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2x12" Brown Marbled Vinyl 2026 Repress

A foray into deep, organic, cinematic dance music. Subterranean bass, intercepted alien transmissions, and stripped down dance-beats meld with sheets of sounds that roll over the listener like waves lapping up on the shore. Shimmering, watery, brain hemisphere synchronization tones caress and melt stress away. Dance floor friendly tracks that work equally well in one s private listening space. Immersive music with a distinctive aquatic quality. Inspired by Detroit & Berlin s dance genres, but tempered by more ambience / atmosphere than one would expect from those genres. Music without harshness or rough edges. Fuzzy, out-of-focus, soft-sounds that slip in and out of the listener's consciousness. Uniquely melds current dance rhythms with lushness and spirituality. Synesthetic sounds that trigger sensory experiences in cognitive pathways other than hearing smells of perfumes, thoughts of colours, and altered perception of time and space. Psychoacoustic, cerebral, electronic listening music for those wanting a different experience than the current harsher, darker dance trends are offering. Responsibly made gentle music designed from the ground-up to have a positive effect on the nervous system and leave the listener invigorated and recharged. Chi-building sonic balm. Timeless, exotic dance tracks for a new school of electronic music enthusiasts who are searching for beautiful sounds, crafted with a higher purpose in mind.

Reissue of a lost hit by the British composer Kevan Frost, now championed and given a brand-new Dub Mix by Mark Grusane. Up for pre-order now and due late-March on our RSS series!

Kevan Frost grew up in Jos, Nigeria where he became a self-taught musician and developed a deep understanding of rhythm and melody. In the 90's, Frost was a session musician for many studios in London, one of these was unable to pay him so they gave him a few free days in the studio and the result was "Give It Up" as he explains:

"I went in and recorded all the music in a day, and the vocals and mix on day two. This was the days of only having 24 tracks available on tape so I programmed the drums, bass and keyboard parts on C-Lab which was only available on the Atari computer and the samples I made on my Akai S-1000 sampler. Full of floppy disks I went in early on day one and printed all of this on tape. I then recorded the guitar parts. Day two was me layering the lead vocals and Backing vocal parts as quick as I could before starting to mix."

However, the track fell into obscurity with no major label backing or marketing budget. A friend of Mark Grusane’s came across it in Brooklyn at the African Record Centre and it eventually ended up in Mark's hands and from there he edited the original track to a more stripped-back dub mix and began playing it out to great effect on dancefloors.

After a bit of digging, we tracked down Kevan and a fully licensed reissue is due on Rush Hour in late March 2026, including a brand new ‘Dub Mix’ from Mark Grusane.

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell moving people the old way, part 2. Resistance is futile against the Grays...

Way back in 1998, following five years DJing and organising free parties as part of Sheffield's Smokescreen Soundsystem, Andy Riley and Laurence Ritchie joined forces in the studio as Inland Knights. They went on to deliver a huge amount of high-grade UK house music, but it was on this EP - here reissued for the first time in remastered form - that they first showcased their distinctively chunky, DIY-influenced sound. Check first the squelch-and-bump of soul-flecked late-night roller 'Mud Substance', before getting your ears around the dubby bass, hypnotic beats and spacey licks of 'Souldoubt'. 'Deep In' is a strutting, energetic affair full of raw analogue bass and mind-mangling effects, while 'Spent Up' is a tougher and looser slab of deep house funk.

Nick Bike rides again with a new trip out on his Chosen Spokes label, and as always, these are on the money mixes for dub disco heads. 'Kiss Me Say It' is devilishly slow and purposeful with rotation dub and funky bass riffs rising and falling to irresistible effect. The strings bring sophistication and the chords a golden charm that swells the heart. The groove feels ever on the rise but never boils over. The flipside dub is even more focused, with the diva vocal doused in echo for a spaced out vibe. Pure perfection.

Clock Poets returns with Get Down, the seventh release on the label and a floor-focused statement from Spanish producer Baltazar, based in Palma de Mallorca and founder of the Sapernika platform. Known for selecting and developing distinct, groove-centred voices from the underground, Clock Poets hands the reins to an artist who understands hypnosis, repetition and tension as tools rather than effects.

The A-side, “Get Down”, is a pumping minimal cut shaped by slightly tribal percussion loops and a locked-in groove that builds momentum through subtle shifts rather than overt peaks. Hypnotic male vocal samples circle like a mantra, weaving ritual into rhythm as the track steadily tightens its grip on the floor. On “Try On Trust Me”, the formula expands: a female vocal, washed in reverb and echo, floats between melodic textures and soft pads, creating a more spacious, emotive framework while maintaining the same disciplined drive and forward motion. Closing the record, “On My Way” dives deeper — a stripped-back 4/4 minimal construction infused with Arabic and double harmonic scale influences. Spatial, meditative and profoundly hypnotic, it stretches time and space, offering a moment of emotional suspension within the dancefloor continuum.

With Get Down, Baltazar doesn’t chase trends — he commits to groove, sophisticated repetition and unique atmospheres. In doing so, he both reinforces Clock Poets’ sonic identity and injects it with a fresh, trance-like intensity, proving once again the label’s consistency without predictability.

DJ Support: Garnier, Opolopo, Worldwide FM, Marcia Carr, Bill Brewster, Timeout Moscow, Craig Smith, Delfonic, Tony Nwachukwu, Marcel Dettmann, DJ Rocca, Shuya Okino, Borrowed Identity, Titonton Duvante, Alex Attias, Rainer Truby, Sol Power All-Stars, Kyri R2, Robert Luis, Severino Panzetta, Lars Behrenroth, Kassian, Alkalino, Getdown Edits, Moodymanc, Gerd, Lea Lisa, Young Pulse, Mark de Clive-Lowe, Mark Grusane, Alex Barck….

International dance music heavyweight, producer and DJ Alexander Lay-Far returns with a powerful new chapter - Lay-Far Dance Orchestra (LFDO) - a fully-fledged live band project that reconnects him with his jazz-funk and fusion DNA while pushing dance music forward with unmistakable groove, musicianship and emotional weight. Formed in early 2024, LFDO is no nostalgia exercise. With Lay-Far at the helm as bassist, bandleader, composer, arranger and sound engineer, the orchestra has already been turning heads with explosive live performances, reinventing classic Lay-Far cuts, and now unveil their first album “Skybreak” with all new and original material written and produced by Lay-Far together with his bandmates and star guests, including Lipelis, Antoha MC and Seven Davis Jr. This work shows the departure from the predominantly electronic sound of Lay-Far's previous solo albums in favour of live instrumentation recorded to analogue tape and effortlessly bridging the gap between Jazz, Library Music, Disco-Funk, House, Broken Beat and Drum’n’Bass. “Skybreak” is dynamic, passionate, spiritual, cinematic, playful, heartfelt, life-affirming, dreamy and deeply romantic. Ultimately, there’s something profoundly romantic in recording and releasing such music in this day and age!


“Take Flight (Part 1)” is opening the album with style. It takes us on a beautifully orchestrated journey, blending the sensuality of Library Music with high-octane Jazz-Funk and raw b-boy breaks, propelled by breathtaking flute and Rhodes solos of Timur Nekrasov and Maxim Glonti. This aural symbiosis of “beauty and the beats” will become more and more prominent as the album unfolds.



It’s time for “Aquarius Love” created with the inimitable artist and vocalist Seven Davis Jr. (Secret Angels, Ninja Tune). In this composition cinematic soul and heavy jazz meet the restless energy of live drum & bass with deep and heartfelt vocals - timeless sound combined with a timeless message about love and life!



Next is “Head In The Clouds” - a theme for an imaginary rom-com, an ode to all the dreamers - sweet, light, naive and heartwarming. Space-Disco-Funk at its best!

“Where You From” is a fiery Soulful House number with heavy Afro-Latin influences recorded in collaboration with Lipelis. It’s full of Sun, joy and passion. Its irresistible rhythm is emphasised by funky octave bass, wah-wah guitar, catchy piano riffs, guitar solo by Lipelis and seemingly light conscious message delivered by Lay-Far and Maryag. Summer is here!

Now the album takes an unexpected twist in the form of “The Harp of Boom” which at first glance appears to be a classic-sounding Boom-Bap banger. Yes, It’s loud, raw, and gritty, yet it gradually evolves into something delicately-touching and deeply-soulful thanks to a memorable flute melody and lush string arrangement. Definitely recorded with tongue in cheek.


Next is “Feel The Moment” a remarkable collaboration with one of the most recognisable and distinctive Russian artists, singer, trumpeter and cultural icon Antoha MC. It’s a feel-good song, hopeful, life-affirming and bittersweet. A stylish excursion into Brit-Funk and Soviet Jazz-Fusion sound, drawing inspiration from the likes of Atmosfear, Light Of The World or Soviet Jazz bands like Allegro and Arsenal, but reimagining the influences through the modern West London broken beat lens.


The spectacular music journey continuous with “Take Flight (Part 2)” - it’s all about the deep infectious jazz-funk groove, heavy beats, rolling percussion and the glory of the soloing instruments - saxophone and flute by Timur Nekrasov, demonstrating the wide range of emotions from thoughtful and lyrical to restless and borderline vicious. One for freestyle dancing!

As the album draws to an end a vibrant musical triptych “Soul Constant” awaits, mixing together the deep and sensual mood of spiritual jazz with heavy syncopated drum’n’bass rhythms by Michail Fotchenkov, lush orchestration, expressive saxophone solos and the ending which can simply be described as “aural bliss”. It’s breath-taking!

A pleasant bonus is the exclusive version of “Where You From” by Lipelis himself, who is taking it into dub territories, further enhancing the rhythm section and enriching the song with his trademark playful synth flourishes and dreamy guitar solos for maximum effect (and appeal).

The album “Skybreak” by Lay-Far Dance Orchestra is the work of real artistry and craftsmanship with timeless sound that’s not only deeply-rooted but also forward-thinking.

2026 Repress

Glaskin is the alias of two brothers, Jonathan and Ferdinand, based in Munich. The pair have emerged as key figures in the citys electronic music scene as longtime residents of the renowned Blitz Club, standing out a homegrown talents amongst its vibrant electronic landscape. Bringing a unique, forward-thinking techno style, as evidenced by their contributions to Mutual Rytms Federation Of Rytm II and III compilations in previous years, they now mark a new chapter and open 2025 in style with their debut 12 on the label, Inertia Of Motion. Each cut on the EP has been handcrafted with analogue gear, reflecting their distinctive artistic and sonic vision. The release is a direct outcome of the creative process behind their live set, which has become an integral part of the duos identity and shows a natural evolution of their singular sound.

Hush Up kicks things off with deep, rubbery and rolling techno rhythms. The drums are stripped back and laced with pulsing synth patterns and spoken word snippets that add a freaky edge. Double Tap ups the anti with classic, pumping deep techno with smart filters adding movement to the track as urgent leads hurry onwards. Inertia bring a more anxious atmosphere with tightly coiled drums and perc and eerie bell sounds ring out over the fat, twisted bassline. The brilliant Tank brings mind-melting loopy techno with dubby chords and textured leads warming their way between the beats to great effect, while Motion is suspenseful techno that locks you into a high speed groove peppered with thumping hits and kicks. Last of all, digital bonus Blushed Blue explores a moody, minimal, late night techno sound that is warm, stylish and hypnotic to close the show

Music For Parents is a low-frequency, vibroacoustically informed album developed through research into sound, rest, and nervous system regulation. Composed between 2019 and 2020, the record explores slow-moving bass structures and reduced harmonic density, inviting a form of listening that is felt as much as heard.

The work emerged from a personal process, shaped by a desire to support rest and release through sound. Music For Parents takes its title reflecting on the dynamics of parent–child relationships - formative environments that shape emotional, sensory, and relational orientation, often without clear language or shared understanding.

While effective on standard playback systems, the album can also be paired with vibroacoustic devices such as bass transducers or wearable low-frequency systems for enhanced somatic engagement.

May 2026 marks the arrival of TYGAPAW (aka Dion McKenzie)’s first full-length album on Tresor Records, entitled Together You Gather All Power Applied Worldwide. An acronym of its creator’s name, TYGAPAW’s third studio album is a deeply personal collection of music building worlds where Black queer and trans siblings can thrive, while unifying dancefloors worldwide. A proposition that collective wisdom liberates us from the matrix of domination we live within. The album unfolds as the latest chapter in TYGAPAW’s ongoing techno opera opus, continuing to center the voices of Black women, which surface as layered incantations rather than lyrics - powerful, haunting, sensual, activating.
With the process of creating the album starting in 2023, as TYGAPAW (Dion McKenzie) was in the first year of their transition, the music reflects the intensity of that period, where they were experiencing deplatforming as a response to the shift in their physical appearance: Tracks like ‘M32 Riddim’ and ‘Helicopter hovers over my Crown Heights Apartment’ feature high-paced rhythms intersecting with intense siren-like synths to form demanding compositions echoing a heightened sense of alert. Yet throughout the album, relief comes in the form of TYGAPAW’s vocal features, co-conspirators, and chosen family, whose voices are treated with reverb and echo, a sonic fingerprint that leads back to the pioneers in the legendary studios of TYGAPAW’s native land, Jamaica, an important reminder that the past will always inform the future. It is an album for dancers first and foremost, where joy, defiance, and integration with the natural body coexist, and every drop feels less like a climax than a transformation. Expect a bass that permeates your soul and melodic synthesized sequenced phrases echoing the dancehall eras of TYGAPAW’s youth, reshaped into hypnotic melodies that glow over industrial kicks designed to command attention, reasserting Jamaica's pioneering yet often overlooked contribution to electronic music.
In the opening track, ‘Can I Live’, Precious Okoyomon’s words feel like the beginning of a ritual; setting the intentions for the rest of the proceedings. As McKenzie puts it, their “work is about regeneration, resetting, getting integrated into nature, and about rebirth. That’s the tone I wanted to set at the outset of the album.” Ms Carrie Stacks continues this thread of support in ‘Don’t Panic’ with heavily processed vocals on top of a beat that takes inspiration from another important ingredient in the antidote to the oppression of isolation: Ballroom culture. “ I feel like I found my queerness in Ballroom, that’s why this track is very important to me.”
Echoes of NYC Black queer nightlife scene also permeate in the energetic drums of ‘Exorcise the Language of Domination’, in which Julianna Huxtable’s spoken performance complements the various movements and tones of the music. “My producer brain thought this was the one that Juliana’s vocals would be best suited for. I hinted: ‘what do you think of this one?’ She just went into her notes and picked some passages to go with the first section of the track. From there, it was a year-long process of development. It required time and space for this thing to evolve, but I think it’s one of the most powerful tracks on the album.” London’s SUUTOO contributes the album’s only musical collaboration on ‘B2B’, a track that emerged from sessions in McKenzie’s New York studio where the real objective was to connect and have fun; a time out from the demands of life outside.
The album closes out with a double hit of emotion in the form of ‘Effects of Resistance and Black Trans Masculine Experience’. The former features South African scholar Khanyisile Mbongwa drawing connections that exist between Africa and the Black diaspora, whilst looking to the future and calling for a shared sense of community.
The latter piece, an instrumental version of the piece which featured on the IMMIGRANT E.P. of 2025 is a gentle and deeply affecting end to the record, a place of peace and acceptance. This end-of-cycle tone is mirrored in the sleeve photography, which also ties back to IMMIGRANT by finally revealing what was hidden: a portrait of the artist fully self-actualized; a step towards true inner liberation. TYGAPAW is sonically defiant across this album; bass frequencies feel tactile — less heard than inhabited — infectious lead synth melodies remain with you long after the track ends. An overall sound that leaves asserting an urgent need for connection. From Detroit to New York to Berlin to Jamaica, despite geographic distance, this album reminds us that we remain in solidarity, recognising that meaningful world-building requires collective input and action, both personal and communal, if we are to move toward liberation.

Getting back to simple things, Homemade EP is an allegory of a DIY mentality in an era filled with complexity and uncertainty.

The A-side leans into early-2000s electro and house, with tight drums and functional grooves.
"Rue des Loubards" (A1) kicks off as a groovy cut, filled with mysterious chords and sensual French vocals, layered with tight, driving drums. "Dreams" (A2) follows as an electro piece with aggressive synth riffs and cinematic vocals.

The B-side drifts toward a late-80s palette, with warmer tones and nostalgic feelings. "Godspeed" (B1) cleverly mixes Italo and new beat elements for a chiaroscuro effect. "Antwerp" (B2) closes the EP with a true journey, starting with trancey textures and skillfully drifting toward a synthpop conclusion.

2026 Repress

Deetron is a venerated veteran who has been crafting sublime house and techno for three decades on a range of influential labels. 2025 brought another busy year for him, with another standout EP on Ilian Tape followed by his latest album which landed via Running Back in October. Back in 2024, he dropped his 'Translate Rhythms' EP on Mutual Rytm's X series and now takes charge of the second release on SHDW's new sub-label Mutual Rytm Raw - following the first 12" 'You And Me', which was a true summer anthem courtesy of KiNK & Raredub.

In its original form, the bright, expressive 'Flow' is a fulsome techno cut that pairs a driving rhythm with sophisticated synths. It sparkles with cosmic energy, while a textured, screwy lead winds through the mix and euphoric female vocals burst out to big emotional reactions. The 'Chord Dub' is a tight, bouncy rework with vamping chords lighting up the drums with real warmth and soul, while the 'Breakbeat Mix' fizzes with rich, old school energy. The dusty breakbeats demand physical reactions, while the pads bring a grand sense of scale and the vocals tug at the heart. All three are classy, effective and offer yet more timeless sounds.

‘In Virus Times’ is an acoustic instrumental piece by Lee Ranaldo.
Composed during the pandemic, ‘In Virus Times’ is released as a onesided LP with an etching on Side B. The cover is a beautiful photo by
Lee’s friend, the great Brazilian photographer Anna Paula Bogaciovas.
 Originally released as one track as part of a collaboration with Lucien
Jean for Le Presses du Reel, the music was featured on a mini CD that
accompanied a book that featured two short stories.
 ‘In Virus Times’, released by Mute, sees the track transformed into 4
pieces and is available on transparent turquoise vinyl with digital
download and an exclusive poster, designed, signed and individually
numbered by Lee Ranaldo. The poster design is based on an electron
microscope photo of the COVID-19 molecule.
 Lee has written some of his own ‘loner notes’ for the release:
 “This recording began on an evening in September 2020, stuck at home
in lower Manhattan during the dark days of the Covid-19 pandemic as
we came out of a deadly summer. A heightened sense of anxiety
stemming from the then-upcoming US Presidential elections as well as
the virus seemed to pervade all aspects of life, for myself and everyone I
knew. Its minimal quality reflects the sense of ‘motionless time’ that
many of us felt. I set up some microphones in our darkened living room
(studios being closed due to Covid restrictions), coaxing out one simple,
repetitive phrase, and then another, sounding them out into the air. The
casual home ambience - a siren or truck rumbling down the street out
the window; someone talking around the table in another part of the loft;
water running - intrudes at points. I worked to develop a few simple
thematic elements, but mostly I wanted to hear the notes and chords
ringing out, hanging in the air for a long time on that evening when the
world seemed close to stopped on its axis.
 “I’d been listening closely to Morton Feldman’s catalog throughout the
pandemic. His sparse, long-duration music could often be heard playing
on repeat as we spent endless days locked inside. His willingness to do
very little, with very simple elements, and to such profound effect, has
been inspirational. I found the vast open spaces in his works thrilling,
miraculous, and comforting in those empty times. Additionally, the Drop
D guitar tuning used here has prompted my own variations on Bach’s
works for solo cello, open strings droning against melodic lines, so
simple and perfect…” - Lee Ranaldo, New York City, August 2021

The latest from master editor Mr. K, a jazz-funk classic backed by a Philly sure shot!

Debuting in 1975, the jazzy RnB instrumental ‘Always There’ from original Earth Wind and Fire saxophonist Ronnie Laws was a hidden gem until Side Effect’s vocal version took off the following year, one of many cover versions to come (Incognito’s hit the pop top ten in the ’90s). Mr. K's edit streamlines the original, mimicking Side Effect’s distinctive horn stab intro and adding a DJ-friendly drums-only outro. With original 7-inch releases being either fragile styrene or unreasonably short, this extended vinyl pressing is very welcome.

A song that needs no introduction—coming from the very best there is—the O’Jays backed by MFSB! ‘For the Love of Money’ rides one of the most immense bass lines ever committed to wax and, while that would be enough to carry a track on its own (see the Armada Orchestra’s cover), here we have the talents of the timeless O’Jays vocals to top things off. Mr. K has found the perfect balance between the Lp and single versions, giving us the very best DJ-friendly 7" mix that should never leave your bag.

Small Great Things / Small Great Beats returns with a shiny yellow vinyl by Quadrakey - the Summer Vibes EP.

With SGB003, Small Great Things delivers a warm and groove-driven vinyl release from Quadrakey, featuring four carefully crafted cuts designed for both late-night dancefloors and sun-soaked daytime sessions.

The EP opens with A1 Good For You, bringing uplifting, feel-good house energy driven by a steady groove, playful details, and a warm bassline that instantly sets a positive tone on the floor. A2 Feel Alone follows on a deeper and more emotional tip, exploring hypnotic rhythms and moody atmospheres, perfectly suited for intimate club moments and late-night transitions.

Flipping to the B-side, B1 Dancing With You delivers a smooth and infectious flow built around rolling rhythms and subtle melodic touches, balancing elegance with dancefloor functionality. Closing the record, B2 Summer Vibes lives up to its name with sunny chords, relaxed grooves, and an effortless open-air feel, ideal for daytime sessions and sunset sets.

From hypnotic grooves to feel-good summer moods, SGB003 showcases a refined and confident production style, staying true to the Small Great Things philosophy: quality music, pressed on vinyl, made for DJs who value depth, groove, and longevity over short-lived trends.

A solid addition to any record bag, SGB003 captures the essence of modern house music with a classic touch, simple, honest, and effective.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

DE

Elektronische Klangreisen zwischen pulsierendem Techno, treibendem House und atmosphärischer Ambient-Electronica. Treibende Grooves, verspielte Beats und futuristische Effekte schaffen Kopfkino, Bewegung und positive Energie – perfekt für Dancefloor, Afterhour oder entspannte Hörmomente.

EN

The electronic sound goes from pounding techno to driving house and atmospheric ambient electronica. Driving grooves, playful beats and futuristic effects create mental images, movement and positive energy – perfect for the dance floor, after-hours or relaxed listening moments.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

The Scythe is a collective of rappers united around commonality in sound and skills as MCs, headed by ringleader Denzel Curry and including familiar collaborators A$AP Ferg, Tia Corine, Bktherula, & Key Nyata. Comprised of its five members and rooted within a budding scene of modern and cross generational hip-hop, The Scythe picks up the banded spirit of Denzel's foundational Raider Klan days while continuing his futuristic takes on old school regional rap (Memphis, Houston, Miami), heard most recently on King of the Mischievous South. Combining Denzel's energetic style with classically gritty, southern sounds, the project centers hip-hop's core across eras, paying homage yet ushering in a rising new guard.



a 1. THE SCYTHE | Denzel Curry Feat. TiaCorine, FERG (II)
b 2. LIT EFFECT | Denzel Curry Feat. Bktherula, LAZER DIM 700
c 3. PHONY | Denzel Curry Feat. Juicy J, Key Nyata, FERG (II)
d 4. MUTT THAT BIH | Denzel Curry Feat. 1900Rugrat, Key Nyata
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

10 songs from No You - the debut, self-titled LP by Davy Kehoe (Wah Wah Wino, IE) and Diego Herrera (Suzanne Kraft, US). Sharing both vocal and instrumentation duties, D & D venture somewhat off of their respective musical paths - with the collab throwing up a big, small-studio sound. They are maybe at their most melodic on ‘Baby’ where their voices play off each other over bent feedback and crunching drum machine. There’s a real low slung swagger to ‘So Far Gone’ and ‘Miracle Mile’ met with a blown out and blasted approach on songs such as ‘Invisible’ and ‘Side Effect’. The song ‘Put Up A Dream’ exhibits the duo’s more unhinged side.