The Blue Aeroplanes have been delivering their distinctive brand of rackety sprechgesang for four decades now, and they are showing no signs of slowing down. Their new studio album, ‘Tales From The Silver Lounge’ is based on overheard conversations between the clientele of The Silver Lounge, a rather louche café/bar in an unnamed city on an unknown planet much like ours, and in an unknown time, though the decor tends to the late 50’s, early 60’s.
The identities of the members of the Silver Lounge are, of course, confidential.
This is the 14th Blue Aeroplanes studio album and the third with the current line-up, which is:
Gerard Langley: vocals
Bec Jevons: guitar, vocal and backing vocals
Mike Youé: guitar, vocal and backing vocals
Rita Lynch: guitar, vocal and backing vocals
Chris Sharp: bass and backing vocals
John Langley: drums and percussion
Ed Taylor: many different instruments and backing vocals
Wojtek Dmochowski: dance
Alexander Dmochowski guests on saxophone and clarinet, Will Diamond on violin and Steve Bush adds backing vocals.
After two best-of compilation albums were released by Chrysalis Records in 2025 (‘Magical Realism’: The Best Of The Blue Aeroplanes’ and ‘Outsider Art’: The Other Best Of The Blue Aeroplanes’), the band are now back firmly in a sort of present with a new album that features all the guitar-band flavours that anyone could need, with poems that cover name-doppelgangers, falconry terms, Don Marquis, postcards, Greek mythology, abandoned Teslas, the First World War and the surreal nature of music-hall jokes.
“The Blue Aeroplanes? Not my cup of tea, but I can see what people see in them.” Mark E. Smith
Tresor Records is delighted to welcome Rod Modell to its catalogue, with the release of his new album Captagon.
Rod Modell needs no introduction, his various projects render him a master of techno. In repetition and barely noticeable change, Modell resculptures perceptions. His sound-design echoes cinematic ethereality, where ferric artefacts slam against percussion, rusty delays filter observation - the resulting web is a complex, radiating ambience that etches a natural ebb and flow.
Transformative sounds alight from the outset, “Triangulation” recalls flickering harmonies and grains, a tectonic swipe. Fast-paced dub techno emerges in “Reiki”, the disorienting clangs suggesting a step away from his recent ambient excursions. “Ito” crunches the pulse further with insistent noise, into soaring epiphanies of darkened transmissions.
Modell singularly uproots standard sonic hierarchies of techno production, crisp static as forceful as his beats, a provocation of rhythm and noise. Unceasing in its fast tempo, “Jade” is trademark Tresor business - the seismic sub-sonics underpin a momentous drive, with reverberated vocal inflections disfiguring warped, dancing materials. “Scrawler” is upfront and direct, a slamming groove and swaying chords di using ethereality. Enter vast chambers of smeared minimalism.
Where Modell’s recent releases had indicated a priority for ambient sounds, this new album extends Modell’s essential vision within techno. Closing track “Air-Port” shows Modell at his most crucial best - an ethereal colossus of sub-bass weight and morphing geometry.
TM Shuffle teams up with Konstantin Kost to deliver a pair of deep, meticulously crafted tracks designed to transport the listener. Built on sprawling echoes, immersive reverbs, and subtle vocal textures, the duo weaves an ethereal sonic journey that resonates just as powerfully in the intimacy of your living room as it does on a packed dancefloor. On remix duties, Brenno reworks the original samples into a weightier, club-focused weapon. Stripping back the atmosphere in favor of driving dub house sensibilities, he pairs classic drum machine rhythms with crisp, dry dub aesthetics, allowing listeners to sink completely into the duo's heavy basslines. Following TM Shuffle's stellar remix on our fifth release, we are thrilled to welcome him back alongside Konstantin Kost for a release that demands your full attention.
Teeing up the next dynamite release on Brighton-based label Murmurations is prolific UK producer Michael James. Spread across four cuts, the fifth vinyl release from the label - MURM005 - continues to focus on essential, stripped-back, driving dancefloor energy with a nostalgic edge. The Moving Music founder delivers exactly that throughout his four excursions here, laced with infectiously swung grooves from top to bottom, synonymous with his sound. “Ultra Realism” kicks off the record with heady peak-time action, its enormous elastic bassline winding itself around intricately arranged, skippy drums, rarely letting up as the track evolves.
Dubby, golden-era tech house sounds arrive on the A2, titled “More Of That”, a fitting name for this after-hours future anthem. As we land on the B-side, we’re greeted by “Lazy River Express”, another slick encounter with a distinctly charming attitude to it. Hard not to move to this one. Rounding off the EP is another example of punchy, rolling action, begging to be played loud. “Stargazer” leaves us with a crisp yet dreamy finish, rounding off the EP with another standout cut for the record bag. In its early days, Leo Christopher has managed to build a sought-after catalogue with the Murmurations imprint, and long may that continue. The curation is always one step ahead, and the label has very quickly become a buy on sight imprint for devoted diggers. An exciting combination here as a growing label joins forces with a staple name on the UK circuit.
10 years since his first edits outing on RNT, label co-founder JKriv digs into his deep well of reworks for a four-tracker of cheeky dancefloor madness. Coming in hot on the A side, I Feel Amor is modern twist on the disco classic anthem, a peak time weapon of epic proportions with hard-hitting beats and churning synths, and the inimitable sing-along vocal (pero en Español). Love Dub is a stripped down deep house affair, a solid driving groove with thunderous bass, synth accents and acapella flourishes. On the B-side, Cuando Bailo is the edit you didn’t know you needed; a callback to a bygone era of one-hit wonder magic, flipped masterfully to be all-club and just a sprinkle of camp. And rounding off the record Dance Sexy takes an obscure purple-hued cover into hypnotic red-light territory, with funky synth stabs riding a pulsing and infectious bass line, in classic JKriv fashion.
Swooped Records would like to introduce our limited series of vinyl only edits We love many of the edit labels with 1-2 tracks per release, and we’re going to help you value up with 4 top-shelf cuts on every record! We kick it off with Chainsnatcher “Jump Up In It” Vox that is straight up, dirty, bumping House music! It’s also featured on Derrick Carter’s for The 6 Mix w/ Mary Anne Hobbs on BBC’s flagship BBC Radio 6 Music. Next up Ric Viera of Guided Methods fame teams up with Elrose for “Only Ewe”. This funky House take on an afro-boogie jam will shake the dance floor and keep the discerning heads nodding. The flip side brings us Chainsnatcher “Jump Up On it” Dub. This is for those that want a stripped back version of the Vox with well placed, minimal vocal snippets and that dance floor boogie. Agent 818 rounds it off with “Don’t Let Nobody” and it’s time to get the summer time vibe started pronto! This jam will do the trick whether it’s day party-fun to after-hours strutting, just ask DJ Heather as she’s been playing it for a minute now.
After the worldwide techno hit that was Darc Marc's "Dirty Rocking Bass" comes the next Cluster X instalment from French legend GANEZ THE TERRIBLE. "The Rave..." is another prime time techno monster from the Acid Techno/Techno underground that is going to cause massive dancefloor mayhem with its cheeky 'The rave, the sound, the people, the party" sample and hard funky beats and 303 stabs. With pounding remixes from D.A.V.E. THE DRUMMER, and new kid-on-the-block SEON, and a kicking bonus track "Elevator" from Ganez himself this gives a nod to all areas of harder techno.
Another release on 25Hours is out. Label’s boss Giacomo Silvestri returns with two killer tunes, this time in collaboration with his close friend, and talented producers, Andrea Giuliani. They deliver something solid and catchy, perfect for the dancefloor.
You can also find two massive remixes by other two artists well known in the music industry: Manuel De Lorenzi, with his unique touch rolling and underground, and Jamahr who made something more electro with his solid signature.
This release will make you dance from start till the last second, don’t miss it.
DJ Support: Glenn Underground, Crazy P, Terry Farley, Aroop Roy, Chris Coco, Frank Tope, Greg Wilson, Dom Servini, Francois K, Max Essa, Oliver Dollar, Pete Herbert and many more
Danny Ward’s Balaphonic project, one of many the long-serving performer, producer, percussionist, drummer and DJ has utilised over a career spanning over three decades, has evolved considerably since his first release under the alias 11 years ago. Conceived as a platform to explore his love of Afro-Cuban and Brazilian musical culture, it gathered new impetus during lockdown and the recording of superb first album Resolution Revolutions, which fused these influences with nods to Balearica, dub, dancehall and deep house.
On the Organic Matters EP, Ward’s follow-up to that critically acclaimed set, the Balaphonic musical universe has expanded once more, with the Manchester native showcasing a wealth of eye-catching collaborations and an even more intricately layered and sonically detailed sound rich in live percussion and instrumentation. It’s an ambitious and widescreen musical vision wrapped in sun-soaked melodies, morning-fresh motifs and simmering, sunset-friendly soundscapes.
The dizzying new heights scaled by Ward on Organic Matters is evident from the opening bars of ‘Dew Drops’, a piece created in unison with internationally renowned composer and arranger Robin Dewhirst. Between them, the pair have conjured up a yearning, life-affirming samba shuffler where picturesque piano, xylophone and balafon melodies rise above Ward’s dense, layered Latin percussion and warming bass.
Next, Ward delivers a thrillingly different take on his 2005 composition ‘Switch’, featuring legendary Brazilian jazz vocalist Flora Purim and her equally talented daughter Diana Moreira Booker. Whereas that was a jazzy deep house workout, Ward’s Balaphonic re-make is a shuffling, gentle exploration in 7/4 time – a heartfelt tribute to the Brazilian records with which Purim first made her name in the 1960s and ‘70s.
‘Balaventurers’ sees Ward join forces with an old friend from the North-West scene, R.S.L founder Joe Botham AKA Baleardelica – a multi-instrumentalist and producer whose Flamenco-inspired acoustic guitar motifs provided the starting point for another vividly colourful exploration rich in layered vocalisations, twinkling keys and impeccably arranged percussion.
It’s followed by ‘Life of Strings’, a more up-tempo and dancefloor-leaning excursion written and recorded alongside Amsterdam-based violinist, and composer Katya Gabeli. While Ward’s percussion-rich groove provides propulsion and a rock-solid foundation, it’s Gabeli’s evocative string arrangement that provides the focal point and emotional resonance. It’s a genuinely brilliant collaboration.
To round off a second stunning Balaphonic release on NuNorthern Soul, Ward delivers two simmering, slow-motion delights: the Afro-Cuban rhythms, cascading melodies and melodic percussion motifs of ‘Boxfresh’, and stunning EP closer ‘Home’ – an almost overwhelmingly poignant and beautiful number that gently ebbs and flows on waves of tracked piano, dreamy chords and a comforting sense of closure. It’s a genuinely sublime conclusion to another wonderful Balaphonic release.
With ZURNA OBSESSION, Türkiye Edition, MoBlack explores the rich musical heritage of Türkiye through a collection of collaborations united by the unmistakable sound of the zurna. Powerful, expressive and deeply rooted in Turkish folk traditions, the instrument becomes the centerpiece of a project that bridges cultural identity and contemporary club music. Across four productions, traditional melodies, regional influences and Afro House rhythms come together in a celebration of musical exchange, with MoBlack acting as the connecting force throughout the entire release.
Wewantsounds continues its Middle East reissue series with Assa"d Khoury"s 1978 rarity, Electronic Touches Belly Dance. Reissued for the first time in nearly 50 years in partnership with Byblos Records founder Mozart Chahine, the album features Oriental classics reimagined through Khoury"s pioneering electronic keyboards. This definitive edition includes original artwork, remastered audio, a new introduction by Ahmed Khalil (Dikraphone), and an exclusive interview with Chahine, the album"s producer, conducted by Mario Choueiry (IMA)
Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.
After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.
"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.
Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.
Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.
From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.
During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.
Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis
Perry Louis is a pivotal figure in the UK jazz dance movement. As a dancer and choreographer, producer, DJ, broadcaster, and founder of the internationally respected jazz dance collective JazzCotech Dancers, he is perfectly placed to curate this collection.
Perry has been at the heart of the scene since the early 1980s, from JAFFAS, the Electric Ballroom, Dingwalls, Acid Jazz, Hi Hat, and Messin’ Around, taking its energy and sound as far as Japan, the USA, St. Lucia, India, Canada, and across Europe.
This compilation celebrates 25 years of Shiftless Shuffle, with Perry as its ambassador and driving force. Over the years, he has collaborated with top DJs including Paul Murphy, Gilles Peterson, Snowboy, Colin Curtis, and Shuya Okino, helping shape the UK jazz dance sound into a global phenomenon.
The album blends deep jazz, fusion, Latin, and groove-driven tracks, reflecting both the scene’s rich heritage and its forward momentum.
From the brand-new exclusive track by Kyoto Jazz Massive, Get It Together (Samba Fusion Mix), to Bunny Brunel’s Fickle Funk appearing on vinyl for the very first time, and the hard-hitting Caribbean Fire Dance by Tom Grant, this compilation tells the story of a movement—an underground culture born on UK dancefloors that has now captured a worldwide audience.
Mark Ambrose has been a serious house head since the 1980s and has always brought his own flavours to the original Chicago and Detroit sound. He heads up the Crayon label, which is where much of his music comes from, including this latest deep dive into groove. 'I Want You' (feat Talia) kicks off with a meandering lead synth that comforts over a warm bed of drums as a sultry vocal whisper brings some intimacy. 'Rumble Jazz' then rocks back and forth a little more with swaggering attitude and hints of darkness and 'Monica Dancing With Angels' is a smooth cruiser with a far-sighted melodic edge. 'On A Dream' brings a sultry jazz flourish with some sombre trumpets lingering above classic deep house drums and bass that take you way back.
Power Of Soul is the third record as a bandleader by legendary jazz drummer Idris Muhammad, originally release in 1974. He embarked on his solo career in 1970 after years of work as a sideman for the absolute biggest names in jazz such as George Benson, Lou Donaldson, Grant Green, Ahmad Jamal, Pharoah Sanders, and many, many others.
This record was produced by Creed Taylor, founder of CTI, and engineered by Rudy Van Gelder. The architect of the Blue Note sound developed a deep relationship with Muhammad and played a big role in finetuning his sound. But, don't forget the rest of the line-up; the recorded features arrangements and compositions by keyboard legend Bob James and smooth jazz founder Grover Washington Jr., supplemented with performances by Randy Brecker, Joe Beck, and Ralph MacDonald. All in all, you can see why Muhammad's works ended up as samples on so many hip-hop records.
Power Of Soul is available as a limited edition of 2000 individually numbered copies on white vinyl.
The helm of Sea Records is back firmly in the hands of its captain: Fisherman is ready to set sail with the brand-new release Dolphin SEA 005!
Get ready for a unique sonic journey. This new record features 4 killer tracks focused entirely on progressive and hypnotic sounds, without ever losing sight of the main goal: a devastating groove built to shatter the dancefloor.
All tracks have got massive support from Djs like Danny Krivit,Kenny Carpenter,Dave Lee ZR,MicFreak,Alan King,Mijangos,Dj Disciple,Peppe Citarella and many many more.
Supported by Djs like Francois Kevorkian,Danny Krivit,Dave Lee ZR,Natasha Diggs,Sandy Rivera,Hector Romero,Marc Cotterell,Dav Risen,Marlon D,Young Pulse,Micky More & Andy Tee,David Harness,Deli G,Dj Pope and many more.
Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.
Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."
The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.
Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.
"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as
"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.
The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.
Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.
Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?
The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.
Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.
So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.
ANORAX is grateful to have the opportunity to present this very special Soul selection.
There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.
Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...
"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.
This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the Cro-Magnon cave artists. The Icelandic literary magician Andri Snær Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.
I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee
U-BEND follow up the “sound of the summer” Macareno with a double headed return to their balearic roots on BENDERS 007, which sees the brothers bend once again firmly putting the Torvill in Dean. Bent Rod cruises in at the benders’ characteristically lazy tempo, combining their usual last-track-of-the-night, first-track-of-the-morning confusion with the welcome tones of a familiar husky voice. Broken Britain strips it back to a dusty roller, uniting dancefloors and kitchens alike with a simple but pertinent question ‘what are you fighting for?’. What else to say about the benders’ seventh label release, other than shut up and dance?
Der Euro-Disco-Klassiker „Jasmin China Girl“ von Mozzart aus dem Jahr 1988 feiert sein großes Comeback und erscheint jetzt endlich wieder als farbige Maxi-Single auf Vinyl. Der legendäre Dancefloor-Hit zählt bis heute zu den beliebtesten Euro-Disco-Tracks der späten 80er Jahre und begeistert mit seinem eingängigen Refrain, charakteristischen SynthesizerSounds und dem unverwechselbaren Retro-Feeling.
Neben den originalen Maxi-Versionen des Kultsongs dürfen sich Fans und Sammler auf ein besonderes Extra freuen: Auf der B-Seite befinden sich brandneue Remixe, die den klassischen Mozzart-Sound modern interpretieren und gleichzeitig den Charme des Originals bewahren. So trifft nostalgischer 80s-Disco-Sound auf zeitgemäße Club-Elemente und sorgt für frischen Wind auf dem Plattenteller
Blind Harmonies returns with its second release, this time welcoming Argentinian & Berlin based artist Augusto Taito for a powerful and deeply detailed EP. Built around four carefully crafted tracks, the release moves through driving rhythms, dynamic grooves and refined sound design, balancing raw club energy with subtle textures and hypnotic movement. Each track carries Augusto’s distinctive approach, functional yet emotional, precise yet alive. Alongside the driving moments, the EP also reveals a more personal side through a melodic piece filled with introspection and meaning, adding depth and contrast to the journey. A release designed for both the dance floor and deeper listening.
'Church & Raves' is a great title for an EP given the strange relationship between the two. You're unlikely to get many people in the UK who go to both, but at the same time the communion of a good dance is often likened to the joys of collective experience that people feel in their chosen place of worship. Jazz pianist, organist, composer and bandleader Jonny Liebeck brings together a background in both here: 'Dancefloor Motive' and 'In My Feels' run jungle's rhythmic urgency through a jazz sensibility and breakbeats are given real harmonic depth rather than just serving as a backbone. 'Underground Soul' and 'Modal House' lean closer to classic house but with those Latin jazz touches from his debut still lingering in the margins. A thoughtful, well-crafted EP for anyone who wants their music with real substance.
Italian proto house vibes on this new Clone Royal Oak 12". An elegant Whodamany & Dario Di Pace production that's ready to be a regular force on dancefloors from Rimini to NYC and the Chitown. The classy vocal heavy club mix is backed up by the re-mix and freak-appella!
Mechatronica presents “Residual Future” by Koloah. Across six tracks, Koloah delivers a striking fusion of futuristic electro, bass-heavy rhythms, and expressive vocal experimentation. Combining powerful machine grooves, processed voices, and detailed synth programming, the EP explores the connection between human emotion and technology. From the driving energy of “Graduate” and the vocoder-driven character of “Vocodex” to the deeper moods of “System” and the sharp rhythm of “Edge”, the release moves through a wide spectrum of electronic forms — balancing dancefloor impact with atmosphere, melody, and a strong sense of storytelling. The journey expands further with “Elevator”, a slower, immersive descent built around hypnotic movement, spacious textures, and a more introspective emotional pull. On the other side, “Jump” pushes the pressure higher — a peak-time electro weapon driven by explosive rhythms, heavy low-end force, and Koloah’s unmistakable futuristic energy. Throughout “Residual Future”, vocals become a central element: fragmented, transformed, and woven into the machinery of the tracks. Human traces merge with precise rhythms and futuristic textures, creating a sound world that is both soulful and synthetic. A distinctive statement from Koloah, delivering forward-thinking electro with depth, emotion, and a unique voice-driven identity.
Sweep returns with its second release, bringing together Jigit co-head O.Bee and Unreleased boss Cem G. ‘Makes Me Feel’ is the first music to see the light from a long-standing friendship and collaboration shaped between their two homes, New York and Istanbul, and comes backed with a stirring remix from Giegling’s Edward.
O.Bee and Cem G bring forward a sound rooted in Istanbul’s music culture, developed through ReSolute’s warehouse parties on the outskirts of Brooklyn and refined at Berlin’s Club der Visionaere. It’s music that feels equally at home in all three settings. Dyed Soundorom’s Sweep is built around underground sounds with depth and groove — much like his own DJ sets — and this second release sits naturally within that world.
On side A, the original mix of ‘Makes Me Feel’ rolls out with a sturdy groove from the start. O.Bee and Cem G build the energy carefully, peppering the ethereal atmosphere with a repeated vocal clip as the tension grows. A variety of percussive layers and pads add depth, keeping you locked in. Halfway through, the vocal goes into full flow — scattered words bounce around like a jumbled poem, evolving into a call and response of dissipating voices on top of the rolling bass, fully hypnotizing. Underground music par excellence.
The flip features a rework from one of Giegling’s central figures, Edward, who adds a tougher edge to the original. Still operating in the deeper end of the spectrum, the remix plucks out the ‘Make me feel’ part of the vocal and uses it throughout. Dark, brooding and enchanting, Edward’s reinterpretation progressively adds more layers, increasing the dynamism while bringing further nuance to the atmosphere. A real treat for Edward fans…
If you caught Dyed Soundorom playing anywhere, you surely would have heard these cuts in the mix. Perfect dancefloor groovers… Now they’ve finally arrived on Sweep — c'est l'heure de la fête!
The twelfth release on Early Morning is a collaboration between Fauxplay and Anthony Pappa, two producers whose shared roots in progressive house give the record its coherent, unhurried identity. Four tracks, nearly thirty minutes, built around a single piece and its transformations.
Forever Seeking is the foundation. A seven-minute arc that settles into its groove with patience, opens into a melodic break that creates genuine space, and returns with a drop that carries weight without force. The Ambient Mix closes the record as its quiet resolution - the same melody stripped of rhythm, allowed to exist on its own terms.
Between them, Simon Vuarambon contributes two interpretations. The Remix maintains the emotional core of the original while moving with greater urgency, cycling through two distinct breaks and drops across eight minutes. The Dub Mix takes a more stripped approach, emphasizing space and low-end, giving each element room to breathe.
This is music for the later hours, where the dancefloor and the inner world become the same place.
Following his recent appearance on Blueprint, Mark Broom returns to the label with a unique project, revisiting the work of techno pioneer Regis. Entitled "Power Is Neutral", the release sees Broom rework a selection of seminal Regis recordings originally released on Downwards Records across the albums Gymnastics (1996), Delivered Into The Hands Of Indifference (1998) and Penetration (2001).
Known as one of the key architects of the Birmingham techno sound, Regis (Karl O'Connor) helped shape British techno through his work as co-founder of Downwards Records and a catalogue that continues to influence generations of artists.
For Mark Broom, few artists embody British rave culture quite like Regis. Drawing on source material that has long stood as a cornerstone of UK techno, Broom approaches these edits with both respect and imagination. As Regis puts it, "Mark Broom is like some modern day Bagpuss... he has fired up his techno mouseorgan and polished old relics to make them all shiny and new."
Power Is Neutral delivers six expertly crafted reinterpretations that bridge the raw energy of Regis' original works with Broom's unmistakable contemporary dancefloor sensibility, bringing these timeless tracks to a new generation of listeners.
DJ Support: MK, Mike Williams, Nicky Romero, Armin Van Buuren, Claptone, Tita Lay, MK, A-Trak, Danny Howard, Arielle Free, Nicky Romero, Fedde Le Grand, Crusy, DJ Dove, Idris Elba, Martin Garrix, DJ SKT, Freejak & more.
Toolroom Trax’s next Sampler showcases 4 big releases from Kryder, Dario Nunez, DGRACE, Smokin Jo, James Hurr, Camila Jun & Danny Rhys.
Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.
'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.
The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.
Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.
Hell Yeah welcomes back Tonarunur for an EP of future-facing Balearica straight out of his native Iceland. Someone Else EP is drawn from vast production archives and reveals two distinct sides to his sound, with artwork from Planet Luke.
Tonarunur last appeared on the label with a track for the Buena Onda compilation in 2021, and has also released his unique blend of electronic boogie and space disco on Citizen of Vice, Eskimo Recordings and Whiskey Disco. Whether laying down horizontal Sunday sounds or soundtracking the dance floor, he always brings a strong sense of personality.
Both A-side cuts feature Norway's bass player Arctander, starting with opener 'Someone Else' is a lithe mid-tempo groove with a playful, wriggling groove and sun-dappled 80s keys. The blissful 'Dawn' unfolds slowly through liquid rhythms, gently broken beats and cosmic melodies awash with good vibrations. On the flip, 'Lundur 1' drifts into the stars on shimmering pads and floating grooves and is romantic yet melancholic, before 'Lundur 2' closes with a more grounded rhythm and wispy melodies tracing patterns across a starry night sky.
Equal parts sunset escapism and after-hours introspection, Someone Else EP drifts effortlessly between the club and the cosmos.
DJ Support: Sam Don, Severino Panzetta (Horse Meat Disco), Chris Howler, Sean Johnston, Bill Brewster, For Mankind, Craig Thompson, Andy Taylor, Massimiliano Pagliara, Dean Dixon, Nathan Detroit and many more
Underground Institution Stompa Phunk Re-Launches Vinyl Label with Raw, Chi-House-Inspired Energy. After three decades of defining the UK’s underground club landscape, legendary Brighton party collective Stompa Phunk is officially moving from the dancefloor to the wax with the relaunch of Stompa Phunk Records Inc.
The Heritage: From The Warehouse: The releases will directly honour the roots of house music, a genre born in 1977 at Chicago’s legendary nightclub, The Warehouse. As that scene matured, a grittier, faster, and more experimental counterpart emerged. Defined by an uninhibited, bass-heavy style, it was a movement driven by local innovators who pushed drum machines and synthesisers to their breaking point... It wasn't just a genre; it was a collision between pure imagination and raw machines. A true "sound klash" transformed the local underground subculture into something global...
Release 1: You Had It (Edit) / Music Got (Dub): Capturing the exact spirit of rough, tape-spliced dubbed cuts. The 12-inch from SP resident Sound Klash pairs a vintage production ethos with old hardware pushed to its limits...
The Philosophy: This EP perfectly mirrors the exact philosophy that has fueled Stompa Phunk’s dancefloors since 1996: uncompromising electronic music rooted in heavy sample-delia, jackin' bodies, Acid energy, disco-dub mentality and second-hand technology. Jackinacidiscotech!
Dim City is a very juicey and special boy crafting hypnotic club music where deep grooves, acid textures and raw emotion collide - if it feels good, proceed with caution. Rarely seen and never chasing trends, every release is treated as a statement—designed for late-night dance floors rather than algorithms. With a sound balancing underground house, leftfield electronics and timeless rhythm, Dim City lets the music speak louder than the artist, building a reputation through carefully selected releases and uncompromising quality.
Can we still have fun with house music? Lets get mad, juicey & fun together.
Hamburg's GOME joins the roster of Cinthie's 803 Crystal Grooves Collective Cuts sub-label here with a new fourtrack EP entitled 'Free Refill', featuring a collaboration with James Juke. GOME is shaking up dance floors worldwide with a raw, 90s-inspired House sound infused with Funk, Soul and Disco.
Having built a strong reputation through releases on Heist Recordings and his own Snackwax imprint, GOME has earned support from leading DJs and performed at renowned venues including Robert Johnson (DE), Berghain (DE), Golden Pudel (DE), Shelter (NL), Lofi (NL) or Blitz, to name but a few. Alongside celebrated live hardware performances and the community-focused "GOME + The Gang" events, GOME has become known for an authentic DIY approach, making this new 'Free Refill' project a fitting addition to the Collective Cuts catalogue. Leading the EP is the collaborative 'Keep The Party Going' with James Juke, an apt title for a frenzied five-anda- half-minute House jam featuring swinging, snappy drums, siren-like synth swells, gritty chord stabs and an amalgamation of vocal hooks throughout. 'Extraordinary' follows, employing a gritty electro-leaning bassline, a crunchy off-kilter rhythm section, twitchy arpeggio lines and a loopy, infectious vocal refrain. On the flip-side, 'CONGRATULATIONS' sees GOME lean heavily into House roots, perfectly aligned with the Crystal Grooves sonic aesthetic. Harkening back to 90s rave culture, it combines shimmering piano hooks, squelchy 303 licks, robust 909 drums and murky low-pitched vocals. 'You Make' then closes the EP, a loop-led cut fuelled by circling synth lines, bright strings, a bouncy low end and a fluttering vocal hook.
2026 has been the year of Deeparture as we have approached this milestone moment for the producer; quality releases from the Dutch artist have pathed the way to his debut album ‘City Reverie’.
‘City Reverie’ is all about Amsterdam – an album created, inspired and born in the great city. Deeparture finds home there but over the years it has been a place where his music has developed and grown into the stunning style he has created throughout this body of work. As an artist on Zerothree, he has been an important part of the label family and working on this album has really seen unique creative aspects, impressive themes and a work ethic that just inspires.
The album features collaborations alongside Lazarusman, Tim Morrison, Jantine, Yves La Rock and plenty of solo material that brings a retro proggy take on 2026 dance music. A real touch of genius and a great body of work that will be timeless.
he four tracks of his 2013-released „Feldspar“ EP see Romanian producer YVAT at the absolute peak of his sonic journey.
Roughly operating within the confines of IDM, Braindance, Phonk and Post-Dubstep YVAT serves a highly seductive sonic menu for advanced late night dancefloors with this one, amalgamating his signature backbone of highly detailed and well crunchy beats, shimmering harmonies and warmly caressing, comforting, all embracing low end goodness for those in the know. Criminally underrated and for the first time available to a global
audience.
Press quote:
„You used to dig Autechre but you think their best days are long gone as they've lost their bouncy beats vs. deep strings and nice little melodies path? Went off into deconstruction?
I'm totally with you here and that's why I love Yvats's recent "Feldspar EP" on the great Minor Label so much. The man named Octavian Justinian Uta - and which is better known to his parents under this name - brings back this special and long time missed twist again, serving the best Electronica 12" I've come across in ages. Limited to 200 copies in greymarbled vinyl and hardly available via regular distribution channels. Get your copy, now! “
baze.djunkiii / nitestylez.de / 04/2013
Never officially distributed before and available limited quantities only.
Limited edition of 200 copies. Grey-marbled vinyl pressing
Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.
Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.
Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.
Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.
In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.
Rooted in a wide spectrum of influences—from breakbeat and IDM to dubstep, acid, electro, and techno—Avram’s sound is shaped by years of immersion in underground culture and a deep focus on rhythm, drawing from the raw energy of the UK scene.
Flow State distills this language into a dynamic DJ framework. Spanning breakbeat, raw techno, and acid-leaning elements, the record is built for the dancefloor.
A1 “Limb by Limb” unfolds through breakbeat and dubstep rhythms, flowing into the unmistakable lyrical force of one of Avram’s most influential MCs. A2 “Outer Space” moves into denser, driving territory, grooving alongside techno rhythms and bassline arpeggios.
B1 “Romica Groove” locks into a hypnotic swing—a breakbeat cut with subtle jazzy elements, driven by a catchy bass motif and a familiar clubbing reference. B2 “Everything That’s in Style” closes with sharper, raw-edged energy, channeling old-school melodic techno vibes over a powerful breakbeat foundation.
Balanced between Avram’s originality and his influences, Flow State delivers high-impact tools built for the dancefloor.
Repress! Back by popular demand–VSR 001 is designed to take you to the outer reaches of where you need to go. Wiersma has created a world where with your eyes closed and head down, the dance-floor can transport you to the outer reaches of space and back again for another beautiful night with all your favorite people.
Vermilion Sun Records was started as a passion project in 2025 with a belief in the magic of physical media juxtaposed against the incursion of AI. The original release featured just 100 copies and utilized US-only distribution; it was sold out in less than 5 months. After being brought across the pond from Boston to Brussels by local DJ & tastemaker Rasaaq, it was subsequently shared, quickly gaining popularity on Discogs. This repress is a testament to Vermilion Sun’s core belief; that is meant to be shared and enjoyed by everyone, and there is magic in that ritual.
Wiersma is a cherished member of the electronic music scene in Boston/Cambridge, MA. A DJ, partygoer, and prolific producer, he has played many of the city’s favorite nights sharing bills with other local talent and setting the stage for international acts like Bradley Zero, Garrett David, and Cinthie. Tapping all of these channels brings forth a creativity where memories from nights in Boston and other global travel transform his unique productions. His release VSR 001 showcases this style, exploring the darker and proggier sides of the house universe while making sure to stay tethered to a reality with firm roots on the dancefloor. A1 begins with Once Around Vega where a cinematic opening draws you into groovy and spacey loops demanding you to move. Syntactic Roles churns more deeply, incorporating layered dystopian vocals, rolling basslines and light acidity that is sure to help you close your eyes and put your head down for a dance. The B side keeps the space station grooving with Transmission from L3, and closes out with Rules of Teleportation incorporating more vocals over chugging electro infused grooves.
For our next release, we welcome Eduardo de la Calle. An artist whose music has long moved beneath the surface of electronic music, shaping minds and dancefloors through depth, restraint and timeless vision. This EP drifts through hypnotic rhythms, deep pulses and evolving textures, inviting the listener into a space where time softens and movement becomes instinct. A meeting of two currents, flowing in the same direction, guided by depth, energy and a shared love for the spaces between sound. Eduardo de la Calle Synthetic Collapse CRRT02 A1 Eduardo de la Calle - Subverse A2 Eduardo de la Calle - Black Input B1 Eduardo de la Calle - Protocol Remain B2 Eduardo de la Calle - Systemic Error All tracks written and produced by Eduardo de la Calle except Black Input and Subverse written and produced by Eduardo de la Calle and Andres Fusaro under the project RSCA. Brighter Days Vocals from Karen Gordon - Djaè - extract from - CAJ201 1992 Mastered by Javier KTC Mastering
Techno mainstay Gary Beck drops hugely sought-after cut 'Hopper' on SHDW's Mutual Rytm sub-label Spectra, with remixes from KiNK.
Glasgow-born Gary Beck is a primary figure in techno and has been for well over a decade. Dropping seminal
underground classics and cultured full-lengths on an array of leading labels, as well as his own BEK Audio imprint,
he has also led the way as a revered DJ as his legacy continues to build. Now, adding to his standout 'Upside
Criminal' EP as well as his well-received track 'Fold' on the 'Federation Of Rytm III' VA, he returns with a record that
has often featured in both his and Mutual Rytm boss SHDW's sets, stepping out on the label's Spectra series with
a cut that has long been sought-after by those who know.
A spontaneous studio moment turned club weapon, the timeless 'Hopper' merges a syncopated disco bassline with
subtle nods to funk and classic dancefloor energy. It's one of those tracks that lingers in your head long after the
night ends - a pure embodiment of Beck's raw energy and production finesse built on an infectious groove full of
contrast and character.
Bulgarian synth wizard, hardware genius and tireless innovator KiNK delivered Spectra's inaugural release, so he
lands as the perfect person to remix. His first interpretation stays close to his roots with a house-leaning, slowed
down take that channels warmth and groove in equal measure. On the B2, however, he flips the script with a high
octane fusion of techno and UKG. It's a peak-time anthem engineered to ignite dancefloors and closes out a
standout EP with the third release in the Spectra catalogue.
Gary Beck 'Hopper' drops via Mutual Rytm Spectra on 20th June 2025.
2026 Repress
Berlin-based duo Disguised land on Mutual Rytm with a splash of signature driving techno on ‘Nightrun’. German-born, Berlin-based pairing Alvaro and Domenik are Disguised, a duo that feels closely connected to their favourite club RSO and its Robus Floor, where most of their musical inspirations happen. They head up their own label, Inherit Records, and also host parties at Berlin's new C115 venue on the Berlin highway. Already this year, they have dropped an impressive collaborative EP with their studio partner and close friend Fabio, aka FANK, who features on this EP with his own vocals. Their sound is always defined by driving drums and hypnotic melodies that build up to intense dancefloor peaks, and here they showcase this to its fullest on their Mutual Rytm label debut via five vinyl-only cuts and three digital bonuses built and crafted to make a lasting impact. The powerful 'Where Thoughts End (ft. FANK)' rises up through the ground like an oncoming train, as drums rumble, synths peel off the groove, and moody voices have you looking over your shoulder. 'Nightrun' is glitchier and more textured, with a fractured energy that keeps you on your toes. 'Crusher Wheels' is a deep, back-lit, and trance-inducing sound made for 4am, while 'Ashes and Algorithms' layers up eerie melodic details with bulky drums for a spare but atmospheric trip. 'All You Find (ft. FANK)' is dubby, greyscale techno with a muscular rhythm and unsettling synths, taut and tensile, balancing right on a knife-edge. Three digital bonuses explore different moods - the subtle melodic touches of 'Silent Pulse', the cosmic energy of 'Sceptre Rd', and the rising optimism of 'Twinfall’.
Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.
Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.
Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.
Praise for Dream Night Dance Music:
"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.
"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.
"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.
Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.
Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.
Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.
Praise for Dream Night Dance Music:
"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.
"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.
"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.
At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.
More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world
Album Background
The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.
At the height of grunge, Morphine sounded like nobody else. The Boston trio built their own strange, seductive musical language (coined "low rock" by frontman Mark Sandman), built around Sandman's two-string slide bass and unmistakable voice, Dana Colley’s baritone & tenor saxophone, and stripped-back drums (Jerome Deupree, Billy Conway). Morphine became one of the defining cult bands of the ’90s, but their story came to an abrupt end in 1999, when Sandman suffered a fatal heart attack on stage during a concert in Italy.
More than 25 years later, Cocoon offers an extraordinary final chapter. Its eight songs were recorded during Morphine’s late-’90s sessions before Sandman ultimately shelved the material on the path toward what would become their final album. Rediscovered in the band’s archives decades later, Sandman’s life partner and Morphine estate manager Sabine Hrechdakian and producer Paul Q. Kolderie (Radiohead, Pixies) transferred the original tapes and carefully assembled this unified collection of Morphine songs. Dana Colley returned to add new saxophone parts, and Kolderie then brought new mixes to the table. Rather than a collection of demos or outtakes, Cocoon is a fully realized Morphine album revealing a band still pushing forward that somehow waited nearly three decades to find its way into the world
Album Background
The background on the album is that the majority of the songs existed in demo form on a CD release called "Sandbox" a semi-legit release of Mark Sandman music on 2004. These versions are the completed tracks that include contributions from Morphine saxphonist
Dana Colley and produced and mastered by Morphine's long time producer Paul Kolderie.
*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print
"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura
Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura
Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."
ALOUD! is about breaking rules in order to create your own. It’s about speaking your truth unapologetically and not worrying about being judged for it. At its core, this album is meant to feel fun. There’s so much heaviness in the world right now, and sometimes people just need to dance, escape for a minute, and let themselves feel free. Honestly, I need that too.
With this project, I wanted to tap into a lighter side of myself. I wanted to make music that feels fun and accessible. This album is about letting go, being present, and allowing yourself to enjoy life without overthinking every move.
Don’t let anybody silence you or tell you who you’re supposed to be. Say what you want, move how you want, and dance your way through the hard times. Stay ALOUD. You’re allowed to live life on your own terms.
Astral Projection were pioneers on the Goatrance scene and have been storming the dancefloors for more than 20 years with their uplifting melodic and hypnotic music signature! Now we are delighted to announce; their EP "Let There Be Light" with 2 new tracks of the masters and remixes by Filteria and Morphic Resonance; repressed on vinyl.
First you can hear Astral's rework of the sublime "Filtertraces" track by Filteria. Giving it their so special spiraling recipe, Avi and Lior gave it a trippy and panoramic touch!
Second Filteria returns the favor with his own version of the fantastic "Let There Be Light" track by Astral Projection. The production upgrade and filteria-esque melodies do wonders to the goatrance anthem and on the dancefloors where it's played!
Then, Morphic Resonance, shows the full extent of his skills as he embarks you on a sci-fi rollercoaster ride with his remake of Astral Projection's "Enlightened Evolution". Expect massive melodies and the usual explosion of energy from the Catalan artist!
Last but not least, Astral Projection have remixed their own "Another World" track from the 1999 eponymous album. Yet no doubt the Israeli duo is stunningly sharp as it managed to give it exhilarating new twists as well as a splendid production!
This incredible collaboration shows once again goatrance music is a blessing and we hope it will enlighten your path!
Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.
Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.
Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.
Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.
Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.
Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.
Iranian-born and Paris-based Nesa Azadikhah delivers dancefloor ready tech house cuts for her debut EP on the Berlin label. For SEVEN, Nesa is a perfect match, not only because of her music but because of her engagement in the scene and her activist work. This EP ventures in different directions: moody, subtle, jackin', raw, atmospheric yet always driving, and perfect for keeping a crowd moving.
Isle of Jura is proud to present the first official reissue of Esa’s self titled LP originally released in 1987. Following the 2024 reissue of iconic single 'A Muto', this full album release marks a bittersweet milestone for the label. Developed in close collaboration with the estate of the legendary producer Martin Socko Moukoko following his passing last year, this reissue stands as both a definitive archival release and a respectful tribute to his legacy in Cameroonian music.
Originally released on Atesa in 1987, Esa is a pristine encapsulation of the "Paris Makossa" phenomenon. In the mid 1980s, Cameroon’s finest musical minds migrated to Parisian studios, cross pollinating traditional rhythms with cutting edge European studio electronics and Antillean Zouk sensibilities. At the absolute center of this movement was visionary producer Martin Socko Moukoko. The album is driven by the dancefloor anthem 'A Muto', which showcases a brilliant fusion of horn heavy Makossa and slick Antillean Zouk. Across the five other expansive, spiritual tracks, the sonic template expands significantly. Striking a perfect balance between the urban, brass led grooves of Douala Makossa and the fast, driving, syncopated polyrhythms of Cameroonian Bikutsi, the LP delivers a unique rhythmic energy. These traditional backbones are seamlessly laced with Martin Socko Moukoko’s advanced studio programming, bubbling digital synthesisers, slinky slap bass, and rich, layered harmony vocals.
By bringing the full LP back into print alongside Martin Socko Moukoko’s family, Isle of Jura ensures that his musical legacy is preserved, allowing this timeless intersection of Cameroonian tradition and electronic innovation to be heard exactly as it was intended.
A 180 gram pressing in a 3mm full sleeve designed by Bradley Pinkerton.
Heir to French Touch, French 79 opens a radical new chapter with his fourth album, Close to the Giants. For this project, French 79 relocated his studio deep into the wilderness, standing alone against the elements from high alpine peaks to the open sea. Armed with a portable modular synthesizer, he composed the entire album in the very heart of nature.
Fueled by the raw adrenaline of the elements, French 79 translates the intensity of his emotional journeys into a raw, moving electronic language—navigating from electronica to dance and tech-house, by way of electropop and French Touch.
Far more than an album, it is an intuitive, intense, and compelling logbook of a quest for solitude and human experience, honoring the legacy of French electro pioneers through signature analog arpeggios, hazy synths, and spellbinding melodies.
Analog Africa's latest essential compilation began with a ruined needle. Samy Ben Redjeb, who was newly back from a 2002 digging trip, dropped a stylus into a groove that censors at the SABC had gouged with a blade. The record had been marked "not suitable," and the story behind it runs through the whole compilation. The 22 tracks pull American soul, funk and disco toward jazz, reggae and local rhythm until the result sounds utterly Jo-burg. 'How Long?' and 'Take It' are the early standouts, though the Beat Set two-parter and Dudu And The Big Time Boys hold their own. The 16-page booklet fills in the context nicely on this well assembled deep dive.
Existing between Moscow and Milan, Interchain is a group that has been a cornerstone in the Moscow scene through the years, appearing and disappearing as they see fit.
The duo now debuts on L.I.E.S. with their "In My Apartment" lp. This records steps into a world of total disjointed angular electronic no-wave madness, somewhere between Devo and Liasions Dangerous...sharp sequences, thumping dx basslines, freaked out, on the verge of snapping vocals and bugged out textures. This music pushes and pulls the listener around until something just goes off inside of you. These nine tracks are on the boiling point, absolute frantic no-wave energy that will rock the floor.
Das Debütalbum ,Dins" von Psychic Ills erscheint anlässlich seines 20-jährigen Jubiläums in limitierter Auflage auf Vinyl! ,Dins" führt die Band weit über ihre beeindruckende Live-Dynamik aus kreisenden Rhythmen und Gitarren-Spektakel hinaus. Sie verbinden nahtlos unkonventionelle Instrumentierung und Studio-Improvisation mit einer mitreißenden Rock-Dynamik zu einem unglaublich kraftvollen Debüt, aufgenommen von Charles Burst, der bereits mit Bands wie Black Dice, Gang Gang Dance und The Double zusammengearbeitet hat. ,Dins" strotzt nur so vor Psychedelia - getränkt in Hall und grenzenlosem Dröhnen - und greift mit seinen achtminütigen Rock-Hymnen wie ,I Knew My Name" und ,Another Day Another Night" die Psych-Rock-Inspirationen der frühen 90er wie Sonic Youth und The Velvet Underground auf. Während andere Tracks einen glückseligen Geisteszustand erzeugen, deine inneren Spannungen lösen und dich mit endlosem, surrendem Gitarrensound hypnotisieren - wie ,Electric Life". Ein unvergessliches Debüt mit weltweiten klanglichen Inspirationen: Psychic Ills geben auf ,Dins" alles. Lehn dich zurück und mach dich bereit für den Trip deines Lebens.
SHORT INFOS
Because Music celebrates the 50th Anniversary of Cerrone's debut album "Love In C Minor (Cerrone I)" .
A record which is one of the mots important of its time. It brought French Disco to the World and established Cerrone as the French King of Disco.
- Pressed in exclusive 2026 Apple Green Crystal Clear vinyl
- Original 1976 artwork - Digitally remastered from original tapes.
BIOG
Cerrone I
Love in C Minor (1976)
The story behind Cerrone's first album could be summarised in the libertarian atmosphere and the creative energy of the 70s, inherited from the 60s revolutions, spiritual, aesthetic or sexual. Looking back now, this record is one of the most important of its time. It helped creating the sound of an era and brought French disco to the world. It is also, and this is fundamental to understand its success, the result of a man's vision: Marc Cerrone, a free spirit inhabited by music, who ended up with a major work of art. With this album, Cerrone accumulated the main elements that make a record timeless, even bigger than its creator: the pure originality, the madness of a vision without compromise, a sense of the market and a great dose of luck too. To some extent, this is the perfect record to start a career, even though Cerrone's one already existed in an implicit way. He actually began in a rather popular band, Kongas, signed by Barclay. Between 1972 and 1974, the band was famous and made it abroad, particularly in Japan, where people loved its sound. Despite this success, probably fed up with the music and not ready to follow the orders of a label that wanted the band to sound more pop, Cerrone disbanded Kongas. He had the sound of his instrument in mind and mostly its central element: the bass drum. The idea of this first solo album came to him after a detour via selling records. Wishing to forget about the studios, he took the head of a small chain of stores, selling records imported from the States. That's when he discovered a daring new sound coming from New York: disco music. This energy inspired him to record again. He then remembered the crazy reaction of the audience when, during the Kongas' concerts, he used to hit his bass drum hard. Cerrone felt like going back into the studio but to make something different. He decided to record a sixteen minutes long track, driven by its beat, that would fit on its own on one side of a LP (during these vinyl days, musicians used to think in terms of sides…), with girls' voices simulating sex. This concept of musical and physical orgasm was recorded at Trident Studios in London (where pop stars used to record at the time… ) with Don Ray, of Kongas, man in the shadows and brilliant arranger who'd follow Cerrone during his whole career. Obviously, like always in pop music (it happened to the Beatles), record companies started by turning this weird track down, convinced that radios would never play sixteen minutes of beats and moaning. Cerrone, a born fighter, decided to trust his instinct (a mix of ego and business sense) and chose to believe that if the radios wouldn't play the track, people would dance to it in the clubs. He released the record himself, with a sexy cover a bit provocative where he wore a black bathrobe, a young short-haired girl leaning on him. Being played here and there, thanks to Cerrone's own network, the record started to work a bit in France. But luckily, things really happened in the States. Due to a mistake, a box of "Love In C Minor" albums were sent to the States via Cerrone's record shop instead of some unsold American LPs. Once in New York, the box was opened and the record with its intriguing cover was instantly loved and passed through the hands of radio and club DJs. All of a sudden, and unknown to its creator, the track that was turned down by every French label, became a hit on the New York disco scene. Casablanca, the US disco label, released a cover recorded by an ad hoc band because nobody knew Cerrone of how to find him. Once he discovered what was happening in the States, Cerrone flew to New York. He realised he had a hit, one of the biggest then, that opened the doors to every record company and especially Atlantic. He was welcome by Ahmet Ertegun, one of the main visionaries of the American music who, among other artists, signed Aretha Franklin and John Coltrane. It's believed that Ertegun understood that the French young musician, like some Atlantic artists, was about to define the sound of his time and that his work would live long after its birth date. "Love In C Minor" was the first step, adamant and successful.
A defining classic of the melodic house and techno scenes, Oxia's Domino has remained a dancefloor staple for two decades, driven by its hypnotic groove and instantly recognisable synth hook. Celebrating 20 years, this special vinyl edition pairs an anniversary remaster on the A-side, with Space 92's powerful peak-time remix on the B-side, bridging the track's iconic past with the new generation.
London-based Frankfurt export Claus Fuss brings his vibrant creativity to Rant & Rave with the Läuft! EP. Claus’ output includes a whole bunch of solo productions and collaborative projects with OneOneOne and LANDER, as well as co-productions with UK legends such as Zed Bias, Emerald a.o. His analogue-produced cuts have been signed to labels such as Khemia, Crème Organization, Neighbourhood, Heras and Kaizen. With his arrival on Rant & Rave, Claus drops four scintillating examples of rough and ready techno, including a collab with label head MAEDON. The EP kicks off with the title track ‘Läuft!’ (Running! in English), a mesmerising cut with a repetitive vocal snippet that forms part of the main riff. The beats are exquisitely programmed, and Claus keeps that track progressing, shifting and evolving masterfully.
Subtle layers add depth, while the main thrust of ‘Läuft!’ remains potent and captivating throughout. Next up is ‘Schwarze Löcher’ (Black Holes). As the title suggests, this one is dark and deep, sucking you into the sonic void. Elastic kick drums propel this one forward, as a rhythmically peppered, resonance shifting riff rises and falls. Claus gradually ramps up the intensity until we reach a breakdown, where that riff really works its magic. When the drums are reintroduced, it’s a powerful moment. Then we have ‘TopUp’, a lively, upbeat cut with contagious energy. Claus hooks the listener with an irresistible rhythmic structure, the bassline is especially addictive. Fast paced, dynamic drum programming keeps this one moving at a frenetic pace. On the surface it’s deceptively simple, but attentive listeners will pick up on all the details that make this one a compelling listening (and dancing) experience. Finally, we have ‘Zwanzig’ (Twenty), a heady collaboration with Rant & Rave boss MAEDON. This one brings together MAEDON’s earworm melodies and Claus’ penchant for hypnotic grooves. An insistent groove gives this cut a feel of urgency, while a relentless riff and punchy beats aim squarely at mind and body. A masterclass in dance floor engagement and connection.
SILVI005 welcomes Brizman back with Fall Down On Me – a vibrant, groove-driven EP that perfectly captures his signature sound. Built around rolling rhythms, warm textures, and hypnotic movement, the title track delivers the kind of infectious dancefloor groove Brizman has become known for.
The release also features a stunning second original production with Shigar, where beautiful piano arrangements blend effortlessly with Brizman's refined grooves, adding emotional depth while staying true to the EP's understated club aesthetic.
On remix duties, the package brings together two distinct interpretations. Minimal house legend Jay Tripwire delivers his unmistakable touch with a deep, sophisticated rework, while rising talent Danny David brings a fresh perspective to the release with a forward-thinking interpretation.
From the original productions to the carefully selected remixes, SILVI005 is a special release that celebrates timeless grooves, musicality, and the unique sound Brizman continues to shape on the dancefloor
Brooklyn-based DJ and producer Son of Lee is a native New Yorker who's been active in the local underground for over a decade. He launched this label back in August with a doozy of an EP that soon sold out, and so we're glad he's back. These are four more flame-hot disco edits marbled with references to many classic sounds and artists. 'Stop Making Cents' is jangling disco-pop, while 'Different Places' slows down to an 80s synth chug and 'Louis-Dreyfus Dance Face' brings some erotically charged disco sophistication and 'Nichols In May' is a mid-tempo and dubbed out delight with funky guitars for days. Classy and effective.
2026 Repress
I am back on Somov with 4 recordings showcasing my sound. A dimension where thought does not exist, and I reflect back on all the beautiful moments these tracks hold on the dance floor. Love.
This new EP and revival of his Nite Rite series from Dutch electronic maestro Mason (he of chart topping Exceeder fame) comes in the form of four very individual cuts aimed squarely at the dancefloor. Typically eclectic and fresh sounding, these four cuts have been doing damage in the clubs over recent weeks with a strong reception from a massive cross section of DJs. Cuts vary from French Touch style disco-house to out-and-out electro filth.
Erol Alkan returns to his vinyl Reworks series for ‘Part 6’ the first new pressing since 2017. A long-awaited addendum to a series that has previously encompassed artists including Daft Punk, Justice, Hot Chip and Tame Impala, Alkan delivers two club-friendly tracks from his own Phantasy Sound imprint, both previously only available digitally.
For a propulsive take on Josh Caffe’s emotionally defiant, warehouse-bound ‘You’, originally produced in collaboration with Quinn Whalley of Paranoid London, Alkan delves deep into a lifelong appreciation of Chicago house. Stripped, spacious and tough on the drums, Alkan keeps Caffe’s demands front and centre while riding out an irresistible bassline and conjuring a brooding, typically psychedelic atmosphere.
Flipping from minimal jack to maximal funk, Alkan pays a visit to the esoteric archives of Cowboy Rhythmbox, the partnership of much-loved London DJ Nathan Gregory Wilkins alongside pop-provocateur Richard X. ‘Rock Music’ arrives rescued from a dormant hard drive of demos, its frenetic collage of samples stitched back together and fully recharged for a circuit-frying electro workout by Alkan, operating here at full tilt for the dancefloor.
The vibrant genre Eurodance originated in the late Eighties in Europe and combines many elements of rap and rich melodic vocals with strong bass rhythms and cutting-edge synthesizers. The 2LP Eurodance Collected compiles the best hits from Eurodance, including Snap! ""Rhythm Is A Dancer"", Technotronic's worldwide smash ""Pump Up The Jam"", catchy sing-a-long self-titled Captain Jack track, Dutch group Vengaboys' ""Boom, Boom, Boom, Boom!!, Belgium's hit-wonder 2 Unlimited's ""No Limit"" plus 22 other guaranteed dancefloor fillers. Eurodance Collected is available as a limited edition of 2000 copies on pink (LP1) and purple (LP2) coloured vinyl and includes an insert.
Eurodance Collected by Various Artists, released 19 April 2024, includes the following tracks: "Mc Sar & The Real McCoy - It's On You", "La Bouche - Be My Lover", "Vengaboys - Boom, Boom, Boom, Boom!!", "2 Brothers On The 4th Floor - Dreams (Will Come Alive)" and more.
This version of Eurodance Collected comes as a 2xLP. This release comes with (a) Insert(s).
The vinyl is pressed as a pink disc. Another vinyl is pressed as a purple disc.
Bringing mutant verve and a deadly swing to the bassweight discipline, Lyeform lands on Sneaker Social Club in resonantly rude form. Strong doses of UKG, wormhole techno and dubstep course through the veins of this muscular four-deep drop, but the London-based producer's metabolism strips the strands down to an atomic level and rebuilds the dance in his own design.
There's a dense and dank mood hovering over 'Drift Into Dread,' shaped out by rugged, noisy percussion steering towards mind-melting immersion. Rather than resting in technoid repetition, the landscape keeps shifting as dislocated rhythmic phrases slide in and out of earshot, led by the disembodied toasting of a mysterious MC.
'Vintage Gilly' has a much starker sound palette, all crackling drums sparking static interference into negative space with subs so low you might mistake them for heart murmurs. All the better to savour the subtleties as they tease into the mix, not least the understated lead lines loping lazily on the threshold.
The 2-step swagger is unmistakable on 'Godkiller' as it comes bowling into earshot, but there's not a whiff of garage revivalism in earshot as we channel hop between metallic feedback interference and needlepoint noise snaking around the minimalist framework of the beat.
'Glass Eater' closes the record out on another skippy stepper, but here Lyeform makes room for cavernous dub techno chords, overdriven bass harmonics and teeth-grinding noise. It's a final maverick swerve from an artist carving out a formidable impression via micro-level textural exploration within the context of dark and deadly soundsystem tackle.
Classic Barrington Levy Album from 1984 restored and remastered for best ever sound. Features the hit singles 'Money Move; and the Jah Shaka sound system anthem 'Praise His Name'. Unavailable for 40 years and first time ever released outside Jamaica. Sleeve artwork design by the great Jamaican illustrator Limonius - highly collectable. Solid all-star roots backing from Sly & Robbie, Lloyd Parks. Recorded and mixed at Dynamic Sounds and Channel One.
Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.
In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.
Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."
And now the follow up single of "Searchin/Tongue Tied"
Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.
Fred Everything is on an impressive streak right now, having just released a solo retrospective album on 20:20 Vision and the much-lauded ‘8 Days’ collaboration album with Atjazz.
On this first release for Winding Road Records, Fred teams up with a fellow Montreal musician Teuteu to deliver the lush deep house of ‘Arrêt Infini’.
There are four interpretations of the track, each showcasing Fred’s crisp dancefloor-focused production and Teuteu’s keyboard mastery. From the cinematic punch of Part 1, and the deep uplifting groove of Part 2, to the blissed-out ambience of the Reprise, and the out-there dubbiness of ‘Rhythm & Bass’. All filled with warm chords, soaring strings, and squidgy basslines, but coming from a different angle.
Another jewel in Fred Everything’s expansive discography, and another choice Winding Road Records release.
The highly prolific purveyor of acid electro funk, Acidulant has arrived on Analog Concept with a grand landing of an EP.
Straight to underground lights out business A1 - Run To Survive delivers a dark world of vocoder lyrical style, smoothly concentrated acid lines, and nocturnal melody in the pads for deeper submersion of your sonic attention.
Following up, is A2, “All I Want is Everything You Got” with strikes of melancholy waves, before manifesting a dystopian world of aggressive electro acid bass sure to rock the Place.
A3 - Chordzi takes a detour into lush, and beautiful electro territory, laid down with smooth sunny pads and cosmic acid lines, surely refreshing and satisfying for the body and mind.
On the flip, we shift into the remixes, 1st up with the high talents of EKATA providing an industrial aura and truly unique perspective of “Run To Survive” it's not playing games or taking prisoners with its heavy kicks and dense snares, dark atmospheres, and lysergic arpeggios that hypnotize and own your ears.
The track sees another revision through the hands of Mutex. Moody and warm chords serenade smooth acid basslines and breaks in this emotive number, that dances between IDM, Breaks, and Acid Electro, concluding an ep that is full of both energy and deep personality - This is Analog Concept number 20, Acidulant - Run To Survive….
The final chapter of The Third Room's curator-led series is shaped by GiGi FM, an artist whose work moves fluidly between club functionality, emotional storytelling and immersive sound design. Through her productions and performances, she has developed a distinct language where rhythm, atmosphere and movement exist in constant dialogue. For the closing chapter, the focus lies on cohesion. Bringing together artists connected through a shared sensitivity for groove, detail and space, the release unfolds through percussive structures and atmospheric elements that move with clarity, depth and intention. The Half Bearded Man by Fergus Sweetland opens the record. A rough yet detailed rhythmic framework, syncopated percussion and a rolling bassline create forward motion, while softer elements and a subtle vocal layer introduce a contrasting sense of lightness, drawing the listener into the track. On Shark Attak, D-Leria places percussion at the centre, but with a more restrained approach. Polyrhythmic bleeps and high-frequency sweeps weave around the groove, maintaining depth and tension without becoming intrusive, giving the track a quiet but persistent drive. The B-side opens with one of its defining moments: Anukari, a collaboration between Efdemin and GiGi FM. Bringing together two distinct approaches, the track unfolds as a layered and atmospheric piece: detailed percussion, connecting textures and subtle melodic fragments create a sense of depth that feels both modern and slightly otherworldly, while remaining inviting and grounded. Closing the record, Even by Fireground reduces the elements further. Warm chords and a restrained rhythmic core create an open, enveloping space, balancing softness with tension and allowing the track to unfold with a quiet sense of momentum. Across all four tracks, the release remains tightly cohesive: built on groove, space and carefully placed detail. As the final entry in the series, it shifts the focus from structure to flow, offering a closing chapter that feels immersive, connected and complete. A1 Written and Produced by Fergus Sweetland | A2 Written and Produced by Giuseppe Scaccia | B1 Written and Produced by Giulia Fournier & Philip Sollmann | B2 Written and Produced by Angela Dragonetto & Danielle Paduano Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact
Franc Fala & Benja land Crosstown Rebels debut with hypnotic collaboration, ‘Dirty Dancing’.
Out on 31st July 2026, the Dutch pair unite for a dark, groove-led first appearance on Damian Lazarus's label, backed by two distinct reinterpretations from Brazilian artist Malive.
Anchored in a heavy groove that never loosens its grip, Crosstown Rebels’ latest release, ‘Dirty Dancing’, brings together two Dutch artists whose ideas have been shaped by a shared creative language built over time. Amsterdam’s Franc Fala continues to build on what has been a rapid rise onto the global house circuit, with a run of notable releases coupled with a growing touring schedule, ensuring his records and name have been the talk of the town for many. Alongside him, regular collaborator, fellow countryman and close friend Benja has also ensured his approach to music has also landed with impact, leaning on energy and atmosphere to shape records designed to resonate beyond the dancefl oor. Here, the pair reunite for their biggest collaboration to date as they make their debut outing on Damian Lazarus’s revered imprint with a record crafted for the peak hours.
Everything revolves around a vocal hook that doesn’t sit in the background; it emerges to take over the track, keeping listeners locked into the groove beneath. Rather than pushing in obvious directions, it circles and tunnels deeper, drawing listeners in until it becomes the only thing that matters. On remix duties, Brazilian DJ/producer Malive delivers two contrasting interpretations that take command of the B-side. His ‘Noturno Mix’ pushes into shadowy, late-night territory, extending the track’s hypnotic pull through melodic textures and tension, whereas his ‘Goes To Rio’ mix takes a more fluid direction, loosening the groove and introducing bright keys alongside a slick rhythmic swing.
NOFEAR! Musik presents its second vinyl release, bringing together two of the label's most celebrated tracks alongside a fresh reinterpretation of a true classic.
The A-side features Alegría and Fuego, two tracks by Head Horny's & K-Style that became standout releases on the label, receiving strong support from DJs and dancefloors across Europe.
The B-side is dedicated to Funky Feelings 2026, a modern rework of one of Head Horny's classic productions. Together with Carlos Perez and K-Style, the original idea has been updated into two complementary versions: a driving hardgroove-techno interpretation and a more old-school klubb-oriented mix.
Pressed on 180g vinyl, NFV02 reflects the sound and identity of NOFEAR! Musik: energetic, groove-driven and built for the dancefloor.
The second in our TEN series has been envisioned by a humble legend in the game, Tzena. Two tracks with his signature drive, and obscure details, maximising dance floor pleasure!
Less is more with this limited 10” run, a collector disc with the beautiful design of Gal.tic
If you are lucky you might catch Tzena hustling the sound at some of your favourite Berlin spots!
Limited copies available here in our Berlin shop at Weserstrasse 166
Latebloomers introduce The First Bloom, their debut EP, ready to heat up summer dancefloors.
From playful ghetto-infused house grooves to deeper, hypnotic cuts, The First Bloom brings together five artists connected by friendship and a shared love for underground dance music.
The A-side features Miami Beat$ representatives BeetWorldWide, Uncle Franky, and Teejay joining forces on two nostalgic, hip-hop-inspired cuts. On the B-side, label founders Roy Koch and DJ Z each deliver a solo track, exploring deeper grooves and planting the seed for the Latebloomers sound.
Rooted in the belief that growth unfolds at its own pace, The First Bloom marks the beginning of Latebloomers.
First released 30 years ago (...) We're talking about 1990. Written and produced by 'FSOL' before they became The Future Sound of London.
This EP brings together the original recordings of the 3 main tracks released by Mental Cube, while the forth was released under a different name, it was intended to be a Mental Cube track.
Q - quickly became a dance floor favourite funky 909 drums and speak n spell top line and big warm strings; Chile of the Bass Generation - Clanking Breakbeat wig-out. So this Is Love! A masterclass in classic UK House-Music, that sounds so good even 30 years on...
In The Mind Of A Child - Originally released as Indo Tribe but in fact was intended as a Mental Cube Release - Bouncy heavy bass 909 drums beautifully constructed top melodies.
"Potency continues apace with 'Jackin Shit', a gleefully self-explanatory EP from label founder Cromby. Following widely-played recent releases from Malik Kassim aka Retromigration, Trax Unit and Rhythms of Prescott, the prolific DJ and producer reaffirms his imprint's fundamentals with four upfront, high-energy tracks, each reflecting a different facet of the Belfast-via-Berlin producer's decades-deep understanding of house and techno history. Title track 'Jackin' Shit' gets things moving with a rich blend of rolling basslines, liquid keys and diva'ed up vocal snippets. Lucid and groovy in the style of seminal East Coast vocal pleasures, Cromby's vision of house is nonetheless driven by a dusty kick drum that references Head High/WK7, or Paul Woolford in a warehouse somewhere... In contrast, 'Sense Control' places percussion front and centre, locking in a tight rhythm in order to ride out a liquid collage of acid lines, ecstatic piano and other blissfully wavy elements. 'Con Gas' establishes a tougher direction on the flip, finding Cromby's busier instincts reduced the simplest of ingredients - sub, bass and stabs - taking dancers deep into the bowels of house, replete with classic vocal call-outs, and yes, even a well-earned inbuilt spinback. Having exhibited such restraint, we're unceremoniously booted out of the cubicle and back toward the strobes for 'Cheeky Bump', a rubbery, driving dancefloor tool guaranteed to delay any impending cab home. Colourful, charismatic and exclusively engineered for true party people, 'Jackin' Shit' finds Cromby returning to home turf on definitive form."
Die erfolgreiche „ZYX Italo Disco: Best Of“-Reihe geht in die nächste Runde und präsentiert mit Vol. 8 erneut eine erstklassige Auswahl an Italo-Disco-Klassikern der 1980er Jahre. Auf dieser Doppel-LP erwarten den Hörer 14 sorgfältig ausgewählte Tracks, die den unverwechselbaren Sound der legendären Italo-Disco-Ära widerspiegeln.
Mit dabei sind beliebte Genre-Highlights wie J.D. Jaber‘s „Don‘t Wake Me Up“, Alan Ross‘ „Valentino Mon Amour“, Brian Ice‘s „Night Girl“ oder Cyber People‘s „Doctor Faustu‘s“. Ergänzt wird die Compilation durch weitere seltene Maxi- und Extended-Versionen, die bis heute auf Tanzflächen und in DJ-Sets weltweit geschätzt werden.
„ZYX Italo Disco: Best Of Vol. 8“ verbindet eingängige Melodien, atmosphärische Synthesizer und den typischen Charme der goldenen Italo-Disco-Zeit zu einem authentischen Hörerlebnis – ein Muss für Fans, Sammler und Liebhaber klassischer Dance-Music.
Exos inaugurates the new sub-label on SHDW's Mutual Rytm with four 90s techno cuts, with offshoot imprint X building on the main imprint's DJ-friendly tools to delve deeper into a broader spectrum of electronic music.
Founded in 2022, SHDW's Mutual Rytm label has quickly become one of techno's most supported labels, with wide-reaching love and well-earned hype following a series of carefully curated VA offerings and solo EPs from a wealth of the scene's best. Continuing to push the pace, with more records capturing high-quality, fresh soundscapes, April brings a new project to the mix with the launch of a new sub-label X, with techno pioneer Exos drafted to deliver the first instalment.
Hailing from Iceland, the Planet X boss is a master of crafting perfect dancefloor weaponry. Over the last twenty years, his high-octane sounds have come via vital labels like Figure and X/OZ, never failing to make an impact with both DJs and dancers. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s sound, and he brings this signature sound to four fresh productions across his 'Infrared' EP, marking an impressive debut for both label and artist.
The title cut 'Infrared' opens up the package in style and showcases a track that looks set to be a go-to anthem for many in the months ahead. With searing synth lines and drilling bass, the blistering production delivers a thrilling, high-impact techno sound that will devastate the dancefloor. The well-designed 'Kaldur Klaki' ups the ante even more with tightly coiled loops of drums, rusty hi-hats and stuttering synth lines that canter along with a muscular feel. 'The Bad' is twitchy and paranoid, anxiety-riddled techno that is perfect for dark warehouses and freaky dancers before digital bonus 'DS4BR' lands with a more stripped-back aesthetic with dubby undercurrents and static electricity fizzing across the face of the cut.
Each of the releases on Mutual Rytm X will be available on limited edition, coloured 10" vinyl, hence the Roman numeral X, and Exos' 'Infrared' EP kicks off the series on 19th April ahead of a new wave of killer releases scheduled across 2024.
New EP from Polish label Kooky is a challenging and ambitious one. Jay Tripwire, Canada's finest DJ and producer, offers a solid set of 3 minimal (techno) tracks, crafted with a unique passion for detail, raw energy and dark soundscapes. Every track differs in intensity and dynamics, but all of them are a feast for the ears to demanding music lovers. If you are searching for the true beauty of minimal and want to escape from modern dance music that is unfortunately more and more generic these days, this release is just for you.
Introducing Fuse Imprint - The New Record Label from Fuse Club, Brussels
Fuse Club, the beating heart of Brussels' techno scene, is thrilled to announce the launch of its new record label, Fuse Imprint. Known for its cutting-edge music and unforgettable nights, Fuse is extending its influence beyond the dancefloor and into the realm of music production. The label aims to be a platform for both emerging and established artists, showcasing the best in techno and electronic music.
The inaugural release is a dancefloor-focused EP by Altinbas, aptly titled "Reshape". As a resident DJ at Fuse Club, Altinbas has been instrumental in shaping the club's sonic landscape. His new EP encapsulates the essence of a Fuse night - intense, immersive, and irresistibly danceable.
Explore the vibrant sounds of Bearface DJ with the debut installment of "Remakes and Raw Cuts Vol 2", a fresh vinyl series released on Beartone Records. Veteran producer Raj Panasa, aka Bearface, boasts a multi-decade catalog of feel-good, eclectic music, renowned for his distinctive blend of house, disco, Latin, and Italo influences.
This EP showcases Bearface’s versatile production style through expertly crafted edits and remakes of some of his favourite tracks, perfectly capturing sunny, dancefloor-ready vibes. Whether you're a DJ seeking energetic edits or a collector looking for a soulful addition, this release delivers sunshine and positivity in every groove.
After a longer pause, CMOK returns with a new release built around different shades of dancefloor music that don’t really fit into one strict direction. Four tracks moving through elements of progressive, acid, electro and breakbeat, shaped for different moments and spaces, but still connected by the same feeling underneath.
UK-based reggae veteran Macka B takes listeners on a journey back to the roots of Jamaican music with the release of his new single, “Memories.”
Recorded over the powerful Diverse Doctrine Riddim, “Memories” is a tribute to the golden era of reggae, celebrating a time when Roots Reggae dominated the dance halls and the term “dancehall” referred to the sound system sessions rather than the genre it would later become.
With enthralling lyrics and authentic reggae instrumentation, Macka B reflects on the lively dancehall culture of the 1970s—a period when conscious roots music, militant messages, heavyweight sound systems, and spirited community gatherings defined Jamaica’s musical landscape.
Known for his commitment to positive reggae music and socially conscious storytelling, Macka B once again delivers a recording that honors the genre’s legacy while resonating with longtime reggae enthusiasts and new listeners alike.
This record was born as a tribute to two great classics of Latin music: “El Reloj” and “Lluvia con nieve”, two songs that have travelled through decades while keeping their popular and emotional power intact.
On the A side, “El Reloj”, composed by Roberto Cantoral, popularised by Trío Los Tres Caballeros and later covered by artists such as Los Panchos and Luis Miguel, is transformed into an elegant rocksteady version, preserving its romantic and melancholic character.
On the B side, “Lluvia con nieve”, a song associated with Mon Rivera, takes the form of an instrumental ska piece, full of bright and danceable energy, led by the horns, the rhythm and the melodic arrangements.
This release is part of Latin Goes Ska, a collaboration between Gatzara Records, Sotasons and STQBlack, together with The Jeggaes, Memi Sillah and Lenin “Güiroloco”. A meeting point between Latin music, rocksteady and ska, conceived as both a tribute and a celebration.
100 COPIES ONLY! Chicago... Chicaaago: If you ever felt House Music in your bones, chances are you stumbled across the windy city. From Ron to Frankie and the other Ron - from Larry to Boo & GU, from the Smart Bar to Gramaphone Records - the city has left an undeniably mark on dance music culture for decades. With his "Chicago" release Johannes Albert pays a little respect to this legacy, dragging out the bass, the 303 on top and some vocals chanting (what else?) "Chicago, Chicaaaago". 12" comes with proper 45 Cut and classic round US sleeves. Now? Let's head go the south side and boogie.
Swedish talent Dold drops nuanced techno cuts on 10" via SHDW's Mutual Rytm X.
Stockholm-based Patrik Eriksson, aka Dold, is a cultured producer known for crafting hypnotic loops with a minimalist, emotive touch-bridging underground dancefloors and introspective listening.
As a DJ, producer, and co-founder of Arsenik, Dold has championed raw, unembellished techno since 2015. His releases on Key and Fuse blend Detroit techno's legacy with IDM's intricacy and ambient's ethereal tones, creating a style that is both timeless and forward-thinking. Whether it's crafting tapestry's recorded via hardware in the studio or performing live, Dold continues to innovate, honouring techno's roots while exploring its future, and his talent is on full display across his label debut on Mutual Rytm X.
'Grainy' opens the EP and showcases Dold's ability to craft deep and loopy techno with a stripped-back, emotive
edge. It's deft but enthralling, with innovative synths rising and falling through the minimal drums. 'Surface' is another compelling deep cut with hurried drum funk and subtle synth pulses, adding a futuristic edge to the groove. The fantastic 'Blush' brings smears of warm synth and machine soul to a dynamic dub techno rhythm that bends the
past with the present. Digital bonus cuts 'Dub at Heart (Club Version)' and 'Dub at Heart (Sofa Version)' offer
contrasting perspectives of the same track, with the first aiming directly for peak-time sessions, while the latter closes the package on a laid-back tip.
House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.
Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.
Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.
'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.
Macedonian artist Stojche kicks off Mutual Rytm Xs 2025 schedule with his blistering new EP, Stomping Ground.
Stojche is an exciting DJ and producer from Skopje, Macedonia, who is currently based in Madrid. He heads up his Tangible Assets imprint and has been making waves in the electronic underground for over 20 years. His music takes inspiration from the classic sounds of Detroit and dub techno, and in 2024, he impressed with his Metaphor EP on F.U.S.E. Following on from his superb contribution to Mutual Rytms Federation of Rytm II compilation, here, he now serves up his first EP of the year with a first outing on X, the sister label of SHDWs Mutual Rytm, w Stomping Ground.
This EP opens up with the powerful Stomping Ground, a scintillating blend of tightly programmed kicks and reverberating percussive lines. The textured percussion shimmers over the racing beats and cannot fail to sweep dancers off their feet. Oberheim is another high-class, high-impact sound with muted melodies thinking over the twisting and turning drums and bass which never let up and ooze warm machine soul. Consequence keeps the pressure on with tight drums and raw percussive layers softened by smeared dub chords. Digital bonus The Vault shuts down with thumping kicks and rave ready synth stabs that will erupt on peak-time floors.
Another long-awaited vinyl shaped through time, pressure, and careful listening. On this record, Spinnski, Ian Oskadev, and CLGR each bring the maximum of their craft, pushing their sound until it holds up under the toughest real-world testing. Airy textures, rolling low-end, sharp rhythmic structure, and hypnotic elements come together into a sound that feels both controlled and alive. Every detail has been checked, adjusted, and refined with precision — not just for the studio, but for real systems. This is a record that translates everywhere, from small rooms to large dancefloors. VAM14 stands as another carefully built piece in the catalogue — balanced, warm, and fully functional. A release shaped with attention, experience, and respect for the sound.
Kashatskikh Studio Mastering
Design & Illustration by Kirill Kashatskikh
Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.
Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.
Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.
Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.
Dark Entries is proud to host Darlynn’s debut album, Dyke Den. Darlynn is an Oakland-based duo composed of Daria Lourd (aka Bored Lord) and her wife, vocalist Jaelynn Walls. Dyke Den is a lesbian love story about two creative individuals finding each other and themselves through effusive and contemplative sonic avenues. Created in their home over the course of two years, this album speaks to the journey of Daria and Jaelynn’s romantic relationship as well as their evolving combined creative impulses.
On Dyke Den, Darlynn display their influences – from Janet Jackson and Sly & the Family Stone, to Frankie Knuckles and Larry Levan – in a sophisticated, fully realized, and overtly queered fashion. Joyous dancefloor moments are abundant. Tracks like “Make Yr Move” and “Like A Summer” celebrate deep house vibes ala Alleviated Records, while sultry R&B moves are flexed on “Girl 2 Girl” and “Alright With Me.” But longing and yearning exist within this joyous arc, and the question arises: “How can I get you to love me?” More than an idealistic narrative of girl meets they/them, Dyke Den paints a portrait of love in all its multifaceted moments: the bids for commitment, the stagnation of years going by, the wormholes of desire. Yet the album maintains its thesis of hope. The sweet, layered harmonies of closing song “Love Letter” display the power of life partnership: “My whole life is a love letter to you.” Dyke Den features artwork by Hailee Va in a sleeve designed by Eloise Shir-Juen Leigh. Darlynn’s final declaration, “We are all creatures of desire, completely built for love.”s
Following their acclaimed collaboration with Mad Professor, Sensible Soccers return to 8mm Records with a brand new remix EP featuring three true cult producers: Tolouse Low Trax, Danilo Plessow and Peaking Lights.
Opening the record, Tolouse Low Trax reshapes “Efeito Zandinga” into a mesmerizing journey connecting the hypnotic afrobeat of Fela Kuti with the raw pulse of Detroit techno. Ritualistic, immersive and deeply transportive.
On “Saravá”, Danilo Plessow turns the original track into a powerful acid house banger reminiscent of his recent Rude Futures productions, while preserving the warm and organic sensibility of Sensible Soccers. The result is an explosive blend of adrenaline, groove and uplifting energy, destined to set summer dancefloors on fire.
Closing the EP, Peaking Lights deliver a stunning reinterpretation of “Rosa Mota”, elevating the post-dub and psychedelic side of Sensible Soccers into a cosmic electronic voyage of remarkable depth. A simply beautiful finale that pushes the band’s sonic universe even further into new psychedelic and electronic territories.
Three remixes, three unique visions: a powerful meeting point between psychedelic dub, afro-futurism and forward-thinking club music.
Ruf Kutz reaches release twenty-two with something close to heart...
Mike Kee is a face from the early days - red-lit rooms of the Bodega mushroom squat parties in Sydney. This is a second release for Mike Kee on Ruf Kutz since 'Seeing Crystals' on RK2 in 2010.
Recorded in the rainforests of Bundjalung Country (northern NSW, Australia). Making good use of a Fender Rhodes and a JX-8P synthesiser.
WHITE CLOUD PLACE is a destination that doesn't exist. Glimpsed once on a street sign, filed away in the imagination and allowed to bloom into an imagined geography of warmth and weightlessness.
The music is lush dream house that elicits euphoria out of the speakers and into the body. Mike Kee has been chasing this feeling across his music and here it lands cleanly.
Flip the record and the temperature ratchets up. BANANA MOON is one for the dancers - shuffling congas push the pace while Rhodes chords and those big analog synth strings hold the whole thing aloft.
Where the A-side invites you to float, Banana Moon keeps it pitched up and jazzy.
Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.
Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.
Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.
Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.
TVPCO has always been a label created by DJs, for DJs. The best proof of this was their sampler series tailored for eclectic sets, where floor-filling dance tracks were consistently contrasted with slower, more atmospheric cuts. Although the catalog gradually expanded to include more listening-oriented music, reissues, and artist albums, the label is returning to its roots for its 16th anniversary.
THE VERY POLISH DANCE VOL. 16 delivers 100% dancefloor bangers from the 70s, 80s, and 90s. The tracklist features gems like "Daj mi", "Serce to jest tancerz", "Zabawa", and "Graj dla nas, graj", along with a stack of delightfully cheesy, slightly cringe-worthy, but undeniable anthems sung in Polish. You'll definitely recognize some from the labels late-night parties (if you ever attended one) or the depths of the internet, while others will be complete surprises.
Both musically and visually, the release pays homage to the iconic Polish compilation tapes that flooded local open-air markets in the 90s, as well as the 80s promotional vinyl sent directly to radio and club DJs.
The brilliant, era-accurate artwork was crafted by the one and only Bartek Szymkiewicz.
Victoryland is the Brooklyn-based project of musician Julian McCamman and Dan Howard.. Their 2026 album, My Heart Is A Room With No Cameras In It, is a triumphant, despondent, and ultimately fun experimental pop-rock album. A year on, the record receives the deluxe treatment from new label home Dead Oceans. My Heart Is A Room With No Cameras In It (Deluxe) arrives December
11th 2026, on exclusive crystal clear vinyl, complete with new song “The Ugliest Girl On The Beach” and a new music video for album standout “I got god.” The sound of the album, recorded between Julian’s Bed-Stuy basement and Dan’s Williamsburg studio, is that of a bright and beaming collaboration. Blending lo-fi and hi-fi production, the songs have the glossiness of a radio-friendly hit mixed with the distortion and rough edges of a home demo. Every song keeps at least one element of the initial recording, while building around the loops and half-songs Julian scraped together. The lyrics on the record span from humorous self-aware popisms (“‘you and I’ will soon be, used to be ‘us’”) to crushing realities of bitterness (“i’ll never forgive you, that’s how I keep you close”) and abstract imagery (“mothers wave from doorways, in ostinato”), all delivered with such an immediacy and fervor that in the middle of singing along, you wonder if this guy slept much last night. Much to their surprise, My Heart’s release ushered Victoryland into a whirlwind of a year. Pitchfork praised the album’s “bright, madcap approach reminiscent of the New Pornographers’ Twin Cinema or Clap Your Hands Say Yeah’s Some Loud Thunder.” Stereogum named it their Album of the Week and proclaimed it “a surprisingly cohesive scrapbook of sounds from seemingly every corner of the indie pop umbrella.” The album also received support from Steve Lamacq at BBC 6 Music and Sian Eleri at Radio 1. After a string of sold-out shows in NYC, Victoryland later joined LCD Soundsystem on their North American tour and performed at Pitchfork London, Pitchfork Paris, among other festivals across Europe
Volume Six in the ongoing saga of the Jahtarian Dub mothership, full of 8-bit explosives, cosmic curveballs and sound system heavy hitters.
Roger Robinson teams up with West Coast beat maestro Mophono (watch out for the limited 7” instrumental “Budokan Dub”!), Maffi and Tapes return with mutated killer riddims, Casio shaman Green Jesus is transmitting from the Polish woods, while The Other Others beam in alongside Daniel Monaco, followed by a special Dub cut from Elijah Minelli x Kiki Hitomi.
On the flip Bo Marley are back with a track previously only released on tape, S.NOVA spreads her haunting vocals over an Alien Trackers depth charge and Slim Levy dubs the Beatles into outer space.
There is more Dub love coming from the newly born Snorks outfit, disrupt appears with a beautiful spaced out hiphop track and Barcelona Dub heroes STA finish the journey with a super hypnotizing brain melter that will see an extended 12” version soon.
COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. Its addressed to the clubs and night owls out there, who turn night into day and won't stop dancing!
The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs & rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven. The four Originals are a great next step in the COEO evolution. The unique warm, catchy atmosphere of the tracks can create that special COEO euphoria which made them a lot of fans. From Moodymann to Disclosure, Mall Grab to Kenny Dope, the list is long.
It’s fantastic to see how popular they became over the last couple of years. The last COEO vinyl sold over 2500 copies and some of their tracks have millions of Spotify plays. It’s DJ FOOD. Pure bliss!
MTMS2 - Mystica Tribe Meets Scopeotaku 2 Following the duos first release - Mystica Tribe Meets Scopeotaku on 13/Silentes. Mystica Tribe and Scopeotaku push their collaborative adventures further with MTMS2. Creating psychedelic dubs with rich textures, tape saturation and echo chambers. Utilising acid synths combined with deep dub rhythms and melodic electronics evolving into a new dimension of dub. Deep psychedelic electronic steppers blend with bass pressure and heavyweight rhythms drifting into techno, ambient and mutant dub. Creating a sonic adventure where tradition is often pushed into unfamiliar territory. Two distant worlds, one frequency. Nine tracks for the mind and body. Deep dub frequencies. Psychedelic textures. Heavyweight rhythms. —————————
Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors.
Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub.
Demarkus Lewis is known for his ability to deliver house music at a deeper level while maintaining the energy that keeps the dance floors moving, Demarkus Lewis has grown to be one of the most respected dance artists in
underground house music today. With just about 30 years of DJ experience he has has traveled and shared his craft with the world over. His music has found its way onto labels such as Large Music,Subtractive, Moods N Grooves, Kolour Recordings, iRecords, Phoenix Recordings, Viva Recordings, Guesthouse Music, Kingstreet Sounds, Pogo House Records, Plastik People, Spacedisco Records and his very own labels Grin Music/Grin Trax (Just too name a few). His cut "Every Night" instantly draws you in and hold keeps you moving using a thick bassline and kick pattern, key stabs and a vocal that binds it all together. The B remix is by Gil Aguilar who takes the dedepness and adds chug. This record sold out fast and there are only a few remaining copies left.
Reboot Record Label presents Atmosphere EP by Juzel The Argentine producer from Mar del Plata brings his refined touch to Reboot with a release that balances warmth and restraint. Musically, Atmosphere EP sits mainly within the house spectrum, weaving Balearic warmth, progressive momentum and minimal precision into a body of work made for both sunrise terraces and late-night floors. The EP also features two contrasting remixes. Anastasia Zems, the Lisbon-based artist celebrated for her instinct-driven mix of trance, progressive house and experimental electronica, delivers a prog-house reinterpretation full of emotional depth and hypnotic energy. On the flip, Manchester's Aiden Francis, a rising force from the city's underground known for fusing tech, progressive and rolling tribal elements, turns in a techhouse remix built for peak-time release.
More than two decades after its original release, "Just the Way You Are" is experiencing a remarkable global resurgence. With over 13 million monthly Spotify listeners for the original recording alone, becoming a radio and stadium anthem in new heights! To celebrate its enduring popularity, the track is returning to vinyl with an exclusive limited-edition tricolour pressing, with the added bonus of 2026 remixes.
Originally released in August 2002. While the track did not chart in the band's native Italy, it became an international hit, reaching No. 8 on the UK Singles Chart and securing Top 30 positions in Ireland, the Netherlands, New Zealand, and Romania. In the United States, the song made history as the first official No. 1 on Billboard's Dance Radio Airplay chart, having already topped the chart during its unpublished testing phase.
The song's revival gained significant momentum in 2026 following a viral remix by Australian DJ Mall Grab, which introduced the track to a new generation of listeners and sparked widespread streaming growth and social media engagement. The renewed interest was further amplified by a series of high-profile remixes from Australian electronic duo Pnau, Austrian producer Ely Oaks, and French superstar DJ David Guetta. Together, these releases have cemented "Just the Way You Are" as a cross-generational dance anthem, reaffirming its lasting influence and global appeal more than 20 years after its debut.
Outer Place Records proudly presents its seventh vinyl release: Jungle EP by Kamyar Keramati with included a remix from Domenico Rosa . A sonic expedition through intricate rhythms and emotive textures, this EP marks a significant chapter in our label's journey. Berlin-based Iranian producer Kamyar Keramati delivers a compelling four-track EP that traverses the realms of techno, breakbeat, and ambient soundscapes.
A1. "Jungles"
An immersive opener that sets the tone with layered percussions and atmospheric depth, inviting listeners into a dense sonic forest.
A2. "Sakhiff"
A rhythmic journey blending intricate beats with subtle melodies, showcasing Keramati's prowess in crafting dynamic electronic narratives.
B1. "One For All"
A unifying track that melds diverse sonic elements into a cohesive whole, reflecting the EP's complete theme of interconnectedness.
B2. "Jungle (Domenico Rosa Remix)"
Italian producer Domenico Rosa reinterprets the title track, infusing it with his signature minimalistic but techno flair, adding a fresh perspective to the original composition.
Each track demonstrates Keramati's ability to weave complex rhythms with emotive undertones, creating an EP that resonates on both the dancefloor and in introspective settings. Visual Identity by Henrik Delehag Complementing the auditory experience, the EP features cover art by Swedish artist Henrik Delehag . Known for his distinctive black-and-white iconography, Delehag's work explores the interplay between chaos and harmony. His art distills complex realities into symbolic forms, providing a visual narrative that mirrors the EP's sonic journey.
This collaboration marks the beginning of an ongoing partnership, with Delehag set to design all future vinyl covers for Outer Place Records. His unique artistic vision aligns seamlessly with our label's vision, enhancing the holistic experience of our releases.
Jungle EP is more than a collection of tracks; it's a curated experience that fuses sound and visual art.
Introducing AA006, the latest EP from Enivrèz-vous. This captivating collection of four tracks embodies the essence of darkminimalism, inviting listeners to plunge into a shadowy abyss of rich textures and seductive dancefloor pulses.
Peppermint Jam Allstars Vol. 7 is here! Featuring some big names in the way of label boss Mousse T. & Birdee, NYC legend Matthias Heilbronn alongside Ibiza royalty DJ Pippi who collabs with Kiko Navarro & Willie Graff. Cassara rounds off the All-Star lineup for Vol 7.
A fresh Various Artists selection built for the dancefloor – bringing together longtime PJ family names and a new face stepping into the mix. Four cuts, one 12", all killer, no filler. House music the Peppermint Jam way.
Shak Jackson is a UK female house producer fusing old school foundations with a sharp, tech driven edge. Built on raw piano, rolling basslines, stripped percussion and hypnotic grooves, her sound is raw, functional and unapologetically euphoria focussed. With a growing cult following drawn to her no frills approach and dancefloor instinct, Shak Jackson is steadily carving out her own lane in modern underground house.
A solid 3 track EP for the mighty HOOJ shows off Shak’s talents and helps cement her rise as a future star.
Following the release of Haunted House Party, Bradley Thomas Turner was contacted by the Cryptozoological Society of New York City to create music for their museum’s holiday exhibitions. As enigmatic as they are controversial, the secretive society gave the composer free rein to create music that celebrated their profane (and, according to their critics, pseudoscientific) explorations of the darker side of yuletide folklore. The endeavour was denounced by religious groups, the scientific community and even parts of the cryptozoological community as “blasphemous,” “irresponsible”, and “a dangerous topic to make light of” respectively. Not much is known about the pandemonium that broke out on the night of the opening reception, but one journalist (who has been granted anonymity by request) infiltrated the event and captured the recordings that follow. Death cult ritual? Mishandling of cursed artifacts? Elaborate practical joke? Publicity stunt? No one can (or will) say for sure as no person in attendance has been willing to speak on record. Therefore, we present these recordings so the general public can decide for themselves.
2026 Repress
Moving Pressure marks its fifth release, and the first one to stretch across a double vinyl with full sleeve artwork. It isn't framed as an album, yet its sequencing carries a narrative weight that lingers between immediacy and introspection.
MP05 welcomes on board Australian producer Connor Wall, whose work fuses tightly wound rhythm and immersive atmosphere, balancing precision with a sense of openness. His sound is rooted in the physical pull of the dancefloor, yet drawn toward zones of suspension and elusion. And Moving Pressure 05 captures that duality very clearly. Momentum sets the tone from the outset - taut drum programming, metallic accents, and structures that build energy in decisive bursts. There's a sense of propulsion that feels engineered for peak hours, exuding a tightening grip on the floor. Gradually, tension loosens up, stretching patterns into spirals, layering vaporous pads and resonant low-end that opens a more interior space.
Together, the two arcs trace Wall's range with clarity: body and mind, force and dissolve. Rather than presenting opposites, they reveal different angles of the same language. An exploration of density, atmosphere, and the subtle thresholds between the two.
For the fifth release on At A Glance, Shabi delivers a four-track collection of groove-driven house music built for long nights and packed dancefloors. Blending rolling drums, infectious basslines, soulful vocal touches and a deep sense of movement, AAG005 captures the label’s love for timeless club records with a fresh and contemporary edge.
Opening with “All Night Stompin”, Shabi sets the tone with a driving rhythm and irresistible swing designed to keep bodies moving from start to finish. “Teach You” follows with warm grooves and hypnotic vocal elements, balancing energy and atmosphere in equal measure. On the flip side, “Dee Vibe” dives deeper into stripped-back, late-night territory, locking into a raw and infectious groove, while “Free Our Minds” closes the EP on an uplifting note, combining soulful textures with a powerful dancefloor pulse.
Groovy, classy and effortlessly effective, AAG005 is a versatile house release that feels equally at home in intimate club settings, peak-time sessions and sunrise moments alike. Another essential chapter in the At A Glance catalogue.
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