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Jorge Gamarra and D’Marc Cantu - two true hardware heavyweights - come together for a split EP, marking the sixth release on Zonate.

Jorge Gamarra takes the A-side with two emotion fuelled productions. Eleven Minute Shrink opens - an instantly memorable, ear-worm melody underpinned by driving electro. A standout production with real versatility. This is followed by Prolonged Grief Disorder, a more textured and immersive piece, with tension conveying a real sense of raw emotion. D’Marc Cantu handles the B-side. Based on the outskirts of Detroit, and with over two decades of stellar releases behind him, he delivers two tracks written between 2019–2020.

Haystack explores the proverbial needle-in-a-haystack - a peak-time weapon that toys with chaos through rising energy and chopped vocals, before pulling itself back into tightly controlled club pressure. Closing the record is Madripoor, a deeper cut built around floating synth lines, capturing the essence of electro’s golden era.

Introducing The Hard Line is available on translucent green vinyl
Neither Fish, Nor Flesh is available on red coloured vinyl
Symphony Or Damn is available on gold coloured vinyl
Vibrator is available on blue coloured vinyl
JUST 400 AVAILABLE IN UK!!

180 gram audiophile vinyl, Newly remastered audio, processed at Artone Studio, approved by Sananda Maitreya
Anti-static black poly lined inner sleeves, Deluxe heavyweight sleeves on uncoated paper
All 4 albums include separate inserts with brand new introduction liner notes written by Sananda Maitreya
Box set is a limited edition, Hype sticker
Sananda Maitreya proudly announces “JUVENILIA : The Columbia Years”, a meticulously curated 4-LP box set bringing together
his first four groundbreaking albums, originally released between 1987 and 1995 Introducing the Hardline, Neither Fish Nor Flesh, Symphony or Damn, and Vibrator.
Set for release on February 6th, 2026, JUVENILIA mark the first time these iconic works have been remastered and presented together on
premium 180-gram vinyl, complete with restored artwork and new liner notes by Sananda.

Produced in collaboration with Sony Music UK, Music On Vinyl and Treehouse Publishing, “Sananda Maitreya’s JUVENILIA : The Columbia Years”,

pays tribute to a pivotal creative era that helped redefine the sound and spirit of modern soul, pop, and rock in the late 1980s and 1990s.

2026 Repress

Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles—it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius. Add Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Colin Edwin and Vlastur’s serious basslines, and the
result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.

Back in 2022, Is It Balearic? Recordings founders Coyote (AKA long-serving producers Richard Hampson aka Ampo and Timm Sure) took time out from releasing music on their own labels to deliver a near perfect mini-album on Phil Cooper’s similarly mind-ed NuNorthern Soul imprint, Everything Moves, Nothing Rests.

A superb exploration of their trademark sound, where gentle downtempo rhythms and nods to dub came cloaked in colourful ambient chords, sun-bright melodic motifs, organic instrumenta-tion and quirky spoken word samples, Everything Moves, Nothing Rests deserved a sequel. So, three and a half years on, the duo has delivered just that: a fine six-track EP that offers an even deeper and more atmospheric exploration of their signature sound.

It is a sonic approach that should now be familiar to Balearic en-thusiasts the world over. Aside from delivering a steady stream of singles, albums and remixes on their own imprint, Hampson and Sure have also showcased their skills and loved-up musical mis-sives on International Feel, Music For Dreams, Needwant, MM Discos and Citizens of Vice.

The Higher The Sky, The Deeper The Ocean, their hotly anticipated NuNorthern Soul return, is named in honour of a quote from Ped-ro Alonso’s documentary series On the Ship of Enchantment, an extended voyage in which the Money Heist movie star meets healers and masters of ancestral medicine across his native Mexi-co.

There’s naturally a meditative and slightly psychedelic sound to much of The Higher The Sky, The Deeper The Ocean, which offers a subtly varied exploration of Coyote’s style and influence. Yearning, soft-focus opener ‘Muted Beauty’ – the kind of immersive, effects-laden and sample-sporting ambient bliss found nestling on Fila Brazillia albums of the mid 1990s – is followed by the similarly gentle ‘Go All The Way’, where delay-laden acoustic guitars, spo-ken word snippets and gaseous chords stretch out atop a languid, slow-motion groove.

‘A Drop in the Ocean’ picks up the pace a little via a glorious hat-tip to turn of the 90s ambient house – all dub-wise bass, heady deep house sonics, spaced-out chords and half-buried references to sunrise-ready Balearic synth-pop records of the late 1980s. Late psychedelic guru Terrence McKenna appears in sampled form on ‘Dolce Far Niente’, a tabla-driven drift and musical hallucination which conjures mental images of lying in the Mexican desert, gazing intently at a starry sky.

In contrast, ‘Riviera Sound’ is a chunkier, brighter and more sun-splashed affair – all deep, dubby bass, sustained piano parts, punchy downtempo breaks and the duo’s trademark ambient pads – while superb closing cut ‘No Coincidences’ fixes jazzy double bass samples, twinkling keyboard motifs, subtle acid lines and Latin-laced percussion to a street soul-adjacent beat.

Heady, impeccably crafted and thoroughly enveloping, The Higher The Sky, The Deeper The Ocean is Coyote at their dazzling best. It marks another significant chapter in their ever-evolving musical journey.

King Street Remixed – Dam Swindle revisits classic material from the legendary King Street Sounds catalogue, with Dutch duo Dam Swindle delivering three fresh interpretations of timeless house cuts.

Featuring vocals and productions from house mainstays Arnold Jarvis, DJ Pierre and 95 North, the EP blends classic King Street with Dam Swindle’s signature deep house sound.

Warm basslines, musical chords and groove-driven drums give these remixes strong crossover appeal between soulful house fans and modern deep house DJs, with all three cuts built for dancefloor play.

Importantly, this marks the first time these Dam Swindle remixes have been available on vinyl, making the release appealing for both DJs and collectors of the King Street catalogue.

Born from Amsterdam’s intimate dance night, Notturno now steps into a new phase as a record label. Simon Paw unveils the debut release on his new imprint with Inner Space, a deeply personal two-track EP that sets the tone for the label’s sonic identity.
The title track, “Inner Space,” is an introspective and atmospheric journey rich in texture and feeling. With additional keys by Marco Airaghi and expressive flute and saxophone from Maurizio Moscatelli, the track unfolds with haunting elegance and organic warmth.
On the flip, “Eternal Sunshine” reveals a deeper, spiritual side of Simon’s production. Warm grooves carry evolving melodies and delicate piano moments, creating a track suited for immersive dance floors and reflective listening alike

2 x LP Red & Blue (Half & Half Effect) Vinyl in Gatefold Sleeve

The Bloods and Crips’ debut Bangin’ on Wax (1993) — which we reissued in 2023 to an incredible reception — inspired us to dig even deeper into this iconic catalogue. The follow-up, The Saga Continues, originally dropped only on CD in 1994. Now, for the first time ever, we’re proud to bring it to wax — pressed on solid Blue and Red vinyl, of course. This concept was a pivotal moment in West Coast gangsta rap, uniting members of L.A.’s two most infamous sets. Crips from Compton, Watts, and Long Beach, and Bloods from Inglewood and Los Angeles auditioned for the project, with the sharpest MCs selected for the final lineup. All proceeds from the original Bangin’ on Wax album went toward improving local schools and parks for the community’s children. Over 30 years later, the lone CD pressing regularly fetches £50+ on the secondary market — and now the album finally arrives on vinyl. Sleeker in production and delivery, this record carries that true G-Funk swagger, tipping its hat to Warren G, Snoop, DJ Quik, and even Dr. Dre.

Evighet proudly unveils its fifth release, EVIGHET005, featuring the Sky City EP by Dave N.A., the prolific producer from Yerevan known for his refined sound design and emotionally resonant compositions. With a catalog that spans labels such as Typeless Records and Uppers & Downers, his work continues to bridge precision and sensitivity, exploring the borders between rhythmic architecture and ambient introspection. On Sky City EP, Dave N.A. constructs an intricate sonic landscape where lush atmospheres coexist with fractured breaks and IDM-inspired rhythms. Rooted in the traditions of Jungle and Breakbeat yet unbound by genre, each piece reveals a narrative built from texture, movement and space. His music invites reflection while maintaining a dynamic forward energy, evoking the sense of motion through memory and dreamlike transitions. A central moment in the release is “Bloom”, which features a collaboration with Hayk Karoyi on flute. His performance adds an organic depth and melodic fluidity, weaving through electronic layers with warmth and clarity. The result is a delicate interplay between human breath and machine pulse, blurring the boundary between the natural and the synthetic. Sky City EP marks a new chapter for Evighet, reaffirming the label’s dedication to sound as a medium of exploration and storytelling. Through this release, Dave N.A. captures both emotional immediacy and compositional detail, expanding the label’s evolving narrative with a vision that feels deeply personal yet universally resonant.

In 2025, Off The Grid celebrated 10 years of existence, throwing several events throughout the world.

It's now time to put a seal on these celebrations with a curation of music, gathering old and new faces orbiting the OTG galaxy, divided into two compilations.

For Part 1, deeper and deeper we go, focusing on delicate aesthetics and dubby grooves, trippy sounds and dreamy atmospheres. A soundtrack for early mornings and initial stages of the night.

Off The Grid was born around this sound and this is a tribute to it.

Part 2 will be announced in Spring.

Stay tuned!

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Mastering & Lacquer Cut by Marco Pellegrino at Analogcut Mastering Studio Berlin
Graphic Design by Guillaume De Ubeda
Pressed at Mother Tongue in Verona

Regal delivers his first full EP on Backspin, marking a defining moment for the label he founded. More than just another release, the Forgotten Heroes EP captures the essence of Regal's vision: groovy, forward-moving techno that balances raw club energy with atmosphere, emotion and narrative.

The title track 'Forgotten Heroes' sets the EP in motion with a sense of controlled urgency. A rolling, slightly breaktinged groove pushes forward relentlessly, while an eerie, almost nostalgic synth melody hovers in the background, giving the track an emotional pull. 'Concentrate' shifts the focus inward_ bleeping motifs, tight claps and restless hihats circle around spoken fragments that feel like thoughts caught between the peak of the night and the quiet hours before sunrise.

On the B-side, 'Forte' accelerates into pure momentum: sharp, bleep-led sequences and forward pressure combine into a rush that feels like racing through the city at night. 'Soft Killer' deepens the mood with a darker, dominant edge, its stripped back power and razor-sharp sounds cutting clean through the mix. Closing track 'Wild Magic' offers a final release of tension, slowing the pace into a lighter, more house-leaning groove. Warm pads and a catchy, uplifting melody bring a sense of air and openness, letting the EP drift out on a hopeful, almost euphoric note.

Regal's comeback EP 'Forgotten Heroes' stands as a personal statement and a cornerstone release for Backspin. It's techno built on groove, contrast and character, made to leave a lasting impression on the dancefloor.

Ayô Dele — which means "joy comes to me" in Yoruba — is neither a slogan nor a promised miracle. It is a breath of fresh air. That of an album born in the interstices, where the word find their way between shadow and light, between the disorder of the worldand the impulse to be .
At the heart of the project, Julien Gervaix and Damien Tesson, multi-instrumentalist beatmakers, share a groove language that is both dense and airy, where every detail breathes and finds its place.
With background in Afrobeat, Dub, Funk, Soul, Roots Reggae, and Electronic Music, they treat the studio to be their playground. Their music is a hybrid groove that speaks to the body: round or bouncing basslines, brass oscillating between melodic warmth and funk energy, textured guitars, arpeggios, enveloping Rhodes, clavinet that slides, presses, and embraces. Everything comes together with precision and flexibility, in an inventive and warm composition. The meeting of their experiences and sensibilities gives rise to open, generous music, made for dancing and vibration.
With Ayô Dele , Ireke is embarking on a new chapter: the duo is refining its style,allowing the voices to breathe. The groove remains the driving force but opens up to intimacy. This intimacy is carried by two unique female voices: Nayel Hoxo, a Beninese-Nigerian singer/rapper, and Agnès Hélène, who has already made a name for herself on Tropikadelic with "Petit a Petit". They don't sing side-by-side; they coexist, respond to each other, and sometimes intersect. But each follows her own path: Nayel, with the power of her words in Yoruba, offers songs of elevation, healing, and resistance — a light born in the cracks Agnès explores these cracks themselves: what wavers within us, what reinvents itself in bonds, glances, and gestures.
For one track, Olivya (Dowdelin) joins this dialogue in Martinican Creole. Her sunny soul sketches the contours of gentle resistance and celebrates rediscovered light.
Ayô Dele embodies a quiet yet radical determination: to smooth nothing over, to let plurality, contradictory emotions, and mixed heritage live. An album that moves forward through vibrations, that speaks of emancipation without slogans, love without clichés, anger without uproar.
Two women, two inner worlds: a sensitive complicity, a shared breath. Music that seeks not effect, but echo, weaving a living soundscape between reinvented traditions and contemporary textures. An alchemy faithful to the spirit of Underdog Records, where music unites and brings people together. Ayô Dele : "joy comes to me." A lucid joy, crossed by shadows, patiently regained. Music that welcomes, releases, gives, and in doing so, makes us feel good.
In a saturated world, Ayô Dele chooses nuance: transmission without emphasis, joy without naivety. An album that vibrates more than it demonstrates, that connects more than it imposes, and which, in its quiet clarity, resonates with a deep desire to be fully alive.

LP Gold Galaxy Vinyl in Picture Sleeve

A Balearic holy grail reborn — Miguel Tur’s Junto Al Mar captures Mediterranean sunshine through a lens of synth-pop, jazz, and gentle soul. Originally released in Venezuela in 1981, it’s become a favourite among collectors of breezy, coastal grooves but selling for over £150 for an original. For Record Store Day 2026, Deja Vu Kid presents a Deluxe Edition, Remastered with archival photos and liner notes from Micky Browne. Pure escapism and emotional warmth — the perfect soundtrack to RSD digging adventures. "Galaxy" Gold Vinyl, Remastered, Reimagined Sleeve.

Channels Of Love, the collaboration between Italian duo's Dirty Channels and Eternal Love present their first original release from Dirty Channels featuring Ethiopian-Dutch singer Minyeshu and a remix from Dionisos...

With Harmony, Dirty Channels mark the first official original release on their new imprint Channels Of Love, founded together with Italian duo Eternal Love. Born as a platform for edits and reworks, the label now evolves into a broader vision rooted in global grooves and club energy.

Featuring Ethiopian-Dutch singer Minyeshu, whose spiritual and emotive voice bridges African traditions with contemporary sounds, Harmony blends percussive drive, warm basslines and hypnotic arrangements into a powerful yet soulful peak-time record built for connection.

The release also includes a soulful remix by Dutch producer Dionisos, delivering a deeper, housy reinterpretation while preserving the essence of the original vocal.

With this debut, Channels Of Love sets the tone for its future direction: alternative club music rooted in authenticity, where edits evolve into original productions and the dancefloor becomes a space for shared energy and unity.

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

AN INSTANT CLASSIC FROM ANORAX.

GARDEN OF EDEN becane an instant sensation via white label promotion copy plays,

It instantly picked up support from radio stations Mi-Soul (instant playlist), Panacea, Solar and Starpoint, became Terry Jones breakout record at the recent Southport Soul Weekender and had Modern Soul DJs begging for a copy,

A special reaction to a very special record. Produced by veteran House Heads Phil Hooton and Mark Gamble, the duo have created a monster track that straddles Soul, Jazz and House. Commentator Yogi Haughton highlighted the “ambiguous nature” of GARDEN OF EDEN as it merges Soul and Jazzy House.

The bedrock of the track is a newly recorded (with ace musos lured into the recording studio) version of Mezzoforte’s Iceland jazz-funk classic GARDEN PARTY.
Phil and Mark then composed a brand new composition to go over the top of the track,and to regally complete their new concoction got UK Soulful House royalty vocalist extraordinaire Pete Simpson to sing it. And what a performance Pete delivers!

There’s two equally beguiling mixes - on the a side the 4.37 Vocal Edit V.3 With Horns edit and flip it over for the 4.34 Vocal Trombone Mix - on this 7” single.

First press is 300 copies only.

In the spring of 1977, Millie Jackson was in Muscle Shoals, Alabama, laying down tracks for what became “Feelin’ Bitchy” with co-producer Brad Shapiro. Released in August 1977, the album reached #4 and #34 in America’s Billboard’s R&B and Hot 100, going gold with over 500,000 copies sold. Jackson’s cover of ‘If You’re Not Back In Love By Monday’ – already a hit for Merle Haggard in March 1977 – also reached #5 R&B and #43 in the Hot 100 in August. Although the album did not chart in the UK, “Feelin’ Bitchy” sold strongly to a dedicated fanbase who had voted her the #1 female singer in the Blues & Soul magazine annual poll. Jackson also performed much of the material on her sold-out UK dates in early 1978.

“Feelin’ Bitchy” was not only a commercial success, cementing Jackson’s no-nonsense reputation, but is now considered an all-time classic. Her rap on Benny Latimore’s ‘All The Way Lover’ stretched the original out like chewing gum to 10 minutes. “’Back In Love By Monday’ is a great song an’ that,” she told Black Echoes, “but it didn’t sell the album. ‘All The Way Lover’ sold the album.” Indeed it did, but other tracks like ‘A Little Taste Of Outside Love’ ‘Lovin’ Your Good Thing Away’, ‘Cheatin’ Is’ and ‘Feelin’ Like A Woman’ show that while Jackson’s tongue – front and centre on the LP cover – was always ready to hand out a lashing, it also helped her sing beautifully.

Ace are delighted to reissue “Feelin’ Bitchy’ on vinyl and Millie Jackson spoke to Ian Shirley about the recording of the album. This interview runs on an inner sleeve along with classic photographs of Jackson from this period.

DJ Support: Ashley Beedle, Phil Mison (Ibiza legend), Nick The Record, Kenneth Bager (Music For Dreams), Ross Allen (NTS, Worldwide FM), Simon Dunmore, Cedric Woo (Beauty & the Beat), Ban Ban Ton Ton, The Mighty Zaf (Love Vinyl), Femi Fem (Young Disciples), Jay Negron (NYC legend), Bruce Forest (Better Days, NYC), Bruce Tantum (NYC), Colleen “Cosmo” Murphy, Mr Shiver, Hugh Mane, Eccentrics Disco, Eclectics Disco, Fannoire Ge, Percebes Records (Lisbon), For Mankind (Pikes, Ibiza), S/A/M (Cafe Del Mar, Ibiza).

Winner of the 2020 Bob James “Black Lives Matter” remix competition on François Kevorkian’s World Of Echoes Facebook page, Love For Black Lives is available on vinyl for the first time, alongside 2 brand new mixes, on this 4-track EP. It is the debut release on Hobbes Music’s new sub-label Noetic Rhythm, dedicated to releasing music that brings people together on the dancefloor.

Leonidas debuted in 2012 with Sequential EP on Kay Suzuki's Round In Motion label, gaining praise from industry legends. He has collaborated with Hobbes on several releases, including the Balearic hit Web of Intrigue, which topped Bill Brewster’s 2017 DJ poll. His music has appeared on compilations like DJ Harvey’s The Sound of Mercury Rising Vol II, as well as BBC Radio 1 & 6 music.

Oliver Koletzki Releases Twelfth Studio Album 12

The beautifully crafted twelve-track opus is out now via Stil vor Talent.
Berlin-based artist, DJ, producer and Stil vor Talent co-founder Oliver Koletzki today releases his twelfth studio album, “12” — a deeply considered, emotionally rich long-player that marks the next chapter in a career spanning more than two decades at the forefront of electronic music. The album is out now on Stil vor Talent in digital formats and as a 2x12” gatefold vinyl.

Serving as both a milestone and a manifesto, “12” distils Koletzki’s evolving sound into its most refined form yet. Across twelve tracks, the album explores atmosphere, restraint and emotional clarity, balancing slow-burning club energy with introspective storytelling. It’s a record shaped by experience, patience and an unwavering attention to detail; qualities that have long defined Koletzki’s output as both an artist and a label curator.

The journey begins with album opener “Petrichor”, a quietly powerful introduction built around wistful organ chords that gradually unfold into a warm, hypnotic groove. Acting as the album’s emotional threshold, the track sets the tone for what follows: music that rewards immersion, thrives on nuance and unfolds with deliberate pace. From there, 12 moves seamlessly between introspective moments and more direct dance floor statements, always guided by Koletzki’s unmistakable melodic sensibility.

Singles released in the lead-up to the album offered carefully sequenced glimpses into its breadth. December’s “Trip With Me”, a collaboration with Frida Darko, brought playful energy and sharp modern club dynamics, while January’s “I Don’t Need Your Love” delivered a confident, emotionally charged statement rooted in Koletzki’s introspective yet club-ready DNA. February’s “Petrichor” revealed the album’s cinematic depth, followed by “Schnapsidee” in March — a track that leans into groove, character and subtle eccentricity.

Elsewhere on the album, tracks like “Logic”, “It’s All Gone” and “Tick Tick” showcase Koletzki’s ability to create tension and release through finely balanced arrangements, while “La Hora de Mosquitos” and “Calle Sur” hint at the global influences that continue to shape his sound. The closing stretch — from “About the Fox and a Tiger” through “What Remains” to “Voice or Noise” (with Frida Darko) — brings the album to a reflective, yet characteristically playful conclusion.

As a whole, “12” feels purposeful and cohesive, guided by a clear narrative arc rather than fleeting trends. It reflects the maturity of an artist with nothing left to prove, yet still driven by curiosity and a desire to evolve. Much like Koletzki’s previous albums, “12” stands as a self-contained world, inviting listeners to step inside and stay.

Released on Stil vor Talent, the album also reinforces the label’s ethos of artistic freedom, quality and long-term vision. Now over 20 years strong, the imprint continues to shape contemporary electronic music while remaining deeply rooted in underground culture: a balance Koletzki himself has embodied throughout his career.

Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.

in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.

Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.

Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”

Straight out of the Hungarian underground and straight onto marbled wax, Daniel Meister delivers his debut for Dubøka with the Euphoria EP, three tracks built for the dance floor.

Raw, hypnotic, and unapologetically groovy, Meister’s originals lock into that perfect sweet spot: driving basslines, and crisp percussion to keep the floor locked in. This is proper main-room business.

Rounding out the package is a special remix from Swedish veteran Chris Llopis. He takes one of the cuts and injects his signature warmth and swing, stretching the groove into something even deeper and more hypnotic, a proper late-night weapon.

Pressed on 140g marble vinyl, limited run, no repress planned.

This is the fifth chapter in our vinyl series and easily one of the strongest yet.

Support the label, support the artists, and get this one in the bag before it disappears.

Available now via selected record stores worldwide.

Dubøka Records – keeping the underground spinning since day one.

DBKAV003 – Daniel Meister – Euphoria EP

Out now. Play it loud.

Auf ,Reflections Vol. 3: Water Poems" bringen Félicia Atkinson und Christina Vantzou ihre Freundschaft und ihre atmosphärische Kunstfertigkeit in einem feierlichen Fokus zusammen. Gesprochene Worte und orchestrale Fantasie fließen wie Nebenflüsse in einen einheitlichen Strom und ergeben eine Sammlung traumhafter Lieder und Klanglandschaften, die im Meer, im Himmel und in den Steinen verankert sind. Mit elektroakustischen Instrumenten, Gesang und Umgebungsgeräuschen lädt Water Poems die Zuhörer in einen unbewussten Raum ein, irgendwo zwischen alltäglicher Intimität und dem Geheimnis des Ozeans, aus dem alles Leben entsteht. Atkinson und Vantzou haben sich 2009 kennengelernt und seitdem immer mal wieder zusammengearbeitet, aber ein Konzert 2019 in der Philharmonie in Paris hat dieses Projekt richtig in Gang gebracht. Da beide jetzt an der Küste leben (Félicia am Ärmelkanal, Christina am Mittelmeer), wurde das Meer natürlich zu ihrer Muse. ,Das Meer wurde nicht als monolithische Postkarte betrachtet", erklärt Atkinson, ,sondern eher als eine Person an sich; eine Energie, ein Geheimnis, ein komplexer Charakter, dem wir als Menschen, die am Meer leben, jeden Tag begegnen." Im Dialog mit dem Land und der Küste nahmen ihre Sprache und ihre Klänge einen sakramentalen Charakter an. ,Ein feierliches Gefühl, ein Gefühl des Dienens, zieht sich tief durch dieses Album", bemerkt Vantzou, ,ich habe das schon einmal gespürt, aber hier, in der Zusammenarbeit mit Félicia, ist es stärker." Stimme, Atem und wässrige Texturen prägen den Ton des maritimen Mysteriums von Water Poems. Neu in Vantzous Praxis und seit langem ein prägendes Merkmal von Atkinsons Werk, gewinnen ihre gesprochenen Worte hier an relationaler Intimität, indem sie sich gegenseitig und die Uferpromenade ansprechen. Die Texte wurden über zwei Jahre hinweg gemeinsam zusammengestellt. Mit radikaler Unschuld lenken sie das Bewusstsein auf die verborgene Auftriebskraft und die unbewussten Strömungen, die durch das Leben fließen: ,Wie kann ein Boot schwimmen? Wie kann ein Flugzeug fliegen? Wie kann ein Körper schwimmen? Wie kann ein Mensch träumen?" Was mit nah aufgenommenen Stimmen und Feldaufnahmen begann, wurde um Synthesizer, Gongs und Metallophone, Klavier, Vibraphon, Rhodes, Gitarren und Mellotron erweitert. Das Gezeitenklavier des Eröffnungstracks ,Film Still / The Sea" zieht uns in die unbewussten Gewässer des Albums. Enthalten sind Feldaufnahmen, die Vantzou in Delphi in der Nähe des legendären Orakels von Pythia aufgenommen hat - ihr griechisches Erbe verleiht diesem Ort der Vorfahren eine zusätzliche Dimension. Dieser Track und ,Water Poems" als Ganzes sind Ausdruck unseres geologischen Erbes und rufen zum Schutz der Küsten und zu einer Vertiefung unserer Beziehung zu unseren Küsten auf. Ein Teil der Einnahmen aus dem Album geht an Arion, ein gemeinnütziges Naturschutzprogramm für das griechische Mittelmeer. Der langjährige Freund und Mitstreiter John Also Bennett hat bei ,Scorpio Purple Skies", dem kosmischen Finale des Albums, mit E-Gitarre, Lap-Steel-Gitarre und Gesang mitgewirkt. Diese üppige Instrumentierung passt super zu den Science-Fiction-Visionen und der feierlichen Atmosphäre des Albums. Water Poems wurde in The Old Carpet Factory, einem Herrenhaus aus dem 18. Jahrhundert auf der griechischen Insel Hydra, in der Villa Medici aus dem 16. Jahrhundert in Rom und in Les Dunes, Atkinsons Heimstudio in der Normandie, aufgenommen. Mehr als das historische Prestige dieser Orte war es die spürbare Geschichte ihrer Landschaft, die die Musik geprägt hat. Atkinson sagt, dass sie sich zu ,Orten mit seltsamer Anziehungskraft" hingezogen fühlten. In der Villa Medici ,haben Steine und Mineralien das gesprochene Wort beeinflusst", bemerkt sie. ,Wir beide legen Wert auf Gefühl, Atmosphäre und Klang", fügt Vantzou hinzu, ,was er hervorruft und was er bewirkt. In unserem Fall konzentrieren wir uns auf die grundlegenden Elemente: Wasser, Luft, Fels, Kosmos - allesamt lebenswichtig.» Von der Insel Kreta aus arbeitete Vantzou den finalen Mix fertig und tauschte dabei Dateien mit Atkinson aus. Immer noch mit der Küste verbunden, verlief der Mixing-Prozess geduldig und wurde von wichtigen Pausen geprägt. Water Poems spiegelt wider, was die Meeresbiologin Rachel Carson uns in Erinnerung ruft: ,Am Rande des Meeres zu stehen bedeutet, Wissen über Dinge zu haben, die so nahezu ewig sind, wie es das irdische Leben nur sein kann." Es zelebriert rituell dieses ozeanische Gefühl als wichtige Quelle der Gelassenheit und Intelligenz. In einer Welt, die von hitzigen Meinungen und ökologischer Vernachlässigung geprägt ist, lenkt Water Poems unsere Aufmerksamkeit auf ,die Quellen der Quellen". Damit schafft es Raum, um uns wieder mit unseren elementaren, animalischen Instinkten zu verbinden und uns auf tiefere Strömungen einzustimmen. Water Poems von Félicia Atkinson und Christina Vantzou ist der dritte Band von Reflections, einer Reihe zeitgenössischer Kollaborationen von RVNG Intl..

This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.

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Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.

Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.

From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.

In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.

Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.

Valvula Records returns with its third EP, reinforcing its identity through a powerful release that brings together Swedish and Brazilian artists in a compelling convergence of contemporary Techno. The project highlights the creative strength of artists who are actively shaping Raw and Hypnotic Techno with personality, consistency, and a clear artistic vision.

Alexander Johansson and Mattias Fridell deliver an intense and precisely crafted collaboration, reflecting the maturity of a partnership built on deep, impactful productions. Brankelo continues to expand his international presence following recent releases on the renowned Planet Rhythm, contributing a track driven by raw energy and sonic intensity.

Sev Dah maintains his distinctive contemporary groove, offering an exclusive track that adds tension and movement to the EP. Alvinho L. Noise and Steel Force join forces on a hypnotic, driving track powered by a solid and immersive groove, reinforcing the EP's raw and uncompromising character.

Designed for the dancefloor, DJs, and true Techno enthusiasts, this release marks another strong step forward for Valvula Records in building an authentic and relevant catalog.

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

‘Soul Psychédélique’, released on Two-Piers, takes you on a journey into the world of Psychedelic Soul & Funk, from its early beginnings in the 1960s and 1970s to the current crop of artists championing the more Psychedelic, Trippy end of the Soul sound today.

‘Soul Psychédélique’ brings together legends of the Soul Psych scene, such as Curtis Mayfield, The Chambers Brothers, Marlena Shaw, The Temptations, and the brilliant ‘Sugar Man’ by Rodriguez. Place alongside Soul Titans like Isaac Hayes, Bobby Womack, Chairman of the Board, Terry Callier all delivering stunning Psychedelic Nuggets for your Listening pleasure. Throw in some covers like ‘Dear Prudence’ by The Five Stairsteps, ‘Hard to Handle’ by Patti Drew and ‘California Dreamin’’ Bobby Womack and finish with some brilliant modern-day exponents of the scene like Khruangbin, Gabriels and Michael Kiwanuka. The result is a crazy ride through the world of Psychedelic Soul and Funk. If you ain’t dancing and smiling by the end - what the hell is wrong with you!

‘Soul Psychédélique (The Best of Lounge & Exotica 1954-2022)’ is the fourth instalment in the ‘Psychédélique’ Compilation series on Two-Piers, following the critically acclaimed ‘Pop Psychédélique (The Best of French Psychedelic Pop 1964-2019)’, ‘Garage Psychédélique (The Best of Garage Psych and Pzyk Rock 1965-2019)’ and ‘Lounge Psychédélique (The Best of Lounge & Exotica 1954-2022)’ and is available on 2LP Coloured Vinyl

Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.

Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.

Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.

As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.

Side A – The Head Side

Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.

Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.

Side B

Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.

Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.

Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.

Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.

Another quality release from Tone Dropout Records.

WRWTFWW Records is extremely excited to announce Hot-N-Ready Remixes Delivered by Pizza Hotline In 20 Minutes or Less, the brand new remix album from Pizza Hotline, landing hot and fast on a limited edition Neon Arcade Arctic Pearl Colored Vinyl Double LP, cut at 45rpm and housed in a heavyweight sleeve with artwork by Equip Studio.
From the high-octane mind of PIZZA HOTLINE - the man behind cult classics that helped redefine liquid drum & bass through a Y2K, console-era lens - comes a full-throttle remix album that feels like a secret bonus disc unlocked after beating the game, a portal into a parallel universe of rave-powered nostalgia and pixel-perfect bliss. Warp-speed liquid DNB, atmospheric jungle, and dancefloor-crushing remixes of legendary tracks extracted from the greatest video games ever made collide in a sensory overload of pure arcade euphoria. Soaring pads, breakbeats that ricochet like laser fire, deep-space subs, and rhythms that feel like drifting through a cyber-city at 3AM with only a CRT glow to guide you.
The album plays like a late-night arcade run fueled by muscle memory and emotion: PlayStation futurism meets WipeEout velocities, Donkey Kong adventure grit, GoldenEye stealth tension, and Sega Saturn dream-logic. It's fast, melodic, immersive, and deeply cinematic - a love letter to video game soundtracks, club culture, and the spaces where the two collide.
This release marks the fifth Pizza Hotline collaboration with WRWTFWW, following the ultra-classic Level Select, its brilliant follow-up Polygon Island, the collaborative smash Anti Gravity Tournament with Mitch Murder, and the Low Poly Breaks cassette series.

Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

DJ Support: Nic Fanciulli, Joe T Vannelli, Danny Tenaglia, Richie Hawtin, Nick Curly, Shiba San, Adam Beyer, Marco Bailey, Boris, Jamie Jones, Markus Schulz, Tom Novy, John Digweed, James Zabiela, Tiesto, Claude VonStroke, Roger Sanchez, Blond:ish, Adriatique, Paul van Dyk, Joris Voorn, Deer Jade, Vintage Culture & Paco Osuna

Few labels can claim true legendary status in dance music - where trends fade as quickly as they emerge and icons are made and broken overnight. Yoshitoshi stands as one of those rare exceptions.

The label makes its return with a statement of intent: a definitive new remix package of Alcatraz’s era-defining “Giv Me Luv”, a dancefloor classic that hasn’t seen fresh interpretations in over a decade. While the original has remained a staple for those who know, it’s now primed for a new generation of club enthusiasts.

“Giv Me Luv” represents everything Yoshitoshi has been standing for: raw energy, unforgettable hooks, and that indefinable magic that makes a track timeless. Bringing it back with new remixes after all these years demanded artists who could match its legacy.

Enter Sébastien Léger, the French maestro whose thirty-year journey has seen him perform everywhere from Coachella to the Great Pyramids of Giza. His interpretation delivers the sophisticated, hypnotic drive that has made him one of electronic music’s most respected tastemakers and the founder of the acclaimed Lost Miracle imprint.

Alongside him, progressive titan Jerome Isma-Ae, whose unique fusion of trance, techno and house has dominated Beatport charts and earned him breakthrough recognition from Armin van Buuren, unleashes his signature sharp, breathtaking power on the classic.

The vinyl also includes the original mix on the B-side, completing a package that marks Yoshitoshi’s triumphant return to form.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

Liva K and OVEOUS unite for transcendent new single, ‘Blessings’, on Crosstown Rebels. Out on 27th March 2026, the Greek producer and NYC-based artist deliver a hypnotic journey of spiritual rhythm and soulful energy.

A groove-driven journey arrives on Crosstown Rebels on 27th March, with Greek DJ/producer Liva K and New York DJ/producer and vocalist OVEOUS guiding the way. Their label debut, ‘Blessings’, emerges as a meeting of instinct and intention. Crafted from Liva K’s fusion of sounds and textures, the track flows with captivating suspense, while OVEOUS’ voice carries a magnetic, ritualistic weight. The result is a record that exists in both body and mind, designed to move crowds while resonating on a deeper, spiritual plane.

Liva K has quietly carved his own path since emerging onto the international scene, weaving melodic house and techno, and Afro-infused rhythms into sets and productions that pulse with movement and depth. From his debut album ‘1994’ to recent material on Defected, Black Book Records, and When Stars Align, he balances studio craftsmanship with spontaneity while creating moments across venues from Hï Ibiza to Miami’s Factory Town. Meanwhile, OVEOUS brings his HYPER SOUL and Hyper Ancestral sound to every stage and recording, merging house, afro-soul, and ritualistic energy. As a DJ, producer, and poet, his voice and presence cut through tracks with spiritual weight, turning grooves into experiences that are simultaneously sensual, reflective, and kinetic. providing moments that resonate long after the lights come up.

The Marseille-based label run by FaF returns with the second volume of the Electrik Pulse series. Four French producers are at work, brought together on a various artist compilation featuring a wide range of sounds.

After more than 7 years of silence, Marvin Zeyss returns with his new vinyl EP “Piece of Me” on his hometown Nuremberg label Beatwax Records, delivering exactly the sound his fans have been missing for so long. As is often the case with him, the title reflects the personal touch that is deeply infused with emotion throughout the tracks.



From the classic house sound of the lead track “Piece of Me,” to the driving percussion and bassline in “Let Loose,” the captivating atmospheres of “Flames,” and the deep vibes of “Only You,” this release offers something for every dancefloor and every listener. With this versatility as his trademark, Marvin Zeyss has already released and sold out more than 10 records — so don’t hesitate, no repress.



>>> comes in 4c Sleeves

Following an exclusive, instantly sold-out preview during ADE 2025, Shades marks the highly anticipated second release from Life Cycle. The official release is finally here, featuring two tracks that perfectly encapsulate the vision Life Cycle first introduced with its debut release, ‘Magic Happens’, a true musical journey without boundaries. With Shades on Side A and Love Touch on Side B, the record delivers two distinct sonic vibes, carefully crafted by the label’s founder and the producer behind the release, Fabrizio Fattore.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

Blue Hour distills over a decade of artistry into his debut album Selva, unearthing eight tracks inspired by ancient wisdom and forgotten worlds.
Blue Hour is the moniker of Luke Standing, a multifaceted artist, producer, and label owner navigating between past and present electronic dance music. Over more than a decade, Standing has built a career balancing transformative craft with a sharp curatorial approach, earning him respect across the global scene. After years of sonic experimentation, he now releases his debut LP Selva. “I never set out to make an LP – it just wrote itself,” he says. “I followed my intuition, and the music found its own path.”
Born and raised in the UK, Standing grew up in parallel with club culture, moving between Brighton, Bristol and Berlin while running club nights and establishing himself under former aliases Furesshu and Esoteric.
He launched his Blue Hour project in late 2013, shortly after relocating to Berlin. Initially a platform for his own music, Blue Hour quickly became a collaborative hub, blurring the lines between personal output and curation. Over time, Standing has cultivated an international ecosystem of like-minded artists while continuously expanding his own sonic horizons.
Selva marks his first full-length studio album, weaving a lifetime of influences into a cohesive narrative inspired by ancient wisdom and forgotten worlds. The eight-track double LP transforms his inner dialogue into a subconscious story pulling inspiration from a labyrinthine network of influence and experience. “I followed the music obsessively, reflecting and refining until the story revealed itself,” Standing explains.
“To me, the LP evokes Amazonian or Mayan jungles, themes of exploration, the mysteries of the natural world, wisdom passed down through generations. I didn't set out to write about these things consciously,
they just emerged on their own.” he adds.The album was shaped through intensive work in his studio and periods spent in subtropical locations.
Listening closely, Selva unfolds like a modern ceremony: the opening tracks channel his early UK dance influences, shifting into blends of traditional and contemporary techno, then expanding into melodic soundscapes before concluding with transcendental textures and atmospheres. The result is an introspective journey where functionality and emotive storytelling coexist, revealing a depth in Blue Hour we haven’t heard before.
Whether performing, curating, or producing, Standing operates with a deep commitment to sound, culture, and collaboration. More than an artist, he is an architectural thinker of what electronic music could become. “Every release is my own metamorphosis,” he says. “This LP reflects my current form, and I’m curious to see what the next chapter brings.” Few artists can unify a lifetime of genre-spanning influences into a sound as sharp and focused. On Selva, Blue Hour does exactly that, opening a new era of deeper
immersion from his Berlin-based label.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

2026 Repress

Berlin's Scheermann debuts on Mutual Rytm with deeply personal EP, 'Viciosa'.

Scheermann is at the heart of the Berlin underground as a DJ/producer, but also working behind the scenes at the Intakt Berlin vinyl pressing plant, where he first met Mutual Rytm founder SHDW. As a resident of the Lorem Ipsum party series, he delivers cultured and compelling grooves, and is also an active member of the Wesertekk collective - supporting and pushing club culture to the forefront in more rural areas. His music comes from a deeply personal place, never chasing hype or headlines, and is usually found at home on his own imprint, SAMMLER. This new EP marks his first appearance away from the label as he unveils a collection of records crafted over five years, with each track representing different moments in his life.

'Viciosa' kicks off with paranoid vocals panning about as swinging, warehouse-ready drums pound heavily below. The gritty synth craft adds plenty of texture as filters build the vibe. 'Placid Sin' is even more intense with unresolved synths tripping you in a loopy state while coarse percussion and cantering drums march on. 'Don't Care' is a rave-ready cut that injects your soul with urgent synth energy over more minimal and moody drums. 'Kano' brings a more elastic rhythm with dubby undercurrents and sleek sonar pulses infusing it with mystery, while 'Reika' is a nimble cut with icy hi hats and curious synth notes layering in late night suspense. First digital bonus 'Resoclap' is a heavyweight swinger with dark, groaning voices, before the second digital bonus 'Mizu' provides a speedy and supple workout for body and mind.

Scheermann 'Viciosa' lands on Mutual Rytm on 22nd August 2025.

Guti returns to Crosstown Rebels with improvisational new EP, ‘You Know Ya Miss Me’.An exploration of instinct, groove, and the new Latin sound, the Argentinian live maestro returns to Damian Lazarus’ imprint on 13th March 2026.

A new wave of Latin-infused groove arrives on Crosstown Rebels, and South American favourite Guti is at the helm. Returning to Damian Lazarus’ imprint with a release that captures his music in its most immediate and expressive form, his four-track ‘You Know Ya Miss Me’ EP marks his first material on the label since 2020, reigniting a relationship that stretches back over 15 years. For the Argentinian artist, the studio has always been a living room, a jam space, a place where ideas can breathe, collide, and evolve naturally. Throughout his career, Guti has blended groove-driven house and Latin percussion into a signature sonic language in which spontaneity guides the process. The result here is a new release that feels as alive as it does intentional, designed for ears, hearts, and dancefloors alike.
Title track ‘You Know Ya Miss Me’ opens with warm rhythmic layers and subtle instrumental interplay, a space where melody and movement coexist freely. ‘What You Give’ follows, pulsing with the organic energy of jam-session dynamics, each percussive gesture and melodic line alive with intention. On the flip, ‘The Truth’ unfurls a rich tapestry of percussion, soulful vocals, and improvisational motifs, while ‘La Nueva Onda Latina’ closes the EP as a vivid statement; an embodiment of the “new Latin sound” at the heart of Guti’s ethos, where instruments, electronics, and collaborative energy meet on equal footing. At its core, ‘You Know Ya Miss Me’ is a showcase of a musical mind at work: deliberate yet free, precise yet flowing, rooted in tradition but open to the unexpected. It’s a reflection of Guti’s belief that dance music can be both kinetic and expressive, that improvisation and groove can coexist, and that the most resonant sounds are born when musicians let go in the moment. This EP invites listeners into that space, to move with the rhythms, and to experience a sound unmistakably Guti; organic, vibrant, and alive.

INDUSTRIAS MEKANIKAS is back with the third instalment of the ANTIKHRIST VISIONS saga. This release is particularly symbolic: it’s the ninth in the catalogue, marked by the infernal numerology that runs right through the whole series. It’s a descent into a sonic underworld, where noise becomes ritual and pleasure is just pure agony.

The artist tasked with opening this new chapter of the saga is the mighty Óscar Mulero, an essential figure on the national electronic scene and one of our biggest international ambassadors, whose career has left a deep mark on contemporary music. Here, with Faceless, he delves into dark, precise, and devastating electro territory; a spiritual machine that dictates the pulse of chaos.

Next up, we’ve got Pressurized Modulator with Reddrum: hard, crunchy, industrial electro, absolutely buzzing with electrical tension and twisted sonic matter.
Closing out the A-side is Jacko Volvone (aka Hoax Believers) with Quieren Cerrar Las Fábricas: a track that expertly blends electro, techno, and post-punk echoes, resulting in a tense, distorted, and combative sound, like a working-class echo shouting from the abyss.

Flipping over, the B-side opens with Hanging Nuts (made up of Waje Martín, Fake Robotik, and Ruben Montesco). They unleash a murky descent of filthy, distorted, primal electro, slashed through with guitars and raw, guttural vocals: a genuine chant from beyond the grave. The second cut marks the debut of Techselektah & Phil Fork with Champagne No Potable: a raging street anthem packed with fury, energy, and social criticism, where Spanish vocals emerge amidst EBM structures that have that ‘80s spirit, reinterpreted with today’s raw edge. And the big finish is down to HBK1 alongside Rigor Mortis, with Instinto Caníbal: a full-on explosion of electro-industrial and EBM that awakens the body’s most primitive urges.

Antikhrist Visions Vol. III is a sonic summoning from the lands of Hades: ritualistic matter, organic sound, and primal force. A testament to pleasure and torment—Tormento do Gostar—etched into the vinyl as if it were molten iron.

Memento Mori.

2026 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

2026 Repress

French DJ/producer Mathys Lenne's artistic vision is rooted in his deep connection to rhythm. Telling stories with his sounds while drawing inspiration from poetry and cinema and blending hypnotic textures with raw intensity, his music is widely supported across the scene via labels like Mord, Hayes and more. Across five vinyl cuts and three digital bonuses, the four-deck wizard keeps it deeply atmospheric with his label debut on SHDW's Mutual Rytm imprint, combining elements of psychedelic rock, unique voice samples and saturated synths to create a sound that feels immersive and unrestrained in contrast to the fast-paced, visceral techno he has become known for.

'Detlev' opens up with hefty kicks that demand you quicken your step, while industrial effects and creepy design brings the detail that makes the track pop. The classy 'Natural Born Killers' rides on firm kicks with loopy percussive details tightly coiled, ensuring you are forever on edge as the drums march on. 'Choose Your Pill' is a stripped-back and pulsing deep techno cut with deft synths that peel off the groove, before 'Untidy Echo' delivers a cavernous sound with sparse hits and low-end rumbles that place you in the centre of an underground cavern. 'Enfer ou Ciel' featuring D.E.S brings a sense of melancholy in the occasional string sounds and watery droplets that float over more frictionless, meditative beats - while the trio of digital bonus cuts brings moody subterranean rollers ranging
from snaking and dubby to more drum-led and eerie tones.

Todh Teri returns with a brand new record, and this time the spotlight falls on Hari Heart. The Return of Hari Heart marks the eighth release on Masala Movement Records and launches a fresh vinyl-only series that brings the mythical characters of Deep In India back to life in a bold new form. Todh Teri further expands his conceptual universe by focusing on deeper sonics & music explorations. Hari Heart guides the release with a delicious blend of nostalgia, analog warmth and a club-ready intentions - built for curious DJs (and listeners alike).

On the A side you will find Smriti (Remembrance) - a reimagined classic flipped into a peak-time driver - disco spirit, acid bite, and pure dancefloor release. Limited, loud, and made to move bodies. On the flipside we have ??a (Debt) - a deep, dubby slow-burn built around an evergreen melody which grows patiently - finally rewarding you with a sweet earworm.

The final tune on the record is Prem (Love) - a reinterpretation of a ’70s indie rock n roll gem. Unmistakably retrospective (if you know your history). Play it a bit longer into the dead wax, and you will catch a hidden acid sequence locked groove.

Art by Soju Aduckathil with creative direction from Masala Movement’s Manoj Kurian. This is the label’s eighth release, a vinyl-only exclusive, with more coming in 2026.

Cinthie’s Collective Cuts sub-label of her 803 Crystal Grooves label welcomes the UK’s Black Eyes onto its roster this March with his ‘Hydrocity Reflex’ EP, comprised of four original soul drenched House Jams.
Cinthie’s 803 Crystal Grooves Collective Cuts welcomes Black Eyes with a fresh four-track EP that distils the Manchester-born, Berlin-based artist’s signature aesthetic into its purest form. Fusing deep, trippy and soulful house with a raw, Detroit-leaning sensibility, Black Eyes channels the influence of House music’s roots into rolling rhythms and fluid textures alongside shaped by his enduring love of water. Now firmly embedded in Berlin’s underground while carrying the grit of his northern roots, he delivers a release that feels both immersive and driving a natural fit for 803 Crystal Grooves’ dance floor focused sonic vision.
Opening the EP is ‘Can You Dig That Depth’, an emotive slice of House driven by saturated keys, soulful vocal lines, heavily swung drums and a buoyant bassline. ‘Pressure Malfunction’ follows, stripping things back to organic percussion, sweeping filtered funk loops and intricately processed spoken-word chants. The B-side begins with ‘Loyalty To Tha Deep’, living up to its name as it embraces classic Deep House sensibilities through choppy, airy chord progressions, hypnotic breathy vocals, fluttering melodies and slow-slung, crunchy drums. ‘Funky Oxygen’ then brings the release to a close, channelling the spirit of Motor City House with a refined blend of cut-up samples, shuffled percussion, jazzy keys and a snaking bass groove.

Oinimod Records proudly presents its first-ever vinyl release, Gravity EP, a statement of intent rooted in deep grooves, timeless house aesthetics, and club-driven energy.

Written and produced by Duccio Lopresto, Gravity EP delivers two original cuts that explore different shades of House music, complemented by a powerful remix from Gearmaster, one of Estonia's most respected House talents.

“Gravity” opens the EP with a deep and groovy House journey inspired by the classic Detroit House legacy. A strong rhythmic foundation drives hypnotic acid lines and rich, expressive synths, creating a track that is both raw and elegant, built for the dancefloor yet deeply musical.

“Mirage” reveals a more dreamy and introspective atmosphere. This Deep House track flows with a timeless rhythm, warm grooves, and relaxing yet melodic elements, offering a soulful and immersive listening experience that transcends trends.

Closing the EP, Gearmaster delivers a pure Club House banger remix of Gravity, reinterpreting the original material with precision and power. Tight rhythms, infectious groove, and a modern club sensibility turn the remix into a peak-time weapon, showcasing Gearmaster’s unmistakable touch and deep understanding of the dancefloor.

Gravity EP marks the beginning of Oinimod Records’ vinyl journey — a release that bridges classic influences and contemporary House music, crafted for DJs, collectors, and true House music lovers.

Hate Love Trio made a low-key debut last year on this label with the slow, dreamy, dance-pop charms of 'Chan-O-Rama'. We have found out little more about the producer or producers behind it but here they or he or she returns with a full-length album of elegant and inventive downtempo and Balearic that starts off with those singles. Elsewhere, slow, mournful rhythms and melodies encourage inward reflection. 'Loosey Goosey' is a funky dancer for grown-ups, 'Billie Brownie' merges dub pacing with sunny guitar echo and 'Sunday I Don't Know' is a shimmering, jazz-flecked neo-classical warmer for intimate moments. An accomplished and adventurous album that is as good for the mind as it is body and soul.

One of the UK’s rising talents in recent times, J6 continues his upward trajectory with an enormous four-tracker on underground fan favourites, Locked In Dam. The party starting crew go hand in hand with the refined J6 ethos, as he delivers a dynamite selection of tracks for your record bag. His familiar low end driven sound, combined with tinges of acid and futuristic textures moving between house and modern electro, shapes the ‘Devil Baby’ EP into a cohesive and powerful statement.

The title track is built upon powerful drums and squelchy, spaced-out tones, combined with trippy vocal stabs from Martina, who features on the record. This is prime J6 territory and not to be underestimated. Next up, ‘Biohazard’ introduces mysterious synths that create a transcending atmosphere, shifting the dance floor into the next gear with further twisted acid movements. On the flip side, the Manchester based beatmaker teams up with Ben Gough for ‘Time Capsule’, delivering pacey energy that never lets up, driven by nostalgic tech house drums and icy hi-hats. Rounding off the EP, ‘Emergence’ simmers with an emotive dark energy throughout; if we weren’t dancing with the devil before, we certainly are now.

A certain tip for the tastemakers amongst us, these are four dynamic dance floor cuts to be shared deep within the dark realms of the night.

Sexyrecs 'Third Base' marks a new chapter for the label.

Dutch producer Khas delivers a grounded and more restrained take on techno, built on organic structures, subtle tension and contrasting bleeps that slowly pull you in. It's a toned down approach compared to earlier releases of Sexyrecs, but the groove and sensuality are still very much there.

Berlin duo LYRIC take the remix deep into the details, stretching and reshaping the sounds until they become hypnotic and immersive, adding a darker and more introspective layer to the EP.
Less rush, more control. Still sexy.

Commissar Lag - Absolution EP (Earwiggle)

The 38th Earwiggle release comes from one of our favourites, and a debutant on the label, Serbian studio supremo Commissar Lag. The "Absolution EP" finds Lag delivering his playful vision of techno, dipping into the past while also pointing us to the future, all framed through an exquisite production gleam. Dense, rolling rhythms reminiscent of early '00s Stockholm techno, combined with a catchy repeating vocal sequence (one of Lag's trademark techniques) and rising sirens, result in the monster opening title track "Absolution". "Aim Without Mercy" is another club destroyer - jabbing keys, broken jagged beats, and a series of rising pressure points making it another winner. "The Blessed" meanwhile, shifts the mood from mental to majestic, with interchanging leads and reverb-drenched climaxes marking the big-room peak of the record. Rounding things off is Irish wunderkind Dylan Fogarty, who reimagines "Aim Without Mercy" through a deep and psychedelic lens, layering textural collages over surging, jacking
909s.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

WRWTFWW Records is delighted to announce the first-ever vinyl release of Art Form I, the overlooked 1997 compilation from Tokyo’s cult imprint FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve as part of the ongoing collaborative series between the Swiss and Japanese labels.
Originally issued only on CD, Art Form I is a fascinating deep dive into the rich and singular world of late ’90s Tokyo electronic music—an inspired collection of timeless IDM, techno, ambient, and electronica experiments. Showcasing a roster of visionary underground artists including fan-favorite Virgo (Landform Code, Remnants), the compilation maps the innovative spirit of the era: emotional machine music, intricate rhythmic architecture, mind-expanding textures, and the soulful heart that serves as the solid foundation of everything FORM@ RECORDS.
Art Form I reminds of the pioneering explorations from Warp’s Artificial Intelligence series, B12, The Black Dog, Ken Ishii, and early Carl Craig, all while maintaining its own distinctive local identity. This long-awaited vinyl edition offers listeners a fully immersive rediscovery of a pivotal moment in underground music.
Following the acclaimed reissues of Virgo’s Landform Code (1998) and Remnants (1999), the simultaneous releases of Art Form I and Art Form 2 (1998) continue the archival collaboration between WRWTFWW Records and FORM@ RECORDS, with a forthcoming vinyl edition of remix collection Re-Form Ver-1.0 (1999) to follow.

Both multi-instrumentalists and seasoned producers, J and Peter took an all-hands-on-deck approach to these original collaborative tracks. The sonic seeds of "Underappreciated" and "Facile" were planted by Peter, JKriv cooked up the demo of "Over Suffa", and all three were completed together in J’s Brooklyn production studio. With live-recorded guitar, bass, analog synths, and drums/percussion by and a cohort of Brooklyn accomplices, the Facile EP marries live elements with modern club-ready production.

The punchy horns and no-nonsense vocals on "Underappreciated" come via Peter’s long-standing stage and studio connection with Ibibio Sound Machine, Favorite Recordings staple singer Olivya delivers the soulful EP title track performance, and Samy Love’s insistent vocal on "Over Suffa" is a pleading message to end the war and suffering in his native Cameroon.

With a remix of "Underappreciated" by French producer extraordinaire Yuksek, songs in both English and French, and influences ranging from boogie funk, 80s R&B, and classic Zouk, the Facile EP is a varied and dazzling collection of music for both listeners and DJs alike.

French composer and sound artist Franck Vigroux returns to raster with a new album called »Sonnailles«, set for release this spring.

Conceived as a sequence-driven work, »Sonnailles« unfolds through a series of tightly
structured musical passages interspersed with fragments of voices that appear within the compositions like ghostly presences. These vocal shards drift through the sonic landscape, punctuating Vigroux’s dense electronic textures and amplifying the album’s sense of tension and movement. At the heart of the project lies a deliberate contrast: the collision of raw, almost primitive sonic force with an underlying sense of compositional sophistication. Vigroux crafted the music with an ear for immediacy and physical impact, exploring how rough textures and driving rhythms can coexist with intricate sound design. The album was also inspired by two unusual invitations that pushed the artist beyond his typical performance environments: a rock and punk festival in France and a series of techno club performances in China. These contexts led Vigroux to imagine music whose primary purpose was to move bodies on the dance floor — an approach that marks a new direction in his work.

For Vigroux, the challenge was particularly compelling. Alongside his musical practice, he frequently collaborates with dancers and stages multidisciplinary performances known for their radical physicality. With this new album, he brings those parallel worlds together, completing a circle in his ongoing exploration of the relationship between sound and the moving body — where composition, rhythm, and physical motion converge.

RCR002 marks the second release from RAW CUTS Records, bringing together four established producers making waves across their respective scenes.

Leading the VA is 'Junior' from Argentinian artist Light Blue File whose been creating buzz with his cotemporary take on electro house built to set dancefloors alight. On A2, UK mainstay and Bizarre Trax founder Jhobei delivers 'Radionyx,' a hypnotic, progressive leaning takes on modern UK tech.

Flipping to the B-side, Christopher Ledger brings the acid-driven pressure of 'Acid Redux.' with a commanding bassline Rounding out the release is fellow Argentinian Guile, closing the VA with 'El Sonido Subterráneo,' an electro-infused funk workout that brings us home.

Fides Records is ready to introduce the 4th chapter of the10-year anniversary series with. X4 leans into momentum and contrast with its hard-groove pressure, dub-chord depth, and melodic release that showcases a side of the label where functional club tools and emotional storytelling sit naturally together.

Side A begins with Rebecca Delle Piane’s “Genomica”, a driving techno train powered by tightly layered elements and rhythmic tenacity, marking another step forward for one of Italy’s most exciting rising artists. Rorschack follows with “Primeriti”, weaving dubby chords and rolling basslines around a haunting female vocal. Closing the side, Berlin-based SLV lands with “Ritual Resonance”, a hard-groove banger that fuses percussive urgency with dub-chord sophistication.

Flipping to Side B, OFF GRID’s “The Roots” stands out as a colorful, mental hardgroove tool: elegant in detail yet built for drive, striking a heady balance between control and impact. Francesco Devincenti’s “Joanaz” brings trance tinged melodic techno with harmonic depth and cinematic intensity, opening the door to a more emotive register. The record closes with Endrew’s “Alright”, a powerhous

A limited edition collector’s piece to mark 10 years of Girlz B Like - the vinyl-only, female-led London-based party.

Side A unleashes ‘Love Echoes’, a genre bending underground heater from GBL founder Marcia DaVinylMC with additional keys from Uschi Classen. Afrobeat rhythms, lush keys, drum-pad grit, and a hypnotic bassline collide under a vibrant vocal hook - an irresistible, raw catalyst for freestyle dancers and left-field club devotees.

Side B delivers ‘Joy’ from Bristol’s DJ Emma - a bouncy, gospel-fired house stomper built to ignite any floor. Infectious energy, uplifting vocals, and classic vinyl flair collide in a radiant
celebration of rhythm and spirit, guaranteed to move feet, and supercharge the dance.

Limited Pressing Act Fast!

Spazio Disponible's Afterhouse series are back. After two earlier drops by Donato Dozzy, their third edition welcomes Roman club icon Mary Genhyei with an excellent slab of her percussive house grooves. She delivers four highly effective drum tracks with additional production and mixdown by Donato Dozzy for that fine afterhouse mood.

Vintage Pleasure Boutique once again dives deep into the vast catalogue of super-productions by Roberto Zanetti, better known as Robyx and Savage. This time, the journey takes us back to 1984, unearthing a true gem created at the suggestion of Marco Bresciani, Italian DJ and producer, and the same creative force involved with Radiorama. Zanetti delivered flawlessly. He transformed the elegant, high-grade British synth-pop original by OMD into a first-class Italo disco weapon, infused with that unmistakable sweet, melodic touch and fat kick that blended perfectly in clubs alongside genre-defining tracks of the era. “Souvenir” by Saxophone quickly became a classic, a staple of the sound and a cornerstone in countless old-school DJ record bags.

Today, original copies are scarce, highly sought after, and often prohibitively expensive on the secondary market. This reissue is both a tribute to long-time fans of the record and a nod to devotees of Robyx’s unmistakable sound. The vinyl also features a special remix of “Souvenir”, sonically aligned with Savage classics such as “Radio,” “Fugitive,” “Only You,” and “Don’t Cry Tonight.”

A true feast for lovers of this timeless Italo disco aesthetic, equal parts nostalgia, elegance and dancefloor power.

DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd

In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.

Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.

Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.

For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.

Andalusian emerging-talent producer GAZZI, a young yet influential figure within the broader Spanish electronic scene, presents an LP that feels like a quiet turning point in his career. Rooted in ambient and new-age minimalism, the record drifts through piano-based textures, soft pauses, and spacious moments that invite deep introspection.
Across its delicate arrangements, GAZZI captures the sensation of slowing down in a world where everything feels fleeting. These tracks hold space for reflection-offering nostalgia, stillness, and the subtle suggestion that hope remains at the edges of even the most ephemeral moments. Each piece unfolds like a landscape suspended in time, shaped by restraint, emotional nuance, and a profound sense of presence.
Presented by Glossy Mistakes, the release reflects the label's ongoing commitment to uplifting a new wave of contemporary Spanish artists, highlighting creators who are redefining the country's sonic identity through experimentation, sensitivity, and forward-thinking sound design.
In GAZZI's own words:
"These songs were made to sit with the wound - to let you drift, to feel scattered, contemplative; they're meant to keep you from thinking too much - or maybe to make you think a lot."
The result is a meditative, deeply personal body of work-one that not only marks a cornerstone in GAZZI's artistic path but also extends Glossy Mistakes' mission to showcase innovative, emotionally resonant voices from Spain's evolving music landscape.