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Following the success of his ‘Love Dub So’ EP, Nick Barber’s Doof project returns to Mysticisms, delving back to his earliest recordings of his ground-breaking Trance project, presenting tracks from his previously cassette only release ‘The Love Mixes’.

A youth that had captured the psychedelia of Pink Floyd, Gong, Hawkwind and on to Psychic TV, as a self-taught guitarist, his first trip to India and Thailand in 1989 and witnessing the early electronic dance music at the Full Moon parties, had seemed rudimentary in nature compared to musicality of psychedelic rock.

Returning to England, the electronic / rock crossover of The Shamen’s ‘Progeny’ parties – featuring DJs like Paul Oakenfold and Mixmaster Morris with the live acts of Orbital and Ramjac Corporation – offered something new that turned his head, before finally finding his crew in the legendary squat / underground Pagan parties. There, residents Lol and Yaz first played the new electronic Trance sound, introducing Barber to the music of Eye-Q, Dance To Trance and the hugely influential Pete Namlook.

Recorded between 1990 – 1991, while living in Cambridge to study Philosophy, these are the first versions of tracks that formed the basis of his debut EP on Novamute, in 1993. Working with minimal equipment – an Akai sampler, Roland monosynth, Yamaha delay pedal, all sequenced on an Atari black and white PC and single MIDI output and then recorded straight to an 8-track Tascam cassette multitrack – the exuberance and rawness of the music are full of the excitement and naivety of youth.

Never intended for public release or initially even as a demo, Barber would play the music off the Tascam multitrack for friends at after parties. Dubbing a handful of cassettes himself and personally drawing the covers, around a dozen cassettes were handed out to mates. Eventually one copy found its way to Mute Records, who were looking to launch their dance offshoot, Novamute. Re-edited mixes of Gift Of The Gods and The Nagual appeared on his debut EP and history was made, before Doof went on to release for luminaries like TIP Records and Dragonfly and a career touring the globe was launched.

Remastered from the original tapes, this EP offers a snapshot of that time, the energy and joy of these early recordings is clear and overwhelming. Where Ambient, House and Techno met the birth of electronic Trance that truly stand up some 30 years later as originals then and now.

Trance The Mystery.

For years, whispers circulated through the jazz scenes of Denmark and Poland - rumours of a lost recording session featuring the legendary Polish trumpeter Tomasz Stanko and a group of Scandinavian and Polish musicians. Now, nearly a decade after the session and seven years after Stanko's passing, these long-awaited recordings are finally seeing the light of day. The project originated at Vallekilde Højskole in Denmark, where Stanko was invited to teach at JazzDanmark's annual Summer Session. A storied program that has hosted luminaries including Bill Frisell and Anat Cohen, the summer school became the birthplace of this unexpected ensemble. Here, alongside a dynamic ensemble of young musicians, Stanko found renewed inspiration, embracing their compositions as much as his own - a rare occurrence for an artist known for leading his own groups. Scandinavian Art Ensemble with Tomasz Stanko is the result: two albums of expansive, deeply expressive music that merge the melancholic depth of Polish jazz with the spacious, atmospheric qualities of the Scandinavian sound. As trumpeter Tomasz Dabrowski recalls, Stanko wasn't just a mentor - he was an equal, driven by curiosity and the desire to push boundaries. "He wanted to play our music. He was always listening, always searching." Across these two albums recorded at The Village Recordings in 2016, listeners will hear Stanko's unmistakable tone interwoven with compositions by both himself and the ensemble members. Pieces like 'The Dark Eyes of Martha Hirsch' and 'Before the Rain' showcase not just his signature lyricism, but also his willingness to step back, listen, and let the younger generation shape the sound. Beyond his unmistakable sound, Stanko's influence was about energy - his presence elevated those around him. Bassist Richard Andersson put it simply: "He brings together the energies, and makes us all play better than usual." This project captures that essence: a legendary artist meeting the next generation on equal footing, creating something entirely unexpected. A decade after the session, the members of the Scandinavian Art Ensemble have forged their own paths, shaping the jazz landscapes of Copenhagen, Malmö, Reykjavik, and beyond. But the impact of their time with Stanko remains profound. "Releasing these albums is about more than just the music," D?browski says. "It's about preserving the spirit of Stanko - his generosity, his curiosity, his way of bringing people together. Even after all these years, his presence can still be felt in every note we played."

The second instalment in this long-overdue reissue series, newly remastered and re-cut from the original DATs. Originally released in 1992, this highly sought-after UK-style house EP returns to the relief of crate diggers everywhere.

‘Touch’ comes in three flavours—pulsing and hypnotic on the Button Mix, deep and swinging with pianos on the WC1 Dub, and somewhere in between via the High Society Mix. Flip it for the progressive, Juno-stabbed glide of ‘Could It Be’ (H&S Mix). Can you feel it? Of course you can. A proper essential from the golden era. More Discrete heat to come.

Backstory:

Ramona 55 was a side project and alias of the Foreman brothers—better known as The Thrashing Doves (yes, the same crew behind Paul Oakenfold’s Balearic classic mix of “Jesus on the Payroll”). This 12” saw their track transformed by Discrete Records, keeping only traces of Angie Brown’s original vocal and diving deep into the house.

We are delighted to welcome DJ Sneak to Industry Standard. An artist that needs very little introduction in the House scene… Since being the forefather of the filtered disco house sound in the early 1990’s with his releases on Cajual, Relief, Henry Street & Strictly Rhythm, and his production credits with Daft Punk, he has been a mainstay in the underground scene with his unwavering style. Little has changed in Sneak’s music in this time, as he always delivers his jackin’ signature sound on his productions or in his DJ sets. So we are delighted to have him on the label.

There’s no point is going into the usual track descriptions, these are just straight up DJ Sneak… Real House Music made for Real House People on Real House Music Dancefloors. Enjoy!

OiOiOiOIAiAiAiIAiÆÆÆÆÆÆIIIIII!!!! The new Cucum45 EP dares to speed off from the endpoint of the two previous outputs Something Weirdcore and Cyclops í poka and off the edge of the record at 1000km/h. With a hardcore opening track titled “IIIiiiIIiiiiiiiiiiiiiIIIIIIIiiiiiiiIIIIIiiiiiiiiIIIIIIIiiiiiii” (I added several more I’s in there for dramatic effect) that clocks with everything it needs to say at under 2 minutes, it’s safe to say that Cucumb45 aka Bjarki in this EP is WIDE AWAKE, YES!

Take “OpxThermin” – it’s straight up full-bore hardcore cartoon-pyrotechnics in overload, skipping and skedaddling over the turntables. Flipping out in a wild cocktail rush of hardcore ruffidge and smudged breaks that’s all smacked out on sugar frosted meth, listeners are gonna need some surgery to remove the smiley gurns from their faces. “Get Slothered 6even2” effectively can’t keep still as a track. From the collapsing rhythms and the pinging sound effects, it then decides what’s needed is a little bit of hip-hop flow in the background. Many hardcore rave re-treads (sorry, “deconstructed rave music”) often forget what this track seems to do at ease, and that is get you goddamn moving.

"Rathakrem" might have glitchy ambient Nintendo 90s vibe checks, but it is VERY un-chill. Stressed out hard drives grind to dust and distressed sounds of arcade dynamics mean that what you hear is the sound of Mario bricking it through all those haunted castle sections. Ironically the last track, “Crying Indian and Laser Horse” is the EP chill out tune, aiming instead for a nice, soothing, bottoms out disco-fister oompa-loompa warehouse techno track with auto-tuned cats, gunfire, orgasms, and
horses. A fine soundtrack for the morning commute!

CAM Sugar is proud to present the first physical release, on LP and double CD, of the original soundtrack to the TV series “MEDICI - MASTERS OF FLORENCE” (2016-2019), that received international praise following the Netflix distribution. The original score composed by Paolo Buonvino brings the Italian Renaissance back to life. The soundtrack mixes traditional instruments belonging to classical music (a common practice with historical dramas) with smooth electronic elements, allowing the listeners to take a journey of exploration through one of the most exciting periods of European history as much as into one’s intimacy.  The result is a score that is impactful and enjoyable for a broad audience, also thanks to the voice of Skin (Skunk Anansie), who performs “Renaissance” and “Revolution Bones”, respectively the theme songs to season 1 and season 2 & 3. The LP version offers a selection of the best tracks composed for the 3 seasons, while the double CD edition features the series’ complete soundtrack.

Peter Saville says of Sub-Culture "LABEL ONLY was specified in 1985 due to time pressure around the original release and as a consequence, a sleeve design for the re-release has no actual precedent. However, exploring the principle 'the solution is in the problem’ has led to the subliminal evocation of a sleeve that is still LABEL ONLY”.

Lemuria, the Hawaiian AOR project helmed by Kirk Thompsonian original member of the legendary Kalapanaireturns with a special 7" reissue featuring their a few of their favourite tracks 'All I've Got To Give' and 'Hunk of Heaven'. Thompson, a multifaceted talent as both a musician and producer, crafted timeless albums that captured the sun-soaked essence of island life. Originally released in 1978, Lemuria's music boasts top-tier production and songwriting, which has seen their songs covered by many artists over the years. Now, P-Vine revives two of their signature tracks on vinyl, offering DJs a dynamic slice of soulful, tropical grooves. 'All I've Got To Give' is a warm, melodic gem, while 'Hunk of Heaven' delivers a breezy, irresistible rhythm perfect for eclectic sets. This 45 is bringing the spirit of Hawaii's musical legacy back to the turntables.

Introducing the second release under the Statica imprint “MyCn18: Engraved Hourglass”

STATICA002 comes from Berlin-based artist Johannes Mai aka John Spring. John's productions have gained legendary notoriety over the past decade with his early releases revered for their timeless sound and experimental edge, whilst always keeping to a ritual of dancefloor compatibility. An influential artist who pushed the boundaries of minimalism and helped lay the foundations that have sculpted the sound of the present. It's a great honour to be releasing his first EP in over 13 years with 3 never before heard tracks from the mid 00’s.

“Train Ride” is an energetic A1 with pacey drums and a marching topline, while the A2 “Ravebehave” delves deep into spring reverb mastery and wavering synths. The B1 “Melodic Ten” begins with rolling percussion and uplifts with the whispers of enchanting vocals. B2 comes as a remix of Melodic Ten by Fabric resident and stand out London artist Harry McCanna aka Henry Hyde! stripping it back even further and introducing his own sinister synths, growling bass and groove-led drum patterns. It's a pleasure to have Harry featured on the release.

MyCn 18 is a young planetary nebula in the southern constellation Musca. It was discovered by Romano Coradi and Hugo Schwarz in 1991. MyCn 18's hourglass shape is produced by the expansion of a fast stellar wind within a slowly expanding cloud which is denser near its equator than its poles. The central star of the nebula is unknown.

Credits-:

A massive thank you to John Spring & Harry McCanna for their Contributions. Distributed by Deejay.de. Mastering by Justin Drake. Design and Curation by Alix

This 59 minute piece was conceived as part of a total environment for the exhibition Deus Ex Machina.



The project as a whole seeks to define and articulate the emotional, cultural and aesthetic manifestations of man’s uneasy relationship with technology. The music takes the form of a film score complete with stylized dialogue and actions.



During the 59 minutes four basic layers repeat in various configurations.The effect is to provide a template of narrative in which the pieces exhibited may become protagonists, situated in hypothetical scenarios which illustrate the contentions of Deus Ex Machina and the transmission of information.



Review:“Paul Schütze’s debut album from 1989 sets his stall out from the start; with a cyber update on Jon Hassell’s notion of ‘Fourth World Music”. Schütze’s music always sounds like it could be an alternative soundtrack to ‘Blade Runner’ (be aware fellow purists, I did state “alternative”), and this album is probably the perfect candidate if in some other dimension the Vangelis OST was no longer deemed satisfactory (such a dimension surely cannot exist). The listener feels like they’re walking through the rain soaked, neon-lit streets of a future LA with Deckard.” – Jay Harper

The double A sider of all double headers combines African music superstar Letta Mbulu's two evergreen heaters; the afro-electro boogie gem Nomalizo, a track that has achieved cult status among collectors and DJ's. Finally released for the first time as a single b/w Kilimanjaro Takes Us Higher, the singalong up-tempo dance classic there never fades. Previously unreleased on as a single together, these tracks have had spins aplenty by every DJ worth their salt, and danced to within a myriad of scenes, over many decades. You really need this in your life! Essential!

Daniel Monaco and John Noseda join forces for Alektra, a new project born out of a deep love for Hi-NRG and raw 808 sounds. Renowned for their dj sets, trips that delve into tropical obscurities, Chicago jack and Rimini romances, the pair have channelled a unique blend of untamed house and shimmering italo melodies into pure dancefloor euphoria. Their debut release, “Shake Your Body,” drops on Bordello A Parigi. Neon synthwork is punctured by clean punches of percussion, scaling melodies set firmly in the golden analogue era. Key stabs drive the track with Only Bee’s honeyed lyrics pushing the energy levels higher. In true 1980s anthem form, the flip is dedicated to the instrumental with the synthesizers and their hypnotic melodies taking centre stage: Alektra’s machines smouldering with fiery intensity. That same intensity closes, Only Bee’s mellifluous vocals given the limelight for the acapella close. Dancefloor definitions redefined. Welcome to Alektra.

AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?

If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.

Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.

Alfons Pich, 2025

Luxus Varta comes to Specimen Records with Magnetic EP, dropping six new tracks of intelligent and intricate electro.

With a discography spanning respected labels Solar One Music, Brokntoys, Trust, Klakson, and his own imprint, In Abstracto, Luxus Varta has solidified his reputation as one of the most distinctive voices in the electro scene. This release demonstrates further his knack for constructing complex, evocative tracks that work for the deep and dark dancefloor moments.

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

Moom Sound are delighted to present a 3 track EP of timeless Chicago house tinged tracks from the maestro Stefan Braatz; ‘Timeless Altitudes’.

Omnipresent on the Berlin scene, Stefan began DJing and producing in the 90’s, and is passionate about working in the analogue space with physical instruments – drum machines and synths – rather than computers.

Alongside friends, he organised underground parties on old demolition sites, as well as playing at legendary Berlin events like Tresor, Globus and Stellwerk.

With breakout releases on Nu Groove, King Street and Poker Flat, there are very few discerning parties that haven’t danced to Stefans beat.

“Timeless Altitudes” drops v soon on Moom Sound and it’s definitely one for the house heads.

Bruce returns blistered and ablaze, with three flame-licked, windswept and deadly dancefloor deities on 12” vinyl, for the second edition of Poorly Knit.

Following on from it’s daft and fisty older brothers on The Price / Mimicry, the raw power of wind and fire takes over on Belly / Burned Alive, as we are plunged into devastating sonic worlds, adorned in UK sound-system badness and Mother Nature’s vengeance.

Providing elemental catastrophe catharsis, through sound exploration, Belly’s steppas storm of wailing wind and clattering thunder is backed by Burned Alive’s soaring and demented UK garage inferno, to finally subside to the smoldering, dubbed-out vocal remains from Hot One (Chapped Lips Version).

With a continued emphasis on the importance of physical medium within dance music, the digitals are an abridged edit of the full release; Hot One is vinyl only and only on the vinyl can you hear the full mixes of Belly and Burned Alive. Pressed on eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves, each record is a unique shade of marbled storm grey. Cut loud at 45rpm, not only does this sustainable slice of dance floor mayhem come at an attractive price tag, you can rest assured that sound quality has not at all been sacrificed.

co:clear is overjoyed to welcome Jonnnah to its fold, with a new long-form 12” edition. Featuring Pavel Milyakov (aka Buttechno) right off the bat, ‘Me, With You’ is an album that grips its listener tight with gleaming electronica, off-kilter trip-hop and swampy bass.

With past offerings to Soleil Rouge and Second End Records – a label which he heads – there's a thread that laces all of Jonnnah’s work. Although never sticking to a definable bracket, the Lyon-dweller effortlessly floats through various tempers, peddling impeccable electronics as equally suited to colossal sound systems, as they are to solitary early morning walks in headphones. It's ambient for the foreground that surprises with flurries of two-step and amen breaks – present-day sonics that doff their cap to what’s come before.

Out on limited edition 12” vinyl & digital, 30th May 2025. Limited to 200 copies.



Credits:



Written & Produced by Pierre Paumier

Featuring Pavel Milyakov

Mastered by Ike Zwanikken

Lacquer cut by Pitchcraft Mastering

Artwork by Conna Haraway

Distribution by Rubadub

The Patchouli Brothers are best friends bound together by oddities. They share an affinity for the esoteric side of disco, house, and all other forms of soulful dance music. They hold down a residency at Beam Me Up, a disco night in Toronto & Montreal, and have had releases on some of their favourite labels like Defected, Nervous, Razor-n-Tape, Soundway, GAMM, Soul Clap, Star Creature, Pleasure of Love & Basic Fingers.

We are so stoked to have them join us here for their first release on Sosilly and our seventh vinyl release SSE007… Like Bond they delivered nothing short of pure class! 4 x absolute fire cuts that can turn any place upside down.

Drumcode veteran Oscar L joins forces with Metodi Hristov, a newer recruit to Adam Beyer’s revered techno label, for their collab two-track EP ‘Gravity’. Madrid’s techno/tech house maestro Oscar L has a long association with Beyer’s twin labels Drumcode (‘Again’ LP, 2023, + performing at DC events) and Truesoul inc. solo EP ‘Vulture’ (2022), Dosem collab ‘Aircargo’ EP (2023), ‘Yapper’ w. Max Styler (2024). As well as Adam Beyer, Oscar’s had support from Richie Hawtin, Nicole Moudaber, Joseph Capriati… and also released on Knee Deep In Sound, Stereo Productions, We Are The Brave et al. Bulgaria-based Metodi Hristov brought his unique techno sounds to Drumcode last year, with his debut DC 2-track EP ‘Build To Destroy’. Both tracks, title track and ‘Flatline’, were included in his Sept 2024 Drumcode Radio Studio Mix live from Sofia. With support including Carl Cox and Enrico Sangiuliano, Metodi’s career is swiftly up and coming. ‘Gravity’: the title track hurls itself into the fray with fast, heavy techno beats, reverb-rich growly hoovers, while a contrasting sweetly melodic chopped and processed female vocal holds its own against a dystopian dialogue between two sinister machines in dark, distorted, industrial juddering synth. There’s a lot going on, dark, powerful, and dance-demanding. ‘Up & Down’: full-on attack from the first nanosecond, with very fast beats, layers of percussion and a dark male voice intoning the title riff. An insistent, reverbing, ‘hammered strings’ synth melody competes with a melodic second voice, high and sweet bringing light to very dark shade. ‘D’you feel it now…’, you surely will.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes ‘Ele E Ela’, as sampled on Jay-Z’s ‘Thank You’, as well as some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove… Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Marcos Valle” was originally released in 1970 and features a dynamic musical backing from some of Brazil’s most gifted players. Hip-hop fans may even recognize the opening horn blasts of ‘Ele E Ela,’ sampled to great effect on Jay-Z’s “Thank You.” It includes some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove…

Originally released in 1993, the ‘Brown Album‘ defied expectations and had a significant genre and cultural impact - showcasing the duo's scope and ambition. It was also met with widespread critical acclaim upon release, with NME awarding it 9/10 in their review, and it was chosen as one of Mixmag’s “best albums of all time”. The album's blend of diverse influences and its rejection of conventional norms helped to solidify Orbital's reputation as The Godfathers Of Rave, expanding the horizons of electronic music beyond local DJ nights.

Over 30 years on, London Records re-release this genre defying album – loaded with 23 additional tracks - rarities and previously unreleased material, including ‘Live From the Limelight, New York 1992’. Also includes a hardback book containing unseen photos, a track-by-track by Phil and Paul Hartnoll + interviews and essays on the making of the album by esteemed music journalist Andrew Harrison, a slipmat and flyer recreations from the era.

Vinyl masters cut at half speed, to ensure maximum audio fidelity.

After a couple of years of silence, the Colombian label Insurgentes, operated by DJ Lomalinda and Verraco, and responsible for putting several South American sound explorers on the map to the world in the past decade, is back for one last release, one last dignified death: la última vez.

And for this last installment, one last album. ‘Fiera’ is the name of the LP that Seph wrote and programmed during 2022 and 2023. For us, his greatest work so far: an energetic and impulsive journey, it's an active listening that never stops, you can never trust the loop. 8 tracks that do honour to the Insurgentes catalogue and consolidate the sound of the celebrated and respected Argentine artist who has been in force for more than two decades, crossing the territories of techno, 90s IDM, dub and ambient. Tags that are masterfully captured and collided in the grooves of these 300 vinyls.

Today is both a happy and a sad day. But the feeling of contradiction has always been the main alkaloid of our artistic work and the result of our search for identity. Without Insurgentes there would be no TraTraTrax. Without Insurgentes, no platform would have been created for many of the dreams that today are a fact and that even dictate our future. We would like to thank all those who have been linked anywhere along the way with our sonic fiction, with our desire to build bridges, with our thirst to connect ass and mind.

Que la tierra te sea leve, querido INS

wiggle room is the long-overdue Blip Discs debut from pq - founding member of Nihiloxica (Nyege Nyege Tapes, Crammed Discs) and long-time label affiliate.

On the A-side, “igglewiggle” and “aliens!” augment UK styles to deliver two bassy heavy hitters. The more experimental B-side starts off very B2 with “ketty stepper anthem” and its wonked-out polyrhythm, before a stripped-back VIP of “aliens” closes the record.

Having made his mark as a core force behind Nihiloxica — the Bugandan-techno outfit whose explosive live shows earned global acclaim — pq now hones a functional club sensibility he first showed on Lapsus Records and his own label Spooky Shit.

wiggle room balances an adventurous energy with serious bass-weight, never stopping to stroke its proverbial chin even once. A definitive, forward facing statement that expands the peripheries of the dancefloor in an ever evolving UK bass-music continuum.

DJ Support: Chris Stussy, Dungeon Meat, Job de Jong, JambackFounded by Dennis Quin, Eardrums is all about timeless house music, deeply influenced by the sounds of the UK, US, and the Netherlands. Dancefloor-oriented and driven by authenticity, the label provides a platform for both established artists and emerging talent—no hype, just pure quality

The fryer’s on full blast – Pomme Frite welcomes the Parton Brothers to the kitchen!
Straight from Jolene Records, Danny & Mike make their Pomme Frite debut with a golden-crusted 4-track EP that could’ve rolled right off the Roule press back in ‘98.
The brothers serve up four slabs of vintage French touch – ‘Extraball’, ‘Gemini’, ‘Luniz’ and ‘The World Without You’ – each dripping with filter-funk, crunchy samples, and that unmistakable disco sizzle.
We’ve always had a soft spot for that authentic French sauce – and the Parton Brothers bring it homemade, hot, and with love.

Marking his first EP on Damian Lazarus’s revered Crosstown Rebels, OMRI. (pronounced “OMRI dot”) steps into the spotlight with ‘Nothing Wrong’—an infectious, immersive dive that traverses well beyond the dancefloor, laced with rhythm, tension, and soul. Dropping in June, the EP brings together a shimmering original, a hypnotic club-focused cut, and a peak-time remix from fast-rising US talent AYYBO.

Having already left his mark on the label with his remix of Jessica Brankka’s ‘Musk’, OMRI. now arrives with a statement of his own. The ‘Love Mix’ of ‘Nothing Wrong’ leads the release as a full-blown vocal anthem, layering captivating vocals over sweeping melodies and crisp percussion to create a powerful record destined for both club rooms and open-air settings. The ‘Club Mix’ takes a more experimental route—glitchy, stripped-back, and built for locked-in dancefloors and after-hours sessions.

AYYBO adds his own bold interpretation to the mix, injecting a darker, punchier energy that’s become synonymous with his releases on the likes of Experts Only, Insomniac, and HARD Recs. It’s a remix that captures the raw electricity of his sets while reimagining OMRI.’s original through a distinctly West Coast lens. An in-demand name, OMRI. has quickly carved a reputation for transcendental performances at some of the world’s most revered institutions. His sound, shaped across labels such as Hot Creations, Disco Halal, Haccabi House, and more recently through his own imprint Collecting Dots Records, blends deep psychedelia and hypnotic grooves with a forward-thinking approach, with past collaborations alongside Adam Ten, Moscoman, Yamagucci, and more. Set to feature regularly at Lazarus’ Hï Ibiza residency throughout the summer, expect standout sets that reflect his genre-blurring style and connection to the Crosstown Rebels sound as he serves up one of the label's most essential cuts of the year to open the summer in style.

A Haste solo release after a series of collabs and chucking in a bit of hardcore alongside the jungle.

Tek is a full on \'9294 style slammer. Ragga, amens, 808s. You know the drill by now. Send fi the body bag, tek out the dead!

Your Time is a wild mish mash of stomping kicks, crazy amens and discordant melodies all alongside vocals from a totaly random Jamaican movie

Rounding off the release with a melodic stomper, Come On mixes pianos, ethereal pads and a catchy vocal. One for the hardcore crew who like to mix their hardcore with jungle sounds.

New London-based label Plasticity Records hits the ground running with a hard-hitting, dancefloor-focused VA featuring four varied tracks, connected by a raw, propulsive sound thread running throughout.

Kicking off the A side is established Barcelona-based duo Nulek & Roto with Eternal Space — a stuttering, pitch-black techno/electro piece featuring an ominous vocal that sends shivers down your spine. Rounding out this side is Study Nights by Uruguayan talent Flhez, leaning heavily into the country’s rich musical tradition with plenty of spooky synths and rough analogue textures.

Over on the B side, Barcelona-based Romanian Mar.C delivers Not Normal — a tough-asnails, EBM-tinged techno number that’s sure to get any dancefloor moving. Last up is the broken and decidedly wonky Nuclear Era from Lima-based Venezuelan purveyor of all things percussive and leftfield, Acid Charlie.

Unsighted is the Brooklyn based project of Nicolás Sierra ,and Mutante returns with a new sonic manifesto: an EP that channels the rough energy of EBM, the analog sensibility of Minimal Synth and the hypnotic pulse of New Beat.

This EP is a distorted time capsule, where corrosive basslines, martial rhythms and analog synths coexist in constant tension. It is a statement without nostalgia but with retro DNA, designed for sweaty dancefloors, smoky basements and minds that vibrate on the fringes of the mainstream.

Foreboding EP is a collection of tracks that don't ask for permission, they hit you straight on, like a post-industrial alarm on eternal loop.

"Cosmic Love" is an EP by Neg, one of the co-founders of Metrica Recordings, and marks the label's second release. The project features original tracks that merge house foundations with electro, cosmic, and deep soundscapes, creating an expansive yet grounded atmosphere. Adding distinctive interpretations to the mix, the EP includes two notable remixes. Alex Neri's interpretation of Cosmic Love offers a more refined, dancefloor-ready version with driving beats, while Manuold explores a dub-inflected approach, emphasizing echoing textures and a deeper, more contemplative vibe. The original tracks were mixed by Manuold, the EP was mastered at MDLMastering.

Ohio'Ohio's James A Donadio returns to Diagonal via his StabUdown Productions moniker, delivering the hyper spiritual "Tinge of Ascension" 9 track LP. This album is about the beauty of building something new by surrendering everything once learned. It's the culmination of 12 months working with a reappraised creative ethos. Throughout the process, Jimmy's interest in Krishna Consciousness & Dharma Yoga was deepening. Both went on to become deeply infused in this music. All tracks are ethereal in nature. Tempos are varied and rendered irrelevant. Jimmy's masterful use of sampling is on display as ever but the samples do not overburden. Tracks vary in energy but a bracing spirituality unites them all. Bráulio Amado (who has recently worked with Frank Ocean and Andre 3000) and Guy Featherstone (Diagonal's own aesthete force of nature) unite once again to deliver sleeve art which perfectly renders the music's preoccupation with the search for inner peace and purpose.

Wir schreiben das Jahr 2025 und FEINE SAHNE FISCHFILET kündigen ihr neues Album „WIR KOMMEN IN FRIEDEN“ an:„Alle gegen alle, im Krieg mit sich und untereinander und natürlich immer exklusiv mit der alleinseligmachenden Offenbarung im Gepäck.

Jeden Tag passiert so viel, so viel Scheiße, so viel Dummes, aber auch immer die guten Sachen mit den Freundinnen und Freunden, der Familie, mit all denen, die noch nicht komplett im Arsch sind. Zeiten, in denen man sich nur umdrehen muss und einem die Idee für das nächste Lied an den Kopf geworfen wird. Und so erscheint am 30. Mai unser neues Album mit einer Menge neuer Songs. Wir kommen in Frieden. Das ist unsere letzte Warnung.“

Angetrieben durch ihren ureigenen Signature Sound - High Energy Melody-PunkRock mit Trompete – gelingt den fünf Musikern mit ihrem neuen Werk eine hinreißende Bestandsaufnahme und gleichzeitig Ausblick auf eine der ungewöhnlichsten Band-Karrieren der letzten Jahrzehnte dieses Landes, ein wilder Trip, der sie aus der vorpommerschen Provinz durch viele Irrungen und Wirrungen bis an die Spitze der deutschsprachigen Musikszene geführt hat.

Produziert wurde der Longplayer erneut von Philipp »Philsen« Hoppen, der auch schon bei Alben von Die Ärzte, Kraftklub, Deichkind und K.I.Z. seine versierten Finger im Spiel hatte.

Amsterdam natives Maarten Smeets and Lars Dales, aka Dam Swindle, unveil their third long-player with the release of a new track, the first to be shared from the upcoming album, ‘Open’ - out on 30 May 2025 via Heist Recordings.

The new album sees the acclaimed duo dive far beyond the deep sonic waters they’re most known for, exploring lower tempos, synthwave, hip-house, and ambient across fourteen tracks. With a gestation period that traces back several years, ‘Open’ is their most intimate and personal body of work thus far, birthed during a time of self-reflection away from touring and personal transformation as individuals.

“We felt the need to tell a very personal story through our music as a translation of our personal development in the past years. We also wanted to make music without a specific goal in mind; We simply wanted to create. By taking away the grid of dance music and any expectations of what a Dam Swindle song should sound like, the creativity started to flow naturally with songs in many different styles and tempos. The result is an album that feels refreshing and uplifting and still very much true to the heart and soul of our sound.” - Dam Swindle, January 2025.

While the trademark Dam Swindle four-to-the-floor beats are still ever-present on tracks like ‘The Present Is Always Perfect’, ‘I Need You’, and ‘Is This Love?’, it’s the gentle waves of synths on opener ‘Home’, the contemplative piano chords of ‘Bloom’ featuring Joep Beving, and the lo-fi ambience of ‘It’s Okay, I Can Wait’ that showcase a melancholic, ethereal sensibility previously uncharted by the duo. Collaborations with vocalists such as NYC’s Haile Supreme on ‘Not Enough’ and Neo-soul singer Faye Meana on ‘Girl’ expertly find room in between the dancefloor and home listening sessions, and a clear standout on the LP is the title cut where message-heavy rapped vocals from UK artist Samson ebb and flow amongst iridescent grooves.

Under the helm of Maarten and Lars’ adept A&R, their Heist imprint has become a beloved home for house heads of both schools old and new, platforming some of dance music’s biggest names from Cinthie to DJ Sneak as well as the musical dawnings of artists such as Kassian and Makèz. The Dam Swindle alias has achieved house music royalty-like status across a storied 15-year career that includes two critically lauded full-lengths, collaborations with the likes of Tom Misch and Kerri Chandler, and a globetrotting touring schedule. This album stands as their most profoundly personal work of art to date, and they can’t wait to share it with you.

An immersive long-form composition in two parts that seamlessly blends a collage of spoken word, field recordings and drones with elements of dub, jazz, fourth world and ambient music.

Son Of Chi is the latest project of Rotterdam-based multi-instrumentalist, composer and producer Hanyo van Oosterom. Van Oosterom’s prolific career spans multiple decades and genres; among countless projects he has been involved in, he is known for founding the Dutch ambient collective CHI in the early eighties, and in recent years for his prolific collaboration with CHI co-founder Jacobus Derwort as Chi Factory. Following Derwort’s passing in 2019, van Oosterom decided to close the CHI circle with the birth of Son Of Chi.

Sonically, the world of ‘We Carry Eden’ is fully immersive; it ripples with depth and shimmers in detail. Motifs, ideas and fragments, arise and disappear like passing thoughts, drawing the listener deeper and deeper inwards. For those familiar with Oosterom’s work as Chi Factory, the depth and meditative nature of the work will come as no surprise; however it is Oosterom’s skill with grooves that shines equally bright here; his infectiously dubby basslines and percussion rise up from the ether, grounding the listener to the earth. ‘We Carry Eden’ at times invokes the fourth world landscapes of Jon Hassell, (with whom Oosterom has collaborated) but as a whole, it remains the unique work of an artist fully in tune with their vision.

Thematically, storytelling traditions lie at the heart of ‘We Carry Eden’, with van Oosterom’s long-time collaborator Omar Ka playing a central role. Ka, who hails from the West African nomadic Fulani tradition of storytelling, responds to the collage of field recordings and sounds collected by Oosterom. His voice is woven throughout ‘We Carry Eden’, creating a narrative that binds the multiple sound sources of the album together.

As with much of van Oosterom’s musical output, inspiration is drawn from the Greek Island of Patmos and the wisdom and prophecies of the Native American Hopi Tribe. Since his work with CHI in the early eighties, van Oosterom has often incorporated quotes from Hopi Elders into his music. Gods, spirits, animals and humans, all existing in one unchangeable relationship tied to nature; ‘We Carry Eden’ is rooted in this philosophy, serving as a peaceful message of beauty, harmony and respect for the wisdom of the Elders and ancient traditions.

Sleeve art and design by Michael Willis.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world.

HERO U.D.A. aka Hiroyoshi Udaka is not someone you can easily google, but he’s sure lived a life worth retelling. His story starts back in the late 80s when, inspired by the acid house emanating from the UK — during what was fondly christened the Second Summer of Love — he picked up DJing and made the move from Japan to London. Throughout the 90s he DJed at underground techno institutions like London’s The End, CLUB UK and Silver Fish, as well as at the infamous Tribal Gathering raves, periodically returning to Japan to support techno greats like Colin Dale, Mad Mike, Suburban Knight and D. Wynn on tour.

The tracks on this EP, previously unreleased except for one, were all recorded after Udaka moved back from London to Tokyo, between 2002 and 2005. Yet they sound strikingly modern, drawing on a rich range of sounds that have come back round again two decades later: broken beat, acid jazz, dub and breaks. Deceptively simple grooves are given depth by layers of textures and micro samples, for example the surface noise on ‘On The Way’ that glues together an otherwise sparse skeleton of dubby pads and body popping drums. ‘Mature Missile’, ‘So Good’ and ‘Night Driver’ employ raw broken beat templates with acid accents, whimsical melodies and vocal interjections for a playful mood. ‘Sin City’ takes a darker turn, off-key piano hits and plunging bass adding to the wonkiness. The EP closes with a wiggly vignette, ‘222AM’, reminiscent of early 00s contemporaries like Mouse On Mars. Now these hidden treasures from Udaka’s archive gain a new life on SAISEI.

———

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Junki Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.


b A2. So Good Acid Funk

An artist whose reputation has long been forged by his engagement and musical exchange with local scenes and cultures from across the world. Quantic"s vast discography of electronic releases spans two decades, ranging from focused solo productions and intimate collaborations to expansive ensemble projects. Now, the multi-instrumentalist, DJ, composer and producer Will Holland delivers his DJ-Kicks compilation, which fittingly radiates friends and family energy. The mix bursts with unreleased exclusives and places the art of curation at its core, giving the listeners space to go and dig more of the songs and sonics which resonate the most. Will Holland includes a glistening breadth of new material, including new music from Quantic alongside another of his aliases Sobredosis, creating a mix teeming with vitality.

Showbiz! nennt sich MIKEs zehntes Soloalbum, das auf seinem Label 10k erscheint. Pitchfork bezeichnete es als "bisher größte Leistung des jungen Künstlers" und vergab das Prädikat "Best New Music". Es setzt neue Massstäbe für ihn und die teilnehmenden Zeitgenossen (Thelonious Martin, Salami Rose Joe Louis, Jacob Rochester, Anysia Kym, Harrison SURF GANG, ShunGu, Laron, redLee, u.a.), während er das nächste Kapitel seiner Karriere als unverzichtbare Stimme des 2020er-Jahre-Hip-Hop aufschlägt. Zur Unterstützung von Showbiz! startete MIKE seine bisher grösste Tour mit unzählig vielen Gästen, die ihn Anfang 2025 nach Europa führte (mit 6 Daten in DE+AT), von wo aus er über UK & Irland ausgiebig durch Nordamerika touren wird.

3volution in the recent past, Divide is like a bridge between old generations and new ones. Its sounds range from Sci-Fi techno to 90's techno, characterized by minimal sequences, heavy drum patterns, and an accurate sound design.
Third and last chapter for the VA vinyl trilogy on R3volution Records called

This edition includes exclusive tracks by the following artists:

- UVALL, from Tbilisi, Georgia. Born there and at the age of 23, he is no longer at the beginning of his musical journey and the refinement of his taste and style. Always on the cutting edge, he has been impressing with productions and releases on labels such as Semantica, WSNWG with Rohad, Float Records, Hayes, MALoR, and many many more. Already well known in our roster thanks to a previous collaboration for a remix, the talented young music producer delivers deep, muscular rhythms in his portfolio and translates this energy into a raw, dancefloor oriented session.

- Operator, there is no need to spend many words to describe one of the most talented and innovative British artists on the scene for a long time, recently appearing on

- Divide co-owner of EvodMusic and South Berlin Studio, with recent appearances on all the top labels on the planet (WarmUp, Semantica, MindTrip, Tremsix, Hayes, to name a few), and several collaborations and remixes for

- PTTRNRCRRNT aka Dave Brody from Antwerpen - Belgium. Characterized by efficiently percussion tunnelling through juggled textures, PTTRNRCRRNT's technical know-how and conceptual intentions can be masked by the efficiency and singularity of his music. Taking techno's tendency to constantly reinvent itself as a priority and researches between experimentalism and futurism. He is one of the artists with the most collaborations within our roster (some of his remixes are memorable), he alternates his productions on our label with frequent appearances on highly referenced labels in the scene, such as Soma, Materia and Devotion among others.

** Cassette release

""A Synonym for Repetition" weaves together a tapestry of parallels, all intricately linked to Japan. The project initiates with a collaboration with a Tokyo-based musician, which ultimately fails to materialise during Jason Kolar’s recent visit to the country.

From an original approach that has to mutate in its starting phase, the record was conceived from the beginning to embody a sincere homage to Ryuichi Sakamoto, also a Tokyo native. Shaping ideas within the context of a city with a vibrant soundscape, through an exploration where tradition and modernity intersect in an ongoing quest for correspondences.

Yet, the barriers of language and cultural disparity emerge, casting a veil over the perceived connections and rendering them more projection than reality. This dynamic delineates the space observed from an external perspective, perpetually distant from true understanding, framing it in the fields of imagination, both Japan and Sakamoto. Nonetheless, Kolar tries to pay an honest ode to the artist and its scenic background, with all the implications and contradictions of this kind of process, even with the risk of falling into clichés, pastiches, and Eurocentric bias.

Connecting it to ‘vertical listening’ rather than to an obvious tribute exercise, he has morphed his sound to a synthetic and midi approach, aiming to set an ironically fictitious stage, one that resembles something, but it’s not really it."

Ltd edition!

to rococo rot?s the amateur view (1999) will be reissued as a highly limited expanded edition, featuring 12 bonus tracks on an additional disc, a new gatefold sleeve with previously unseen photos, and liner notes by Jon Dale. The Amateur View is widely hailed as one of the definitive records of late '90s analog electronica. Released in the U.S. via Mute Records, it was named one of UNCUT's Albums of the Year in 1999 and perfectly captured the introspective, experimental mood of the era. The album's influence was far-reaching-so much so that Saint Etienne enlisted To Rococo Rot for their 2000 album Sound of Water. At the time, To Rococo Rot were the band of the moment-jetting across the globe to play the most cutting-edge electronica festivals, including wild WARP events where none other than Aphex Twin spun support DJ sets, The trio was invited three times by John Peel to record radio sessions in the BBC studios between 1997 and 1999. Bands like Modeselektor still cite them as key influences and pioneers. Stephen McRobbie of The Pastels, Mark Fell (SND), and Kieran Hebden (aka Four Tet) are all big fans-Kieran even remixed a track from their debut album so did Mira Calyx and Daniel Miller of Mute, a longtime supporter, and yes Björk is a fan too.

Positive Reaction is a vinyl-focused electronic music label founded by HMEHDI. Rooted between Tunisia and Berlin and looking outward to the global scene, the label aims to build a cultural bridge between North Africa and the rest of the world by spotlighting both local and international talents.
Drawing heavy inspiration from the raw energy of ’90s electronic music, Positive Reaction blends genres such as electro, breakbeat, techno, and especially trance — vibrant, nostalgic, and emotional.
Positive Reaction is more than a label — it is a timeless journey.

The third release on DMA delivers four high-energy cuts drawn from Data Memory Access’s 2024 touring set. Live Chronicles Vol. 1 captures the raw intensity and uplifting momentum of their performances—machine-driven rhythms pushing momentum with precision and power.

The notorious R-A-G team up once again on their homebase M>O>S to present four of their excellent acidic deephouse affairs. The whole squad featuring Aroy Dee, MaSpaventi and G-String giving a perfect representation of their long going Amsterdam studio sessions.

The Light Brigade is a new collaborative project from Belfast DJ and music producer, David Holmes. Shuffle The Deck sees David Holmes join forces with Keith Tenniswood (Radioactive Man/Two Lone Swordsmen), for a track that pays tribute to their friend Andrew Weatherall. This cut is aimed for hedonistic, sweaty nights on the dancefloor.

On Side two David works with Michael Andrews, who he previously collaborated with for his 2023 album, Blind On A Galloping Horse. This time we are treated to a swirling, sonic adventure that draws you in and takes you on a psychedelic voyage.

Uncover our 5th release.

This new VA brings together four artists who explore the expressive potential of sound design and instrumentation. From Olivier Romero’s powerful wavey rhytms to Luise’s sequences and minimal percussion, each track unfolds with meticulous attention to detail. Maik Yells adds depth through layered pads and haunting harmonies, while OneKnock fuses rhythms and deep substructures into a hypnotic journey. This release is a deep dive into refined electronic craftsmanship essential for those who appreciate sound as texture and storytelling.

DEENAMIC steps up with 4 deep hitters for Syncro65. Raw dubtech pressure,future echoes and machine soul straight outta Madrid. Don't sleep — this one's got that late-night basement grip

Francois Kevorkian (Wave) : The whole EP is nice, "HAL 2024" is the standout track for me on first listen.
Laurent Garnier : Lovely deep organic dubs
Jaye Ward (Dalston Super Store / Netil Radio) : synchrophone is rockin' 4 fab tracks moonbus is heavy!
Eddie Richards (Evil Eddie Richards) : 800 mistakes
Danny Howells (Dig Deeper) : Sheer quality .. all four sound ace and up my street. Especially HAL 2024
Luke Solomon (Classic / Freaks / Music For Freaks) : hot hot hot
Bake (All Caps/Rinse FM) : love! thank you
Marcel Dettmann : thx
Harri (Sub Club) : liking, will play and support
Domenic Cappello (Subclub) : nice release
Pat Hyland (Northside Loft Society) : Loving these deep and dubby vibes.
Colin Dale : Excellent EP. All 4 cuts rock!
Ame (Innervisions) : thanks

Amora Lamor is a project by Lithuanian producers Brokenchord and Munpauzn. Their debut release is a fun and ironic take on current electronic music trends. From disco to lo-fi breaks, from banging club sound to cinematic synthwave, this EP is an experiment of six fuzzed-up cuts delivered using synthesizers, guitars and drum machines.

His 2019 debut LP ‘For The Ones...' saw Yelfris delving deep into his Yoruba religion and its shamanic chants, subtly infusing those deeply personal elements with electronica and live instrumentation creating a beautiful pulsating soundscape. In purposefully mutating the acoustic sound of his trumpet he adds depth without losing his power and tenderness. Manifesting an adventurous and experimental shift in his composition, drawing on his classical training and love of jazz whilst at the same time delving further into the world of electronica. With the LP’s impressive palette of epic, cosmos-weaving trumpet melodies, fuzzy keys and psychedelic textures at their disposal, Quantic, K15, LCSM, Osunlade, Maxwell Owin, Contours repurpose and rework some of the album’s key moments, bringing an injection of dancefloor - friendly sensibilities to the proceedings.
With this offering, Yelfris’ incredible musicianship is re-contextualised for a new audience, making itself right at home on the dancefloors of the world.

Spirituelle Musik mit tiefer Resonanz, übertragen durch Klavier, Orgel und Harmonium von der geliebten Komponistin und äthiopischen orthodoxen Nonne Emahoy Tsege Mariam Gebru. "Church of Kidane Mehret" versammelt das gesamte musikalische Werk von Emahoys gleichnamigem Privatpress-Album von 1972 sowie zwei zusätzliche unveröffentlichte Klavieraufnahmen mit Emahoys ,Äthiopischer Kirchenmusik". Die Aufnahmen entstanden in Kirchen in ganz Jerusalem. Zum ersten Mal hören wir Emahoy auf dem Harmonium und der massiven, dröhnenden Pfeifenorgel, neben einigen ihrer bewegendsten Klavierstücke. Bei ,Ave Maria" hallt ihr läutendes Klavier gegen alte Steinmauern. Ihre vertrauten melodischen Linien erhalten eine neue Resonanz, wenn sie in ,Spring Ode - Meskerem" durch das Harmonium gespielt werden. Zwei überragende Orgelstücke bilden die B-Seite, die Emahoys klassische europäische Ausbildung mit ihrem lebenslangen Studium der äthiopischer religiöser Musik kombinieren. Nirgendwo ist Emahoys einzigartige Kombination von Einflüssen deutlicher als bei ,Essay on Mahlet", einem meditativen Dauerbrenner, in dem Emahoy die freien Verse der orthodoxen Liturgie Note für Note auf dem Klavier interpretiert. Dieses aufschlussreiche Stück stammt, neben der dramatischen Klavierkomposition ,The Storm", von einem anderen selbstveröffentlichten Album, "Der Sang Des Meeres" von 1963. Eines der einzigen bekannten Exemplare wurde vor dem Müll gerettet und von einer Mitschwester aus Emahoys Kloster am Rande von Emahoys Beerdigung im März 2023 an Mississippi Records weitergegeben. Die Vinylausgaben kommen im Oldschool Tip-On-Jacket mit metallischer Silberfolienprägung und einem 12-seitigen Booklet mit ausführlichen Linernotes des Gelehrten und Pianisten Thomas Feng.

2025 Repress

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

RAWAX welcomes Peter LC to the artist Family.
We couldn't imagine a better debut from this high rising artist from Italy.
A lovely mix of house/ italo disco. Highly recommended!

Welcome to the second edition of Era Specific Noise! This release sees the debut of three talented new artists to the label - there's nothing better than a good VA. With an audible sonic influence and shared appreciation for the originality and love poured into old-school techno, ESPN002 has something for every drum machine lover out there.

We kick things off with Toecruncher's track "Turnstyle", the first of two driving pieces of dancefloor-friendly techno that make up the A side. A classic 16th note bassline, strong percussion, and just the right amount of ear candy and ephemeral pads - this work practically mixes itself into your DJ set. The next output by label head Richardson "Situational Awareness" builds off this style and adds a growling, modulated synthline, a uniqueness which ensures its memorability and slot in your bag.

The clarity in production of B1 "Occhio per occhio" by Alfa Cornae is hard to put into words. There's a mountain of percussion in this hardgroove-inspired piece and yet, everything seems to have its own place - and those squelchy breakdowns don't hurt either. Rounding off the release is "Kintsugi" - a slamming, industrial yet ethereal piece by Andrea Crestani. We personally enjoy a release that tells a story, and this track has all the hallmarks and melancholy of an EP closer.

We hope you enjoy your stay with Era Specific Noise - New school old school.

Lo U is back with four fresh tunes, blending UK garage, breakbeats, and deep electronic textures. The journey begins with 'Transitus', a fusion of UK garage rhythms and a heavy neurofunk bassline. Closing the A-side, 'The Green Planet' delivers a classic 2-step groove with a twisted breakdown. On the B-side, we find a newly refined version of the label's classic 'Platus Karma'. The record ends with 'Eresia', a live-recorded, studio-mixed tune exploring vast electronic landscapes and broken beats.

Greetings, the producer known for blending captivating electronic sounds with heartfelt storytelling, steps into the spotlight with his debut album, Dance Music For Elsewhere. Featuring original vocals and analog textures, the album is an electrifying journey through love, life, and beyond.

Donald’s House transforms Greetings’ track My Paradise into a dreamy Australiana dub mix, with rolling basslines and echoing M1 keys that transport you straight to the bush. Meanwhile, Romain FX delivers a monumental seven-minute reimagining of the album’s lead single, End of the Night, featuring Naarm-based vocalist Indigo King. This remix captures the essence of dancefloor romance, taking listeners on a journey through the night. This vinyl-only release marks Volume 1 of the Dance Music For Elsewhere remixer series. With limited pressings available, don’t miss your chance to escape into your own paradise.

Here is the next vinyl release of The Relic.
This one is limited to 100 pieces and all of the pieces are numbered and contain hand made special effects!

Here we go with the 3rd vinyl release of Wicked Records.

Available in green and black vinyl

When Omar J Neri sent us the DAT with a white sticker marked with the date “26 January 1996” and some psychedelic drawings, we were quite astonished. Even more so when we listened to the incredible material inside the tape.

In 1996, Roby J was probably at his best, playing constantly in clubs like Insomnia, Imperiale, and Ashram, as well as Alex Piacciafuochi, the mind and owner of one of the studios (Alex Midi Studio) that defined the Tuscan progressive sound.

At that time, Omar J was a young talent building his reputation around the best clubs in the region. It was a fertile period for him, leading to his first release: "Primitive Pulsar".

Roby and Omar’s distinctive leftfield touch can be heard in these two long, slow-evolving, and structure-changing tracks. Truly two steps ahead and forward-thinking!

Unfortunately, Roby left us too soon in 2014. With Omar’s help, we are extremely honored to continue his important legacy and lucky enough to open their archives. More is yet to come… in loving memory of Roby J.

Mastering by Charles Accarisi Artwork by Paulina Wróbel

Belgium's iconic DJ and producer, Yves Deruyter, who celebrates his 40th DJ career in 2025, makes a triumphant return to the music scene with the much-anticipated remaster of his seminal second album: "2001".

Renowned for his pioneering influence on techno and classics, Deruyter's re-release is packed with timeless tracks, including the unforgettable anthem "Back To Earth" and also including but not limited to: "Music-Non-Stop", "Rhythmic Bazz", the much sought after Transfusion and as a special bonus "Born Slippy".

Available in an exclusive 2 x 12" vinyl release, collectors and fans alike can choose between a special light blue edition, limited to 500 copies, or an ultra-limited faded smoked black-to-transparent white 180-gram audiophile version, limited to just 200 copies.

Each version comes repackaged in a stunning, redesigned sleeve, making it a must-have collector's item for true enthusiasts. Don't miss the chance to own a piece of techno history!

Double trouble from the depths with this audacious edit package taking in two ultimate, belt from the bottom of your heart classics. Reworked, reloved and revamped to provide maximum dancefloor elation. Two big, bold edit beasts to help you break on through to the other side.

This Biscuit is built for the bold. Brimming with attitude, four trippy, hard-hitting productions. No filler here - every track a peak time head-turner.

Opening the A-side, we have France’s BOOH, co-founder of BOOOoo! Records. Seamlessly blending rich EBM, techno and electro influences, Hidden Between Two Ferns is an ever-evolving weapon, pulsating with intrigue and intensity.

A2 brings some straight-up electro business from Argentina’s Micro.Tron. Rhythm focused with a dark essence, Microclima Robot hits hard and commands attention.

At B1, the devastatingly epic Then I Dropped It, masterfully delivered by longtime label friend JJ Fortune. Signature sounds from this hugely talented artist.

Closing out this powerful piece of plastic, Vloon steps up with a growling, menacing electro weapon - raw and unrelenting.

As always, this is a strictly plastic affair. No digi release, not ever.

“To Model Phenomena” is a scientific concept that describes a computer’s ability to emulate, regardless of whether the emulated phenomenon exists outside its circuits or is purely imaginary.

Modeling communication platforms enables us to interact with each other or with computers. Modeling behavior patterns, nuclear fusion, or, as in the case of scientists from the Human Brain Project, a virtual human brain, allows us to simulate cognitive processes such as perception, memory, and decision-making, providing insight into the nature of human thought.

In this record, the phenomena modeled are those moments when the mind leaps into the void, confronting new paradigms. For instance, when science, art, or mass media introduces new information, propelling us into a transformed reality.

From this starting point, European musician Shifting Heigo maps a path between realities, evolving his narrative as his music unfolds. This work draws inspiration from Curtis Roads (vice chair of Media Arts and Technology at the UCSB) and his studies on granular synthesis and time scales, where each track on To Model Phenomena evokes a sense of movement, where nothing begins or ends in quite the same way.

A musician with strong ties to new technologies, Shifting Heigo has collaborated with the University of Málaga (Spain) in its PH Degree Program in video game design, composing interactive music, while also singing as part of the tenor section in the Qatar Concert Choir, affiliated with the Qatar Philharmonic Orchestra.

Currently based in Abu Dhabi, he is now part of a circle of electronic musicians surrounding the New York University Abu Dhabi, an institution that supports electronic and experimental music across the Middle East.

To Model Phenomena is the result of his search for a unique voice as a musician, where ternary rhythms, noise, and silence shape the narrative. This is a discourse from a musician’s perspective on the changes that science, technology, art, and the rapid flow of information demand of us. A direct gaze into the fear of change.

It was 1993 when Insight last released on the iconic Strictly Rhythm imprint. Terrestrial Funk brings you their first fresh output in three decades. Perfect house productions hot on the heels of their highly acclaimed V4 Visions comp on Numero Group. The four track EP gives you three unique house cuts with Ashaye’s ethereal vocals and an unreleased dubbed out downtempo version of their beloved anthem, ‘What Is This World Coming To?’.

Auntie Flo finds a natural home for OUTERNATIONAL DANCE on Multi Culti Throughout his long career in music, Brian d’Souza aka Auntie Flo has made a name for himself for his adventurous and open minded approach to music making. Travel and collaboration is key to his work, and over the course of four albums and various singles, he’s showcased music made in Cuba, South Korea, Uganda, Brazil and more, often fusing long standing musical traditions, field recordings and artist collaborations with a modern production techniques. As Auntie Flo, he has bridged not only cultural gaps as a Scottish-Goan in hybrid genres like Afro-disco, Indian Classical and Dub-Techno, but recently crossed over into bioelectrical music, with his Plants Can Dance, Mushroom Music and full-blown ambient psychedelica all housed under his A State Of Flo label and Substack. Outernational Dance helps define this expansive sound with a set of tracks that brings dance culture back to nature, inspired by ‘Esperanto’, a form of universal language created by L. L. Zamenhof in 1887. The notion of music as the universal language has always been at the heart of Auntie Flo’s practise and makes this new EP a perfect fit for the boundary dissolving reverie of the Multi Culti ethos: pointing the way to a better world, borderless, free and in symbiosis with nature.

After the success of our first release, UR2wo’s Move Me (including Blame’s legendary Shadow Mix on vinyl) and continued support from big names in clubs and socials, Break-The-Future returns with a new signing: Nathan Cable. A veteran of progressive house, Nathan gained recognition as part of Tenth Chapter, with tracks like Wired on William Orbit’s Guerilla Records in the 90s, supported by DJs like Sasha, Pete Tong, and Dave Seaman. Now back under his own name, Nathan offers a modern blend of intelligent breaks, with a rich, emotional sound that fits alongside Ninja Tune's style. His new tracks are already getting support from John Digweed on Transitions Radio Show.

The release kicks off with Nathan's Innocence featuring the All Tribes Mix, which blends lush pads, whispering arps, and gated vocals. Nathan’s Gyroscope Mix follows with a deeper take, built on rubber bass and rich keys.

For the remixes, we bring Northern Ireland's Richie Blacker, who ramps up the BPMs for the club with a spacey, synth-driven journey.

Last but not least, we have legendary rave innovator Nookie, who offers two remixes: the nostalgic Speed Remix, channeling 90s rave, and the darker Not So Innocent Remix, reminiscent of London’s Rage. Essential!