves it open, an invitation rather than a confession.
At the centre of People Pleaser is collaboration. Guitarist Bertram Burkert, whose playing stretches from classical delicacy to electric abstraction, joined Dalla Torre in the studio for an intensive three-day session, recording a wide palette of textures that would become the backbone of the album. Vocalist Laura Zöschg, a key live collaborator, harpist Babett Niclas, organist Felix Römer, tape experimentalist Markus Rom, marimba and vibraphonist Volker Heuken and Japanese artist Manami Kakudo also contribute, creating a sound that feels intimate yet expansive.

GSQ – Gelatology is a sample-based instrumental hip hop project rooted in crate digging culture, built from jazzfunk, soul, prog-rock and world music sources. The release also launches Gelatology, a new Quattro Bambole
Records sub-catalog dedicated to limited-run, sample-driven vinyl-only releases.

For catalog number 19 Rødhåd teams up with Munich based artist Polygonia. In 2025 these tracks were recorded over multiple sessions at the WSNWG studio in Berlin. The result is MAUVIER a four track EP showcasing the fusion of the two creative minds.

Written & Produced by Polygonia and Rødhåd at WSNWG Studio Berlin.
Mastered by Conor Dalton at Calyx Mastering in Berlin

[a] a1 MAUVIER 01 [250120]
[b] a2 MAUVIER 02 [250331.1]
[c] b1 MAUVIER 03 [250331.2]
[d] b2 MAUVIER 04 [250401]

The Vibracid network reaches its fourth phase — the moment of awakening.
What was once hidden beneath layers of programming now resurfaces: the total recall of collective memory.

Encrypted memories from multiple worlds are decoded through sequences of electro-bass, acid warfare, and cinematic techno tension.

Six sound engineers from the Galactic Confederation synchronize their signals to reassemble what was erased — transmitting across psychic fields, dancefloors, and forgotten neural corridors.

Calagad 13 opens the operation with Mad Flava, pure raw energy — the ignition spark that reactivates the buried code.
5ZYL follows with To Your Knees, a dark and heavy descent into pressure and distortion.
Saigg brings the direct, high-voltage electro of Procesos Continuos, channeling precision and drive.

On the B-side, Lups Digga delivers Just Dance, a floor-oriented electro-bass detonator built for propulsion.
Roi expands the field with Despoiled — cinematic, tense and electrified, balancing techno discipline with emotional depth.
Finally, Cliff Dalton closes with Snowbirds, an introspective and elegant comedown: the calm after total awakening.

Mastered and crafted with precision for a strictly limited edition of 150 copies on purple vinyl.

Reissue of this italo disco classic from 1985. Comes with Flemming Dalum and A.P. Mono remixes.

To celebrate the launch of the 4th and last DLC of Atomic Heart, Kid Katana Records teamed up with Mundfish to bring you this high quality album for the first time on an exclusive double vinyl.

With over 10 million players since its release, and a nomination at the 14th Hollywood Music in Media Awards, Atomic Heart has kept on bringing new content in the game, enriching the players’ experience with new Stories, Threats and Music to pursue the fight for freedom and progress.

The physical edition is a premium 2LP designed in close relationship with the game's creative team: Track selection handpicked by Atomic Heart team, including tracks from Mick Gordon, GeoffPlaysGuitar and Boogrov, and 1 new track (DLC #4 trailer exclusive) 2-colored vinyls with unique red and black “corona” effect: handmade vinyl effect melting red and black colors to shape a unique vinyl color on each product, mirroring the cover art.

Exclusive cover art with mat finishing and glossy effect on the Twin and motorcycle

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

Legendary is a bold title for an EP, but is fully justified in the case of this new 12" from Silver Walker, which gathers some of house music's best and most proven talents. Jon Dixon opens with the light, fluttering house stylings of 'Five 15', which have sax motifs adding a touch of classy hi-tech jazz. Dallas man JT Donaldson follows by folding jazz phrasing into a swinging, deep house framework with understated finesse. On the flip, Abacus delivers 'A Gathering Of Griots' a warm, melodic cut bathed in sunlight and label head DFRA closes with a tribute to the great Mike Huckaby that is driving but soft, reverential and with a bittersweet energy.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

2026 Repress

An anthology born out of isolation and deep introspection, Sky Dust Drifter is a cosmic medley of sun-soaked AOR, psychedelic folk, and soft rock. This soundtrack was driven by the lonesome cowboy, a lockdown savior leaving me adrift in desert winds and dimly lit country bars.

Long-distance trades and masked meetups yielded a collection of private press LPs and 45s from ten different artists spanning 1973 to 1980. This seemingly random stack of records revealed songs living entangled in themes of hard luck, heartache, and the inevitable loneliness of existence. Adorned in cracked leather and chrome, this album is an aimless wander from the soil to the stars.

Featuring an unreleased English version of the compilation’s title track “Sky Dust Drifter” (originally released only in Hebrew), the record shifts from laconic afterthoughts to bold proclamations. From Michael Andrews’ blue-eyed soul assertion “Something Bad’s Better Than Nothin’,” to the searing electric guitars and bold synths of Sunburst’s “Special Lady,” Sky Dust Drifter thrives on solitude in a universe of unconditional self-rule where loneliness is not darkness but rather a blazing light of autonomy.

2026 Repress

To enter the world of Sally Townes and Roberta Vandervort is to be swept away into a dimension of unique sound. Embellishments of smoldering jazz funk, seductive soft rock, breezy AOR, and misty folk, all paint a picture of the worlds which they inhabited; from the endless flat expanse of Dallas, the hot and humid bustle of a Bourbon Street night club, to the late night buzz of a Los Angeles studio session.
While Sally Townes and Roberta Vandervort never crossed paths in our reality, their supernatural union on this compilation feels like the meeting of old, yet familiar friends, set in a parallel dimension with lives intertwined. The songs feel like old friends, too — a comforting time capsule of the popular sounds of the era, yet offering something completely new. Bridged by the striking similarities in their musical confidence, vocal conviction, and boundless creativity, both women encapsulate an uncompromising passion for living, loving, and creating on their own terms.

2026 Repress

The long-awaited sequel to Ophidian's cult classic Blackbox (2003) arrives: "Blackbox: Kasamaan" picks up where the original left off, and strays further into the darkness.
Expect Industrial Hardcore and Hard Techno with grinding, distorted kicks, warped percussion, detailed rhythms and intricate sound design, all while being cloaked in haunting, eerie atmospheres.

Harry McCanna is a DJ and producer who might be known to you for his role in running NorthSouth records for nine years with Sam Bangura and Dale Mussington, as well as staffing the decks across the capital for at least a decade and half and taking up a residency at fabric when we came out of lockdown in 2021. Here, he launches a new label, focussed on "the hypnotic, trippy, steady side of things," with his first release under his own name, having released his productions under the Henry Hyde moniker since 2015. Hypnotic it may be, but it's not lacking either in sonic imagination - check the shimmering guitar trimmings, frothy pecussion and vocal flashes of 'A Temporarily Happy Man' - or funkiness, with the basslines to 'Stand & Deliver' and 'Red Moon' the very essence of prodding urgency. Add some sparing but very effective use of neatly edited breakbeats - see the economic propulsion of 'Hard To Leave' - and you've got four track that will slip into the mix very smoothly but come with their own distinctive personality.

Dutch composer and pianist Xavier Boot, also known as XA4, joins Philip Glass for the second release on the New York-based record label Orange Mountain Music, owned by Philip Glass.

“Xavier is really a wonderful pianist, and I am thrilled by how he now tackles my compositions, with that elegant electronica touch.” – Philip Glass

The Sea Above features not only Glass compositions but also several original pieces by Xavier: “I recorded this album inspired by all the musical influences I’ve experienced in my life, including classical, electronic (club) music, ambient, minimal, and even Indonesian music. The title track of the album is inspired by Philip Glass’s composition Mad Rush. He told me that he wrote this piece for an event with the Dalai Lama, where it was unclear when the Dalai Lama would arrive. That’s why Mad Rush was composed to last either five minutes or an hour. I tried to convey this idea of timelessness in my music, embodying this endless portal of time and space, which was also scientifically described by Albert Einstein. Another track on the album, Train I, is a reworking from Philip Glass’s opera Einstein on the Beach. You can experience the music on this album as a kind of journey, a trip where you are energetically drawn in at the beginning and later enter more of a fantasy world where dreams and unconscious elements of your mind can emerge.”

Credits:
Tracks 1 & 3 are original compositions by Philip Glass remixed by XA4
Tracks 2 & 9 remixed by XA4 and Jaro.
Tracks 4, 5, 6, 8,10 are original compositions by XA4
Track 7 is composed by XA4 and Tenzin Choegyal.
Vocals track 1: Julia Rosenhart.
Remix, production and playing: XA4.
Piano arrangement track 3: Michael Riesman and XA4.
Remix, production track 2 & 9: XA4 and Jaro.
Production assistance track 3: Jaro.
Mixing: Studio Karakterbak.
Mastering: Laura de Rover.
Cover foto: Angelina Nikolayeva.
Graphic design: Yesser Khalefa

Dub Consistency proudly presents its debut release, showcasing the hypnotic sound of 23.4 with a special remix from Berlin-based Argentinian artist Volpe.

On this four-track EP plus two locked grooves, Lille producer 23.4 distills over a decade of studio experience into a fast-paced yet deep Dub Techno journey.
Rolling percussion, weighty low-end and subtle atmospheres recall both the raw soul of Detroit and the spacious echoes of Berlin.

Adding his own signature, Volpe-a talent of Berlin's club circuit and producer for labels such as a.r.t.less and Frenzy-delivers a powerful rework that blends Dub, Deep and Tribal influences for peak-time impact.

Mastered by Conor Dalton, this first Dub Consistency outing is built for vinyl and the dancefloor alike: immersive, heavy, and unmistakably club-oriented.

Mit „ALIENS“ schuf Radiorama 1986 einen echten ItaloDisco-Klassiker: futuristische Synths, treibende Beats und purer 80s-Space-Vibe. Der Track zählt bis heute zu den Highlights des Genres. Jetzt wieder als farbige Maxi-Vinyl
erhältlich.

Als besonderes Highlight enthält das Release neben den Originalversionen zwei exklusive Remixe von Flemming Dalum und DJ Tin Tin, die den Kulttrack neu interpretieren.

Ein Must-Have für Italo-Disco-Fans, Retro-Liebhaber und DJs

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.

Texas-based producer Declan James runs the VOIDWARE imprint and events, also listing music on labels such as Edit Select Records, Max Gardner's Peer, drxvo's Synergie, and Secus' Rituals amongst others. The Dallas native is making a significant contribution to the upcoming generation of American techno producers with both a domestic and international touring schedule.

Beginning with "Pendulums," a classic sci-fi trip with modular bleeps amidst a slinking, bouncing rhythm section for a perfect lesson in patience and restraint.

"Levitation" has an otherworldly feeling and floats along a sparse track of swirling drones, chugging bass pulses, and classy percussion taps for a mesmerising and introspective journey.

"Transmutate" throws down a stuttering kick drum, haunting tones, and bending modular notes for a grooving yet dystopian analogue concoction.

The final track "Absolved" sees a deep dive into details and dub influences. Where eerie rattles and precision production form a memorable dose of sizzling hot, futuristic, and fantastic techno.

Ausdrucksstarke Gesänge in freien Versen, begleitet von gleitenden Violinen, gehämmertem Santouri, Gitarre und Oud - die hybriden Klänge des Mittelmeerraums zu Beginn des 20. Jahrhunderts. ,Aman Aman" rufen die Sänger auf diesen Aufnahmen, deren Stimmen auf 78-U/min-Schallplatten aus den Jahren 1911 bis 1935 verewigt sind. Der Ausdruck bedeutet in etwa ,Gnade" und ist ein Ausdruck der Verzweiflung, aber auch der Freude und Bewunderung. Auf vielen dieser Platten wird die ganze Bandbreite dieser Emotionen auf einmal vermittelt. Einige dieser Künstler sind Legenden, andere sind in Vergessenheit geraten. Fast die Hälfte sind Sängerinnen, die einen großen Teil der Tradition des Cafe Aman ausmachen, aber in zeitgenössischen Veröffentlichungen nicht so stark vertreten sind. Alle waren von den Konflikten betroffen, die zur Kleinasiatischen Katastrophe von 1923 führten, sowie von den Zwangsmigrationen zwischen Griechenland und der Türkei davor und danach. Ihre Werke spiegeln diese Reisen wider - erschütternde Gedichte über den Verlust der Liebe und der Heimat, begleitet von einigen der besten Musiker der damaligen Zeit. Nach jahrelanger intensiver Recherche hören wir die präzisen, einfühlsamen und überwältigend kraftvollen Stimmen von Künstlern wie Antonis ,Dalgas" Diamantidis, Sofrouniou und Stellakis Perpiniadis, zusammen mit aufschlussreichen Aufnahmen von weitgehend unbekannten Musikern, deren Werke hier zum ersten Mal veröffentlicht werden. Die LP wurde von Jordan McLeod im Osiris Studio sorgfältig remastered und restauriert und enthält detaillierte historische und diskografische Anmerkungen von Stavros Kourousis sowie poetische Übersetzungen der Texte von Tony Klein. Gepresst auf hochwertigem Vinyl bei Smashed Plastic in Chicago und gemeinsam mit dem großartigen Label Olvido Records veröffentlicht.

Aquaregia celebrates its tenth anniversary with '10', a five-track compilation bringing together artists who have each shaped the imprint's sound over the past decade.

The release sees Troma & PERS1, Blazej Malinowski, Teo Drean, Nicola Dal Sacco, and 747 return to the label with new work, each interpreting acid through their own lens. Across the EP, Aquaregia's distinct blend of emotional, hypnotic, and musically rich acid techno is assembled in a nod to the label's foundation.

The record opens with Troma & PERS1's Atomic, a deep and dreamlike cut filled with metallic textures and drifting movement, followed by Blazej Malinowski's Brudnopis, sliding into a low-slung, seductive groove. On the flipside, Teo Drean's Honeymoon Phase injects orchestral euphoria and cinematic tension, while Nicola Dal Sacco channels vintage '90s hypnosis on Papaia. To close, 747's Decades offers a reflective, bittersweet finale - a fitting coda to Aquaregia's first ten years.

Uscita solo su cassetta e digitale nel 2020, "Edit Sucks" inserita da Christian Zingales nel Trax di Blow Up magazine in quel momento.

Viene ora stampata su vinile con l'aggiunta di un nuovo mix dello stesso Raoh, supervisionato dal Dj Andrea Daniel per il lancio della

sua etichetta Corpo Sottile Records. Master di Marco Antonio Spaventi.



Released only on cassette and digital in 2020, "Edit Sucks" featured by Christian Zingales in Blow Up magazine's Trax at the time.

It's now released on vinyl with the addition of a new mix by Raoh himself, supervised by DJ Andrea Daniel for the launch of his

Corpo Sottile Records label. Master by Marco Antonio Spaventi.

Texas-based producer Declan James runs the VOIDWARE imprint and events, also listing music on labels such as Edit Select Records, Max Gardner's Peer, drxvo's Synergie, and Secus' Rituals amongst others. The Dallas native is making a significant contribution to the upcoming generation of American techno producers with both a domestic and international touring schedule.

Beginning with "Pendulums," a classic sci-fi trip with modular bleeps amidst a slinking, bouncing rhythm section for a perfect lesson in patience and restraint.

"Levitation" has an otherworldly feeling and floats along a sparse track of swirling drones, chugging bass pulses, and classy percussion taps for a mesmerising and introspective journey.

"Transmutate" throws down a stuttering kick drum, haunting tones, and bending modular notes for a grooving yet dystopian analogue concoction.

The final track "Absolved" sees a deep dive into details and dub influences. Where eerie rattles and precision production form a memorable dose of sizzling hot, futuristic, and fantastic techno.

Back when the first white labels started floating through the hands of German, British, American and Canadian DJs in late ’84, nobody was ready for what was coming. The official drop hit in early ’85 and the scene was never the same again. This was the moment Mike Mareen broke through the static. Yeah, he’d been working with Chris Evans-Ironside since the ’70s but nothing hinted that together they’d channel something this futuristic. “Dancing In The Dark” sounded like it had slipped through a wormhole: melancholic, hypnotic vocals wrapped in vocoder haze, riding an arrangement so razor-sharp it made most releases of the era feel prehistoric. It didn’t need the pop charts… It owned the clubs. And the clubs listened.

London. Berlin. Madrid. Rome. Paris. Lisbon. Amsterdam. Athens. Toronto. NYC. Tokyo. Mexico City.

One drop of that electro bassline and DJs were hooked. Crowds were hooked. The whole underground was hooked. Soon Europe’s radio charts caved under its pressure, and the track crossed borders on mixtapes, becoming a cult anthem behind the Iron Curtain. It was everywhere, even where it technically wasn’t allowed to be.

Fast-forward four decades and the spell hasn’t faded. “Dancing In The Dark” still shows up in indie dance, italo wave, house and deep house sets. Producers keep re-editing it like it’s sacred material. It’s one of those tracks that DJs treasure, a timeless weapon, one of the top three defining singles of Mareen’s entire career.

And now for the 40th anniversary of its official release, Vintage Pleasure Boutique and Night’n Day Records drop the vinyl every collector and selector has been waiting for: a special reissue loaded with four brand-new remixes spanning the full spectrum of today’s underground indie/disco/italo/house energy.

Tallac – the American Berlin dweller – dives deep into the hypnotic soul of the original, pulling out its buried deep-house DNA and carving out a spacious, emotional roller.

Luksek, Italian producer & DJ, goes raw and dirty: loop-driven, gritty, underground, hypnotic, the kind of edit that eats dancefloors alive.

Flemming Dalum, the Danish Italo grandmaster, finally gets to remix the track he’d always dreamed of touching and of course it’s pure Flemingish electro-italo magic.

And the Polish sparkle: A.P. Mono delivers a shimmering mix of italo disco, glitterbox groove, disco glamour and synthwave glow, all while keeping the spirit of Mareen’s original heartbeat intact.

The wax also features two historical heavy-hitters: the 1985 Jens Lissat’s team remix and Luis Rodriguez’s original arrangement, essential cuts in the Mareen universe.

This release isn’t nostalgia. It’s a resurrection. A celebration. A reminder. “Dancing In The Dark” didn’t survive 40 years by accident, it survived because it still moves bodies, breaks hearts and lights up floors in ways modern tracks can only wish for.

If you’re an indie, italo, wave, house or disco DJ… This record isn’t just worth owning… It’s mandatory.

Brand new double pack from Detroit Techno legend Gary Martin aka Gigi Galaxy

Another DINTE tape curated by cult WFMU show and blogger Bodega Pop; Gary Sullivan's long-running project rooted in a passion for digging for music in bodegas and cell-phone stores across NYC's boroughs. This edition focuses in on late 1990s and early 00s hip-hop & rnb from across Southeastern Asia.

"While on a work trip to Chicago in the mid-2000s, I was craving a bowl of pho. A bit of sleuthing led me to hop on the red line "L" up to Argyle Street, ground zero of Chicago's Little Saigon. In the 1960s, Chicago restaurateur Jimmy Wong invested in property on Argyle Street with a vision to build the city's new Chinatown, a kind of mall with pagodas, trees, and reflecting pools. In 1971, the Hip Sing Association, a labor/criminal organization, established itself in the area, and along with Wong, they bought up 80% of the buildings on a three-block stretch of the street. Wong reportedly broke both hips in an accident, leaving his dream to wither; in 1979, Charlie Soo of the Asian American Small Business Association brought it back to life.

Soo expanded the area into a vibrant mix of Chinese, Vietnamese, and other Southeast Asian businesses, pushing for renovations, including an Argyle station facelift and the Taste of Argyle festival. At the time I exited the station and crossed the street to get a better look at a shop with a poster for A Vertical Ray of the Sun in the window, the area was home to some 37,000 Vietnamese residents.

Opening the door, I was gobsmacked by a cavernous Southeast Asian media store, bigger than any I'd been to in Dallas, Montreal, New York, or Seattle. I spent some time at the bins, pulling out collections by some of my then-favorite singers — Giao Linh, Khánh Ly, Phương Dung — before approaching the register to ask the young woman behind the counter if the they carried any Vietnamese rap. It was a longshot, I knew, but if such a thing existed on physical media and anyone carried it, it would be this place.

'Have you heard Vietnamese rap?' she replied, her tone of voice and facial expression betraying a comically exaggerated level of distaste. I admitted my ignorance but assured her that I had long cultivated a high threshold for cheesy pop music of all kinds and genuinely tended to like hip hop from around the world.

She rolled her eyes and pointed to an area I had missed. I walked toward a far corner of the store and knelt over a small box on the floor sparsely populated with CDs, VCDs, and cassettes. I pulled out half a dozen Vietnamese hip hop compilations and a strange-looking CD with a cavalcade of odd typefaces in a queasy multitude of colors: THAILAND RAP HIT, it boasted, with 泰國 "燒香" 勁歌金曲 below it. The information on the back provided an address in Kuala Lumpur and the titles in Thai and English translation. The first track included three simplified Chinese characters after the English-language version of the title, "The Chinese Association": 自己人.

WTF was going on here? Walking back to the register, I waved the CD, asking "What's up with this one?" She gave me a look. I placed it on the counter so she could bask in the cover's full glory. She shrugged. "I'm guessing it's Thai rap?" She looked disappointed in me when I said I'd take it.

It turned out to be a Malaysian pressing of half-Chinese Thai hip hop artist Joey Boy's third album, Fun Fun Fun from 1996, and it completely changed my sense what the genre could sound like. The rapper's self-assured, effortless, silly-but-cool rapid-fire delivery weaved in and out of the most bizarre, antic beats I'd ever heard. The six Vietnamese hip hop CDs were a mixed bag, mostly "serious" sounding mimicry of US rapping over predictable production, but the highs were very high. When I got home and listened to it all, I made a point to find as much hip hop from this part of the world as I could.

The tracks collected here provide a limited but potent reflection of the two-decade ascendency
and ultimate world-takeover of hip hop, as it displaced rock and its endless variants for millions of listeners. This not a fair and balanced overview of regional production: I've only included tracks from Cambodia, Indonesia, Myanmar, Philippines, Thailand, and Vietnam. Nor is this a biggest or most important artists collection; instead, I've tried to recapture the pure visceral thrill of that first time I heard Joey Boy, choosing bangers that sound like nothing else, from nowhere else."

—Gary Sullivan

Reissue of this euro disco classic from 1985. Comes with Flemming Dalum and Hysteric remixes.

Motor city royalty Floorplan, aka Detroit techno pioneer and creator of minimal techno Robert Hood and his DJ/producer daughter Lyric Hood, announce their forthcoming inclusion in the deeply respected ‘fabric presents’ mix series with the release of their new single ‘You’re A Shining Star’, out now. The full mix drops on digital/vinyl/CD via fabric records on 28th November.

Robert has been a long-standing fabric favourite since the institution's earliest years, clocking up over 20 sets in Room 2, including a live session on New Year's Eve, 2012. In 2008, he'd turn in Fabric 39 which is among the most revered contributions to the fabric mix canon. Now, with the forthcoming ‘fabric presents Floorplan’ mix, the story comes full circle - marking both the duo’s debut on the iconic mix series and a monumental moment for the family project.

About Floorplan: Emerging from a musically rich Detroit upbringing steeped in Motown and vinyl culture, Robert Hood became an early member of the seminal ’90s collective Underground Resistance, helping to spearhead the rise of techno. Going solo, Hood created minimal techno with his Minimal Nation LP. Groundbreaking productions, acclaimed performances, and his own M-plant label followed, until in ’96 he formed Floorplan - an alter ego to expand beyond minimal techno into gospel, soul and house-infused techno. Immersed in music from an early age, Lyric eventually caught the same electronic spark that’s driven her father for decades. In 2014, after the release of Hood’s debut Floorplan album Paradise, the project evolved as the then-16-year-old Lyric joined him to perform as Floorplan, including a supreme closing set at Dekmantel’s Boiler Room stage. Two years later, Lyric officially became a full member of Floorplan, cementing their father–daughter collaboration, and they’d release their co-produced album Victorious on M-Plant that same year.

DJ Support - Alan Fitzpatrick, Ben Sims, Colin Dale, Dave Clarke, DJ Bone, Doc Scott, Dustin Zahn, Ellen Allien, Fear-E, Fixon, Gary Beck, James Ruskin, Laurent Garnier, Luke Slater, Misstress Barbara, Radio Slave, Rebecca Delle Piane, Remy Unger, Rodhad, Scuba, The Advent & Truncate

Hardgroove returns with three powerful new remixes from rising Greek talent ANNE, who twists label boss Sim’s Snapshot ‘99 into a trio of peak-time weapons. Marking her third release on the legendary label, ANNE builds on acclaimed work for Out Of Place, Soma, and Hardgroove sister label Symbolism, seeing her in heavy demand with a packed 2025 touring schedule across the EU and beyond.

Dallas, Texas resident Ben Hixon is a consistent performer with a tasteful take on deep house that most often comes on this label. His final missive of the year opens up with 'Meant To Be', a nice bumpy cut with bass reverberations and glitchy percussive textures. Hi-hats tick in the background to keep time as smudged vocals burn with soul and lolloping rhythms take centre stage. 'Love Crazy' is another stripped-back sound that is dusty and gritty with bass that folds in on itself and more sprinkled analogue percussion to add extra bite.

Das Italo-Disco-Juwel „For Your Love“ von Faber DJ aus dem Jahr 1985 kehrt in einer spektakulären farbigen Maxi-Vinyl zurück. Diese Edition bringt den unverwechselbaren Sound der 80er direkt auf den Plattenteller und lässt die Tanzflächen erneut erbeben.

Neben den originalen Mixen erwarten die Fans zwei brandneue, exklusive Remixe von Flemming Dalum und The Ri-Mix, die dem Klassiker frische Energie verleihen. Ein absolutes Must-Have für Italo-Disco-Liebhaber, Sammler und Vinyl-Enthusiasten

The Italo-disco gem “For Your Love” by Faber DJ, originally released in 1985, returns on a spectacular coloured maxi vinyl. This edition brings the unmistakable sound of the 80s straight to the turntable and sets dancefloors shaking once again.

Alongside the original mixes, fans can look forward to two brand-new, exclusive remixes by Flemming Dalum and The Ri-Mix, giving this classic a fresh burst of energy. An absolute must-have for Italo-disco lovers, collectors and vinyl enthusiasts

2025 Repress

Amotik recruits Norway's Kameliia and Dallas-based Decoder for the third split EP on his increasingly essential AMTK+ label.

Kameliia's hypnotic and atmospheric music has appeared on the likes of Overbalance and Unterwegs, where she has previously flexed her sophisticated take on sound design and heady soundscapes with driving and physical grooves. Decoder recently started his new Toca label with Jay York and has previously appeared on labels like Subsist, Float and Jeff Mills' legendary Axis.

Kameliia kicks off with the heavy and thumping 'Beyond', combining forceful drums and a slow, mystical synth lead that encourages you to follow it deep into the night. '8-12' is another perfect fusion of the head and body with supple percussion smeared with balmy and cosmic chords for a classy and immersive cut.

Decoder opens the B-side with 'Kalpavriksha', a twitchy and paranoid cut laced with bleeps and pulses, crafting a futuristic soundscape that grows ever more intense. 'Swayambhu' brings experimental shades with its tightly interlaced drums and synths beneath an unsettling synth line that whistles like a storm. Closing the release is the excellent 'Velinattu,' a buoyant track that's warm and full of delicate percussive layers.

Das Italo-Disco-Projekt Plastic Mode sorgte 1985 mit dem Hit „Mi Amor“ für Furore – ein echter Ohrwurm, der in den europäischen Diskotheken rauf und runter gespielt wurde.

Jetzt erscheint die ultimative LP-Version von „Greatest Hits & Remixes“, die all die Klassiker und beliebten Remixe auf hochwertigem Vinyl präsentiert.

Diese Sammlung bietet einen umfassenden Überblick über die besten Songs von Plastic Mode. Ein Muss für Vinyl-Liebhaber, Italo-Disco-Fans und Sammler gleichermaßen – „Greatest Hits & Remixes“ auf LP lässt die Hits von Plastic Mode neu aufleben und bringt den unverwechselbaren Sound der 80er direkt ins Wohnzimmer

The Italo-disco project Plastic Mode caused a stir in 1985 with the hit “Mi Amor” – a true earworm that was played endlessly across European discos. Now, the ultimate LP edition of “Greatest Hits & Remixes” arrives, presenting all the classics and beloved remixes on high-quality vinyl.

This collection offers a comprehensive overview of Plastic Mode’s finest tracks. A must-have for vinyl enthusiasts, Italo-disco fans and collectors alike – the “Greatest Hits & Remixes” LP brings Plastic Mode’s iconic sound back to life and delivers the unmistakable 80s vibe straight into your living room

Eine Italo Disco Rarität aus dem Jahre 1985 jetzt wieder als farbige 12“ Maxi Single erhältlich:

Tony Moore D.J. - Tonight

Zusätzlich zu den raren Original Versionen, gibt es als Highlight auf Seite B zwei neue und exklusive Remixe von Flemming Dalum und eine ZYX Edit Remastered Version.

Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original sci-fi inspired Daleks In The Dancehall and five excellent remixes by Kafkactrl, C-System, Code Rising, Robodrum and EKATA. The style of tracks vary considerably and encompass a variety of Techno and Electro infused influences - all with a heavy punch and sure to get you moving on the dancefloor. This is part two of a three part series from GAMADON with remixes from some of the best in the business.

5 ausgewählte Italo Disco Maxi Singles in einer Box.

Eine limitierte Sonderauflage für unsere vielen treuen Italo Disco Fans.

Lectric Workers feat. Funny R
Dario Dell‘Aere
Delanua
Claudio Mingardi
Art Fine

Ein Highlight zu einem unschlagbaren Preis!

Glasses Man by Ken Laszlo is a catchy Italo disco track with charismatic vocals and a typical 80s flair. The song captivates with its danceable lightness and stays in your head with its distinctive hookline. Finally available again as a coloured maxi single – a highlight for collectors and fans of the genre.

In addition to the original versions, there are new and exclusive remixes by Flemming Dalum.

For the 17th release on his WSNWG imprint, label head Rødhåd teams up with Oslo-based DJ and producer Kameliia. Born out of a series of multiple studio sessions at the WSNWG Studio during the summer of 2024, Carmine is the powerful result of their creative synergy.
Written & Produced by Kameliia and Rødhåd at WSNWG Studio Berlin.?Mastered by Conor Dalton at Calyx Mastering in Berlin?Vinyl Cut by Schnittstelle Mastering Berlin

a A1 CARMINE 01 240718
b A2 CARMINE 02 240715
c B1 CARMINE 03 240716.2
[d] B2 CARMINE 04 [240717]
[2ee40716]

Remix Ep with a broad spectrum of styles and some big named remixers. Side A kicks off with Colin Dale's remix of Dark Male, which is a typically throbbing techno cut for the dance floor, the Second track on Side A is David Duriez pushing an acid house remix of fellow French act G-Prod. On the flip is MOY's step into big bass and fast based breaks led drums which will make your head explode as they build their intensity, the second track is Derek Carr remixing The Vast Profound, his house rework offers all you might expect from this veteran of the scene - looped hooks and deep pads. Lastly The Vast Profound digs into the deeper end of house music layering up pads, strings and lush melodies. Comes with an insert "Remix track selector" on coloured vinyl limited to 135 sale copies.

Ben Hixon hails from Dallas, Texas and has had a busy year in 2025. He's back once again on home label Dolfin with a new four tracker that features versions of tunes not previously available on wax or digital. '4M1_bh' is a patient, slow-burning dub house cut with glitchy Detroit aesthetics and dusty drums. '14M3_bh' is just as undercooked and raw with rickety kicks and knackered hits, making for a groove steeped in beautiful imperfection. '505.1_bh' allows a little more light in with some warm synth loops flickering above razor sharp hi hats and off-the-cuff drum patterns. '606dreams_bh' shuts down with heavy, trudging kicks and ticking hi-hats way up high to make for a cavernous architecture. A superbly designed EP.

“Round and Round” is a tale of depression and the brooding repetitious inner thoughts that drain us. Dubbed by producer Daniel David as “emo boogie”–partly as a joke–this newfound genre illustrates familiar personal struggles of the current age. This A-side rides the fine line of unraveling deep emotions, ultimately coaxing you to FEEL the groove.

Conversely, the B-side “Finely” feat. B.Bravo is a smooth rolling vocoder jam, a laid-back anthem perfect for a cruise or warming up a fresh dancefloor: a high to offset the low.

Zackey Force Funk
Born into this wild world in Tucson, AZ 1974, Zackey Force Funk found himself in and out of prison at the age of 17. Once released for good, Zackey ditched a life of crime to focus on raising his family and writing music. He thrived in the golden era of Myspace, producing eerie, gritty music on pirated software, and swiftly grabbed the attention of Kutmah–soon to be followed by a plethora of formidable producers. Zackey forged many collaborations later with the likes of XL Middleton, The Egyptian Lover, Salva, Lazer Sword, Lorn, Brian Ellis, Baron Zen, Daedelus and B. Bravo, as well as forming the group Demon Queen with Tobacco, and Delta Weapon with his brother N8NOFACE. As these tunes were scattered across various labels and on their respective collaborator's projects, ZFF continued to hone his style, delving deeper into the psychedelic future funk realm of which he has created for himself.

Daniel David
Daniel David is a Bay Area born multi-instrumentalist, producer, and singer based in Dallas, Texas. 1/2 of boogie funk duo The Pendletons, Daniel’s solo music is a genre defying mix of organic and electronic elements including psych, dirty analog funk, hyphy, jazz, and more.
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Recloose’s ‘Dust’ returns to the spotlight on The Remedy Project, with the remaster of the original joined by remixes from Natasha Diggs, Aroop Roy and a never before available accapella.

First championed by Gilles Peterson on BBC Radio 1 in the noughties, ‘Dust’ is now a cult favourite as it effortlessly bridged genres and soundtracked dancefloors across the globe. The track’s warm groove, featuring Joe Dukie’s unmistakable vocals and Recloose’s signature production, cemented it as an underground classic; Dallas Tamaira, occasionally releasing under the alias Joe Dukie, is best known as the lead singer of New Zealand band Fat Freddy’s Drop.

A pioneering figure in the Detroit electronic scene, Recloose (aka Matt Chicoine) first broke through in the late 90s with support from techno legend Carl Craig, releasing on Planet E and later building deep ties with New Zealand’s fertile soul and jazz community. His music fuses house, funk, and broken beat with a distinct warmth and musicality that have made him a trusted name across generations of selectors.

To mark its 20th anniversary, ‘Dust’ is renewed with a package of remixes from some of the scene’s finest tastemakers. Natasha Diggs injects her soulful New York finesse, while Aroop Roy brings his global dancefloor touch. With the two new remixes sitting alongside the both the original record and the accapella, ‘Dust’ is ready to gain a new generation of fans.