Suche:deliver

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

Solar Operandi is a new Parisian label born from a B2B project and developed into a curated platform rooted in electro and exploring its darker intersections with techno, acid and trance. It's focusing on peak-time energy with depth and character.

Its first various artists release, Carnal Savana Vol. 1, brings together standout producers from across the globe, each delivering a distinctive yet cohesive vision of modern electro. The compilation balances raw club functionality with refined sound design, built for powerful systems and late-night intensity.

Goosey makes his Crosstown Rebels debut with ‘Wrapped Up In Your Love’, featuring remixes from Daniel Steinberg. Out on 10th April 2026, the Barcelona-based artist lands on Damian Lazarus’ imprint for the first time with a vocal-driven house cut backed by two reworks from Berlin mainstay Steinberg.

A vocal-led slice of modern house lands on Crosstown Rebels as UK DJ/producer Goosey makes his label debut with ‘Wrapped Up In Your Love’ on 10th April, a record that channels a classic touch through a contemporary lens. Built around slick drums, warm basslines, and an unmistakably uplifting vocal hook, the track leans into the nature of the dancefloor while keeping its groove firmly locked from start to finish.

The original mix leads the release with bright, feel-good energy, while the ‘Club Dub’ strips things back to the track’s rhythmic core, letting the drums, bass, and melodic touches breathe deeper into the groove. Berlin house mainstay and Arms & Legs co-owner Daniel Steinberg then steps in on remix duties, delivering two reinterpretations. His main remix sharpens the original’s hook with skippy percussion and rich M1 organ stabs, while his ‘6AM’ remix stretches the elements into deeper territory built for after-hours dancefloors.

NOW That’s What I Call 70s Soul brings together 50 era-defining tracks from one of the most powerful decades in soul music, featuring classics from Motown legends, Philly Soul pioneers, smooth balladeers and funk innovators – all pressed across 3LPs on beautiful blue vinyl… Out April 24th!

LP1 opens with one of the decade’s most recognisable love songs: Al Green’s ‘Let’s Stay Together’, a US #1 and UK Top 10 hit that became his signature recording. It’s followed by Marvin Gaye’s ‘What’s Going On’, the socially conscious masterpiece and title track from his landmark 1971 album, and Diana Ross’ Ain’t No Mountain High Enough’, which topped the US chart and became her first solo #1. Stevie Wonder’s ‘Signed, Sealed, Delivered (I’m Yours)’ remains one of Motown’s most joyful recordings and comes before Commodores’ ‘Easy’ introducing Lionel Richie’s smooth ballad vocals. The side also includes Bill Withers’ timeless ‘Ain’t No Sunshine’, a Grammy-winning classic, and The Stylistics’ lush ballad ‘You Make Me Feel Brand New’, a UK Top 3 smash, before closing with Rose Royce’s beautiful ‘Wishing On A Star’, one of the most loved soul ballads of the era.

Flip the LP over and The Jackson 5’s ‘I Want You Back’ – the group’s explosive debut single opens the side. Smokey Robinson & The Miracles’ ‘The Tears Of A Clown’ became a UK #1 and is followed by The Supremes’ Nathan Jones’ showcasing the group’s evolving psychedelic-soul sound. Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, Chairmen Of The Board’s Top 3 smash ‘Give Me Just A Little More Time’ and The Trammps’ ‘Hold Back The Night’. The O’Jays’ joyous ‘Love Train’ leads to The Blackbyrds’ Walking In Rhythm’, before the side closes with the romantic classic ‘Always And Forever’ from Heatwave.

LP2 opens with The Temptations’ epic ‘Papa Was A Rollin’ Stone’, a Grammy-winning US #1 remains one of the most stunning recordings from the Motown catalogue, is followed by Isaac Hayes’ ‘Theme From “Shaft”’, an Academy Award-winner and a US #1 smash. More funk follows from Ike & Tina Turner, James Brown with one of his key tracks ‘Get Up (I Feel Like Being A) Sex Machine’, Edwin Starr’s powerful anti-Vietnam protest song ‘War’, and Sly & The Family Stone’s hugely influential ‘Family Affair’. The Delfonics’ sublime ‘Didn’t I (Blow Your Mind This Time)’ comes ahead of Billy Paul’s timeless ‘Me And Mrs. Jones’ which closes the side…the other side begins with the 1977 #1 from The Floaters with ‘Float On’, before the breathtaking vocals of Minnie Riperton on ‘Lovin’ You’. The Isley Brothers’ Summer Breeze’ and William DeVaughn’s ‘Be Thankful For What You Got’ have become enduring classics and are followed by a run of ‘80s pop-chart crossover hits completing LP2 from Detroit Emeralds, The Moments Raydio and The Tymes’ #1 ‘Ms. Grace’.

LP3 opens with the unmistakable voice of Barry White and his US #1 hit ‘Can’t Get Enough Of Your Love, Babe’, before Aretha Franklin’s ‘Until You Come Back To Me (That’s What I’m Gonna Do)’, delivers one of her smoothest performances. Al Green’s ‘Tired Of Being Alone’ and Gladys Knight & The Pips’ ‘Midnight Train To Georgia’ are followed by minimalist soul classic ‘Why Can’t We Live Together’ from Timmy Thomas, and the side closes with a trio of defining ballads:- George Benson’s ‘The Greatest Love Of All’ Diana Ross’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ and The Jackson 5’s ‘I’ll Be There’, their biggest hit…while over on the final side…Freda Payne’s #1 ‘Band Of Gold’, opens alongside Ann Peebles’ influential and much covered ‘I Can’t Stand The Rain’.Marvin Gaye’s sensual ‘Let’s Get It On’ became another US #1, while Harold Melvin & The Blue Notes featuring Teddy Pendergrass deliver the contemporary standard ‘If You Don’t Know Me By Now’. Three massive UK #1s are next…The Stylistics with ‘Can’t Give You Anything (But My Love)’, The Three Degrees’ peerless ‘When Will I See You Again’ and Deniece Williams’ ‘Free’. This amazing collection closes with two timeless ballads: Earth, Wind & Fire’s ‘After The Love Has Gone’, a Grammy-winning classic, along with ‘Three Times A Lady’, a huge worldwide #1 for the Commodores.


NOW That’s What I Call 70s Soul, 50 defining tracks from one of music’s greatest decades. Out April 24th.

Chronicle continues his journey through the cosmos on Spatial bringing a stunning array of inspired atmospheric bliss with Aqua Pura. A1 - Pure Alchemy Chronicle opens his latest EP for Spatial with a sprightly track, introduced with purposeful synthwork, echoing effects and a wonderful 808 bassline reminiscent of the late 90's Progression Sessions era. Energetic, layered breaks drive and build throughout Pure Alchemy with joyous vigor, while a cluster of subtle melodies intertwine across a varied and memorable mix from the label regular. A2 - Endless Ocean Next up Chronicle treats us to an amazing array of atmospheric synthwork with Endless Ocean, notes yoyoing across the soundscape through a gorgeous intro. Flecked with shimmering, buoyant melodies and bringing an immediate injection of pace, the breaks drop delivering a driving, distinctively head-nodding energy punctuated by a blippy micro melody and suitably deep bass. AA1 - Shared Consciousness Opening with a playful intro featuring subtle hi hats, twisted bells and a classic film sample, Chronicle deftly juggles excitable effects with his inimitable cheery atmospheric style before a real feast for the ears and the feet arrives - breaks reminiscent of those long lost nights at Shepherd's Bush in 1998 bring an essential hypnotic energy to a track simply dripping with style and rhythm. AA2 - Water World Straight into the action with crisp two-step breaks, Water World needs no introduction as a myriad of atmospheric effects, samples and quirky melodies seize your attention for a decidedly dancefloor-friendly track for 160bpm heads. Beautiful breakdowns play their part as well as the subtle yet room-filling 808 bass, rumbling persistently beneath another remarkable track from one of Bristol's finest.

The incredible talent that is Jamie Myerson returns with another stellar EP packed with old school sensibilities and atmospheric charm. A1 - Photosphere Photosphere opens with a warm synth and filtered beats before a raucous kaleidoscope of breaks take over your senses, while a devilishly simple piano melody, layers of airy vocals and sampled effects jostle for your attention adding texture to an already immense array of sounds. All elements are clear and distinct in the mix, offering something new with each listen in exceptional detail and clarity. A2 - Naked Eye Changing up the vibe with a twist, Naked Eye is a a deeply atmospheric piece that opens with synths and light percussion before a relaxed old-school breakbeat and bassline drop and kick start a gloriously laid-back journey which builds and builds with trademark JLM Productions panache - adding a flurry of strings, micro melodies across the soundscape and a perfectly-tuned amen layer to the breaks. AA1 - Evolution Operator Next up: enter the sounds of Evolution Operator, opening with a DJ-friendly filtered break intro coupled with intriguing, intense padwork which builds towards a drop of dancefloor two-step beats featuring none other than the legendary Apache break. Combining driving atmospheric energy delivered from a plethora of melodies and effects with old school sensibilities results in another fine floor filler for the discerning setlist. AA2 - Lightlike Completing the EP we are treated to Lightlike, another gloriously reminiscent piece of music reflecting yesteryear with JLM’s crisp, detailed approach to production. Opening beat-free with glistening pads, subtle drums are gently added before classic Airtight breaks drop with a cacophony of synthwork, cymbals and crafted melodies swirl throughout the elements to create a classic yet modern collage of atmospheric drum & bass. Words by Chris Hayes (Spatial/Red Mist)

Red Axes step into the fabric presents series with a release that feels both inevitable and deeply personal. Known for their hypnotic, psychedelic approach to club music, the Tel Aviv–based duo bring a narrative-driven sensibility that aligns seamlessly with fabric’s legacy of long-form storytelling and forward-thinking curation.

Across years of performances at fabric and other key global institutions, Red Axes have developed a reputation for sets that unfold patiently and unpredictably, drawing dancers into a world where groove, tension, and atmosphere take precedence over genre or trend. Their contribution to the fabric presents series reflects this ethos: a carefully sculpted journey that prioritises mood, momentum, and emotional depth, while remaining firmly rooted in the physical language of the dancefloor.

Formed by Dori Sadovnik and Niv Arzi, Red Axes emerged from Tel Aviv’s underground with a sound shaped by post-punk, acid, krautrock, and cosmic disco influences. Over the past decade, they have built a catalogue defined by raw textures, twisted melodies, and a distinctly human looseness, qualities that translate as powerfully in the club as they do on record. Their releases and remixes for labels such as Phantasy, Correspondant, Running Back, Dark Entries, and Permanent Vacation have established them as artists who consistently operate just outside the expected.

As DJs, Red Axes are celebrated for their ability to stretch time on the dancefloor, weaving obscure selections, unreleased material, and leftfield classics into slow-burning, trance-inducing narratives. This approach has seen them invited to venues and festivals including Panorama Bar, De School, Bassiani, Dekmantel, Sonar, and Primavera Sound, where their sets are defined not by peaks alone, but by the tension built between them.

With the forthcoming fabric presents Red Axes release, the duo deliver a statement that captures years of shared musical intuition and a deep respect for the club as a communal, transformative space. It is a mix that rewards close listening as much as physical immersion, a snapshot of Red Axes at their most focused, expressive, and uncompromising.

To mark the launch of their forthcoming fabric presents album, the duo unveil the lead single, “Hot Rod To Hell”, a bold reworking of Man Parrish and Roy Garrett’s 14-minute spoken-word electro epic, reimagined through Red Axes’ signature psychedelic lens.

Stripped back and refocused, the original’s narrative tension is transformed into a hypnotic, downtempo house track built for late-night immersion. A rolling, elastic groove anchors the track, while pulsing low-end, subtly warped synth lines, and tightly controlled percussion create a sense of slow, smouldering momentum. The spoken vocal elements drift through the mix like fragments of memory, lending the track a ritualistic, cinematic quality without overwhelming the dancefloor.

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.

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.

For its eighth release, Distant Gaze welcomes Ruksby with Phosphene Cognition, the artist’s debut EP on the label. Known for his hypnotic acid energy and cold, driving groove, Ruksby has developed a distinct sonic signature resonating with both classic rave devotees and listeners of indie-leaning electronic music.

The EP opens with two original cuts. “Imagination” moves in a trancy and hypnotic direction, where slow pulsating TB-303 lines and drifting acid leads unfold through a dark, steady groove. “Illusion” follows with a sharper, more aggressive edge, pushing acid frequencies and overdriven synths into tighter late-night territory. Both tracks stand as focused dancefloor pieces driven by Ruksby’s balance of tension and intensity.

On the B-side, two remixes expand the release. Long-time label friend Mike Sacchetti delivers an acid-driven dancefloor weapon built around a relentless pulsating bassline. Closing the record, Rambal Cochet offers a Goa-inspired chill-out reinterpretation, providing a calm and spacious conclusion.

Fresh from releasing projects on Method 808 and Future Classic, landing a huge collaboration with Chloé Caillet, and delivering an official remix for Fatboy Slim, PPJ are entering a new chapter in full force. Their expansive take on global street sounds, ranging from neoperreo to Miami bass, gets a cool re-coating.

Led by the magnetic vocalist Páula, with production from Povoa (individually supported by Four Tet, Ben UFO, and Barry Can't Swim, with recent releases on Live From Earth), the duo operates in maximalist mode: playful, sensual, and slightly unhinged.PPJ’s new era, JOKER, embraces a figure that appears everywhere from card decks to carnival culture as a symbol that mirrors their own DNA: funny, eerie, seductive, unpredictable. The EP leans further into club territory, but rather than polishing their edges, PPJ amplify them.

At the emotional core of the record sits “Coeur,” co-produced with Chloé Caillet. It begins with an MPB-tinged foundation flirting with bossa nova. It’s unmistakably Brazilian, bathed in sunset hues before being sped up and twisted into a dance-floor-ready electronic form. The groove shimmers with tension: warm percussion, elastic basslines, and Páula’s voice hovering between intimacy and tease. It feels like a remix of itself, romantic, but slightly untrustworthy.

If “Coeur” glows, “To Nem Ai” is a slow burner. A very deep and downtempo house cut, it unfolds slowly, almost luxuriously, guided by sensual vocals that feel whispered directly into the ear of the listener. A hypnotizing piano sample that feels like a late-night confession. It’s the kind of record that transforms a dancefloor into something tactile.

Elsewhere, “Me Pega” is a high-energy reinterpretation of the tech-house sounds from Santa Catarina, one of southern Brazil’s most feverish party states, twisted and accelerated for ferocious impact. Drawing direct inspiration from Sarro, a raw and vibrant Brazilian street dance, the track captures physical intensity in its purest form: sweat, bass pressure, collective release.

Its counterpart, “Tem Carnaval” channels Páula’s vivid storytelling into a thunderous ode to Rio’s carnival spirit, euphoric, chaotic, cinematic landed just in time for this year’s celebrations.

On “Sexy Doce,” rugged electroclash melodies collide with unexpected references. “It was inspired by Budots, which is dance music from the streets in the Philippines,” Povoa explains. “Then we mixed it with Páula’s Brazilian vocals. Baile funk is similarly from the streets, so there is a connection.” The result is raw yet futuristic, a cross-continental flirtation that feels both underground and explosive.

With this new EP, PPJ make music like they’re tuning into a dozen pirate frequencies at once. Pirate radio from Rio to Berlin to Manila intercepting fragments of street culture, sensuality, and chaos, and stitching them into something deliriously cohesive.
JOKER doesn’t just nod to club culture. It challenges it, twists expectation and leaves a lasting impression.

Some records feel like they should have existed. This is one of them.Originally buried as an album cut in the catalog of C. C. Catch, ‘Stop – Draggin’ My Heart Around’ never received the maxi single treatment it always deserved. For decades, fans of Dieter Bohlen’s signature sound have been left wondering what could have been… no extended mix, no dub, no proper club version… Until now.

Julie Chrome steps in with a strikingly faithful reinterpretation, capturing the emotional tone and melodic essence of the original, while Ryan Benson carefully reconstructs the sonic blueprint, staying true to that unmistakable mid-80s German disco aesthetic of Luis Rodriguez. Think shimmering synths, tight Linn-style drums and that bittersweet, dramatic tension Bohlen/Rodriguez and Co. perfected. But this release goes further than nostalgia. On this maxi, the track finally unfolds the way it always should have. Fully extended, club-ready, and built for the dancefloor. The Long Version delivers that essential 80s arc: slow build, emotional lift, and extended instrumental passages made for mixing. The Dub Version strips it back into a hypnotic tool, pure drums, synth stabs and atmosphere, tailored for late-night transitions and deeper sets. The Radio Version and Alternative Radio Version complete the package, offering two concise takes that still retain all the charm, drama and melodic punch of the original composition. This is more than a tribute, it’s a carefully crafted time capsule. From the production to the artwork and label aesthetics, everything here is designed to transport you straight back to 1986. For fans of classic German disco, collectors of lost Italo-adjacent gems, and DJs who know the power of a well-placed nostalgic moment – this one hits deep. A record that finally corrects history.

Some tracks don’t age, they just wait for the right dancefloor to hit again.

Originally released in 1985, Main Attraction by Toronto-based duo Yoh-Yo is one of those high-energy sleepers that quietly tore through clubs while never fully crossing into the mainstream canon. Produced by maestro Allan Coelho (Tapps, Click) and driven by the instantly recognizable vocal of Carlos Borges, it’s a pure shot of mid-80s Hi-NRG euphoria. Tight, glossy, and unapologetically emotional.

Fast forward to now, and Vintage Pleasure Boutique digs deep into the archives of Boulevard Records to deliver the ultimate collector’s package, bringing together all six officially released versions from the original 1985–86 pressings across Europe, Canada and Mexico. But this isn’t just a reissue, it’s a full-spectrum reconstruction of a club weapon.

From the Original Version, still hitting with that raw, uplifting drive, to the Sandy St. Alban Version, adding a slightly different vocal flavor for the heads who know, each cut reveals another angle of this underground anthem. The Instrumental and Hi-NRG Dub Version strip things down into pure mixing tools: extended grooves, pulsating basslines and synth hooks that lock dancers into a trance. The Remix pushes things further into peak-time territory, while the real gem for DJs lands on the B-side: the long-sought Hot Tracks Extended Edit by Gregg Denewith — originally exclusive to the US market and finally resurfacing in proper, playable quality. A true secret weapon for selectors who like their sets with a touch of authentic 80s heat.

This release is a love letter to Hi-NRG, to analog excess, and to the global club network that kept these records alive long before algorithms caught up. For fans of neon-lit nostalgia, sweaty dancefloors and that unmistakable Italo-adjacent pulse. Main Attraction is exactly what the name promises. Pure energy. No compromise.

Manuel Darquart returns to WOLF with this season’s must-have EP, Dream House Factory Vol. 1. Following his sublime 2023 release, The Del Sol EP, and a standout appearance on Permanent Vacation Records, he once again delivers a collection rich in Italo house influences, all filtered through his unmistakable signature style.

Seamlessly blending house, Italo and acid flourishes, Manuel Darquart continues to showcase why he’s a master of that sun-soaked Balearic sound. There’s a strong sense of nostalgia throughout, yet it’s balanced with a sharp, contemporary edge.

Adding further weight to the package, Malik Kassim aka Retromigration steps up to deliver a killer, remix of Pammy’s Craft. Injecting the track with extra drive and peak-time energy, he transforms it into a dancefloor weapon while retaining the character and charm of the original.

Think Ibiza via Hackney, with a pit stop in Amsterdam for a late-night pick-me-up. Balearic to the core!

File under Boy Harsher Jae Matthews lends her unmistakable voice to a striking reinterpretation of Buzz Kull’s cult classic “Man On The Beat.” Built for midnight drives and neon-lit highways, Matthews’ version transforms the track into a dark, hypnotic pulse of tension and atmosphere, carried by her haunting, commanding vocal. Released as a special limited-edition 12" by Heartworm Press, the single reimagines the underground favorite with a colder, more cinematic edge.

On the B-side, Los Angeles duo Spike Hellis deliver an extended remix, stretching the track into a dancefloor-ready transmission of ecstatic synth and rhythm. Matthews is widely known as the vocalist of the dark electronic project Boy Harsher, but here she steps into a different light, channeling the nocturnal spirit of the original while making the song unmistakably her own.

Originally released on vinyl in 2012, H2DAIZZO quickly became one of the NYC duo’s most sought-after records, with original copies fetching over $100 on Discogs. Now widely considered a timeless club essential, this deep, minimal house cut returns via a long-awaited repress on Defected Records.

The release is further elevated by three standout remixes, each bringing a distinct perspective: Peggy Gou delivers a signature 2017 rework, slicing and reshaping the groove with her unmistakable flair; Butch injects his 2018 remix with driving, dancefloor-focused energy; and Josh Baker offers a fresh, contemporary take, rounding out the package with a modern club sensibility.

For their third release, FREE UNIVERSE welcomes Brooklyn's JÄK-87, making his debut EP with two acid-soaked jams along with remixes from Will Automagic and FU label head, Gee Dee. The Good Room staffer delivers Acid Bath, a subtle yet driving downtempo excursion complete with cheeky samples and a powerful 303. On the flip is Re_Cognition; a booming breakbeat stomper with distorted synths and bouncy bass. The Carry Nation's own Will Automagic ups the tempo with a speedy remix of Acid Bath, with a throbbing bass line and jacking percussion ready for 2am peak moments while Gee Dee brings a minimal approach to Re_Cognition with analog synths harking back to the likes of Liaisons Dangereuses. This record is dedicated to David G. Holland. Limited to 300 copies.

Molekül celebrates its 10 year anniversary with its most ambitious release to date. The label brings together 16 tracks from artists who have shaped its DNA over the years. This compilation looks to the future rather than the past and represents the result of a decade of exploration, forming into a sound that is built on multiple influences, raw, peaky and impactful. The release features peak-time cuts from BAUGRUPPE90, Mark Broom or Zisko, alongside a new generation pushing techno forward like KUSS & Sicion, Seigg and Fran LF. It also dives into more hypnotic territories with tracks by JKS or Hemka, and delivers loopy and effective tools for the dancefloor from Mython, as well as a new standout collaboration between Beau Didier, Flits and Isaiah.

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."