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2025 REPRESS

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

*includes insert

Timely reissue of Only for the Headstrong, the seminal 12” from UK duo Psychotropic, arriving this November. Originally released in 1990 at the height of the Acid House explosion, the track quickly became a defining moment in UK dance music—melding house, breakbeat, and psychedelic pop influences into something utterly timeless. Revered by DJs, collectors, and ravers alike, Headstrong is a euphoric, genre-blurring anthem that retains a raw innocence and hypnotic pull even 35 years on.

Psychotropic was formed by Gavin Mills, a rising DJ with a deep love of house and hip-hop, and Nick Nicely, a seasoned psych-pop experimentalist whose history included cult releases with Arista and EMI. The pair met during the fever pitch of late '80s rave culture—bonding over illegal warehouse parties, makeshift home studios, and a shared impulse to explore new sounds and styles. Crafted using an Akai S900 sampler, a Fostex 8-track, and a Casio CZ-101, Only for the Headstrong emerged from Nicely’s South London home studio in a single inspired session, its unforgettable loops and soaring keys capturing both the chaos and euphoria of the era.

The track, and the Prince-style groove of B-side Out of Your Head, became underground hits, reaching the top of London’s independent record store charts and cementing Psychotropic’s reputation for marrying psychedelic sonic textures with club-ready grooves. Their sound stood out—rooted in DIY experimentation but elevated by emotional depth and melodic flair. Mills and Nicely’s unique chemistry would spawn further club classics like Hypnosis, Psychosis, and Feel Surreal, before diverging into solo paths in the mid-90s. Despite parting ways creatively, the duo has remained close friends, occasionally reuniting for remixes and digital reissues.
Now, in 2025, Only for the Headstrong returns to vinyl in its full analog glory—remastered and recontextualized for a new generation. With freshly penned liner notes by Nic Nicely, this nostalgic reissue captures the raw, open-minded energy of a pivotal moment in UK dance music and reconnects us with the heady, DIY spirit of early rave culture.

Charlotte de Witte releases more hot news on her eagerly awaited eponymous self-titled debut LP, which drops November 7th on her KNTXT label. Fans already stirred to frenzy by two killer LP singles can now pre-order/pre-save the album digitally and on vinyl. She also reveals the cover art and track list in its entirety.

Already hailed by Vogue DE, BBC 6 Music, Resident Advisor, DJ Mag, Mixmag, Rolling Stone, Billboard amm., the acid-drenched, unstoppable lead single and set staple ‘The Realm’, and powerful organ-heavy cut ‘No Division’ (feat. XSALT) reflect the power of the full 11 track release. The ‘No Division’ vinyl was pre-released during her recent six instantly sold-out New York City shows in four days triumph. With one more LP single promised before the full drop, fans will have to wait and see which that will be…

After a fifteen year long career of propelling the techno scene forward and 25 standout EPs, the Belgian DJ & producer ‘started to feel the urge to embrace a format that allowed me to showcase my sonic identity in its entirety.’

Though the album is deeply personal – ‘these are tracks that move me, songs that carry me away like only club music and a night lost in it can’ – it’ll be a must-have for fans & techno/acid fiends. ‘Make no mistake, this is a true DJ album. I’m a club kid, always will be, and every track on this record makes me want to dance.’

It’ll do the same for other ravers. One more LP single to come… which of these is it to be?

2025 Repress!

Recorded in a remote cabin on the Devon coast, STILL OUT is an album-length collaboration between musician-filmmakers – and childhood friends – Will Cookson and Tom Haverly. A reflection on friendship, landscape and the passing of time, it inspired a road trip from North Yorkshire to North Devon they took together in the summer of 2024, and forms the soundtrack to a film of the same name which had its premiere screening as part of Stroud Film Festival in March 2025.

Like the film, STILL OUT is also an oblique homage to The KLF’s iconic 1990 album Chill Out, which the Gloucestershire-based pair revisited after it turned up unexpectedly a few years back in Tom’s dad’s record collection. Inspired to create their own recording using a similarly free-spirited process, Will and Tom relocated to the Devon coast in late summer 2023, splicing together a 40-minute mix from their personal archive of recordings and found sounds in a remote cabin with no electricity or mobile reception.

"It came together using cut-and-paste techniques, with ongoing shifts and tweaks,” says Will. “The final result was an audio collage that felt like something legendary hip hop producers The Bomb Squad might make - if ambient music was the only material in their sample library."

Using ‘ambient’ as a starting-point rather than an end in itself, they took inspiration from across the musical spectrum – classic-period Brian Eno, Philip Glass, Bill Evans, plus outliers such as 80s singer-songwriter Virginia Astley and the late DJ-producer Andrew Weatherall. The connections, though, are anything but obvious as the audio shifts seamlessly from field recordings and spoken-word interludes to mood pieces and snatches of vintage pop.

Edited and assembled using freely available open source programs, the source material was often radically altered using tools such as “PaulStretch”, a digital sound-morphing algorithm that allows users to stretch audio files to extreme lengths.

"When we found ourselves in a creative slump or unsure how to navigate a tricky part, we'd say, ‘Let's put some syrup on it and slow it down,’” says Tom. “That always helped us get back on track during late-night recording sessions at the cabin."

Part-soundtrack, part-meditative experiment, STILL OUT is intended as a reflection on the mental and emotional shift that occurs when stepping away from the routine of daily life – an album that forms a celebration of our ever-changing relationship to the world around us and the mystery of what it means to pass through time and space.

“The true follow up, 35 years later, to The KLF’s ‘Chill Out’”.
JD Twitch (Optimo).

An ambient journey reflecting on friendship, the British landscape - and The KLF’s landmark album Chill Out

"This record and film are just lovely. You need this in your life. Moo-Moo!” Balearic Mike (Down To The Sea & Back)

"The album is a perfect companion to the KLF classic, utilising the British countryside as the setting, occasionally reminding you that Mother Nature is not to be messed with.” Strictly Kev (DJ Food)

"A beautiful ambient journey into the landscape, taking the listener from reality to dream state and back again. A mystical realm full of mysterious chanting, rattling trains and sounds from the very depths of the earth."
Lally MacBeth & Matthew Shaw (Stone Club)

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

Klur (Patrik Kindvall) has quickly become one of the most exciting names in melodic and progressive house. Since his breakout debut, Summit / Odysée, the Swedish producer has captivated listeners with his signature blend of organic textures, meticulously crafted synths, and evolving melodies, garnering over 100 million streams across DSPs and a loyal fanbase of over 1 million monthly listeners on Spotify.

His music across labels including Colorize, Anjunadeep and This Never Happened, has found global resonance, earning radio support from SiriusXM Chill, where he is one of the most-played artists in the last few years, and DJ endorsements from Lane 8, Madeon, Tritonal, Above & Beyond, Black Coffee, Sultan + Shepard, and more. Recognised as one of Sweden’s fastest-rising songwriters (+100! by STIM), Klur continues to push boundaries, proving that electronic music can be both deeply emotional and sonically cutting-edge.
Beyond the studio, Klur has taken his immersive sound to stages worldwide, with performances in New York City, ADE, London, L.A., San Francisco, Seattle, Phoenix, Denver, Austin, Toronto, Montreal and beyond. His music is more than just sound—it’s an invitation to explore a world where the digital and natural coexist in harmony, stirring emotions and inspiring connection.

Klur drops his sophomore album ‘After The Rain’ on Colorize this October, followed by an album tour across Q4 and into 2026.

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

A well-timed remastered version of this killer jacking electro cut from Aaron Carl on the legendary Metroplex label, featuring none other than Juan "The Man" Atkins. The release includes four versions. Dirty, essential Detroit electro.

DJ Support: DJ Harvey, Kelvin Andrews/ Balearic MIke (Down to the Sea and Back), Howler (Pikes/Totem Projects) Joe Morris (Shades of Sound/Pikes)

New vinyl only 4 track EP of reinterpretations on the fledgling Oswego Music label, from the mysterious Lovehandles.‘Unrequited Dub’ sees a quintessential eighties tune and Larry Levan favourite reframed as an epic 11 minute balearic slow jam- with scarce copies available digitally getting plays in recent months from Kelvin Andrews/ Balearic Mike (Down to the Sea and Back), Howler (Pikes/Faith/Totem Projects) Joe Morris (Shades of Sound/Pikes) and even Mr Harvey Bassett seeking out a copy. One for sunsets and heartbreak. Next up-‘Stars before the Sun’ is a recut of a thrift store Hare Krishna disco funk cut. WIth solina strings, drum breaks and a positive message to live for now. ‘Crystal Lites’ first on the flip; heads to the disco. Versioned here with whacked out pinging delays and reverbs. It’s been reworked before, but never like this. ‘It’s a Long Shot’ second on side two, is a 12” mix that never was- an eighties Balearic drum machine pop favourite,extended for djs. Its ethereal vocals, minor keys and spaced out fx perfect for late nights and early mornings. ‘The Drum-Set (skit)’ rounds things off here- a short and sweet reminder of the international, multiracial origins of rhythm. Perfect for mixtape intros and interludes.

Die erste Zusammenarbeit zwischen dem japanischen Noise-Titan Masami Akita, alias Merzbow, dem legendären brasilianischen Schlagzeuger und Produzenten Iggor Cavalera und dem zukunftsorientierten italienischen Gitarristen und Sounddesigner Eraldo Bernocchi, ,Nocturnal Rainforest", schafft eine Klanglandschaft, die fast überwältigend dicht und verwirrend ist, aber niemals aggressiv oder chaotisch. Es ist ein vollständig immersives Erlebnis, das die jahrelange Arbeit des Trios im Bereich der extremen experimentellen Musik neu kontextualisiert, indem es sich auf Textur, Atmosphäre und sensorische Überlastung konzentriert. Der Noise selbst wird verwendet, um ein raffiniertes Maß an Konzentration zu provozieren; ,Nocturnal Rainforest" ist auf seine eigene Weise meditativ und umhüllt die Zuhörer mit Wellen von Verzerrungen, phantasmatischen, ungemessenen Rhythmen und verwirrenden, bearbeiteten Feldaufnahmen, aber es ist nicht für passives Hören gedacht. Entstanden durch eine Fusion von maßgeschneiderten Techniken, die das Trio seit Jahrzehnten entwickelt, existiert es in einer rohen und mystifizierenden Grenzzone zwischen dem organischen Bereich und der digitalen Welt - einem Ort, der zu vertraut ist, um ignoriert zu werden. Als einer der bekanntesten und produktivsten Noise-Künstler der Welt hat Akita vielbeachtete, genreprägende Alben auf so unterschiedlichen Labels wie Relapse, Important Records, Tzadik, Cold Spring und Soleilmoon veröffentlicht und mit einer Vielzahl von Künstlern zusammengearbeitet, von Keiji Haino und Mika Patton bis hin zu Melt-Banana und Boris. Seit 1979 hat er über 500 Merzbow-Alben veröffentlicht, darunter das Tape-Experiment ,Pornoise/1kg Vol.1" von 1984, das bahnbrechende Noise-Wall-Album ,Pulse Demon" von 1996 und das dubartige ,Merzbuddha" von 2005. Cavalera ist vor allem als Mitbegründer der brasilianischen Metal-Band Sepultura bekannt. Seit er die Band 2006 verlassen hat, beschäftigt er sich intensiv mit experimenteller Underground-Musik und arbeitet mit Künstlern wie Laima Leyton, Ninos Du Brasil, Raven Chacon, Linekraft, Petbrick, Pig Destroyer, Soulwax, Dwid Hellion, Shane Embury und anderen zusammen. Bernocchi begann seine Karriere in den 70er Jahren in verschiedenen Punkbands und wurde in den 80er Jahren bekannt, als er das postindustrielle Kollektiv Sigillum S mitbegründete und Kontakte knüpfte, die sich über die gesamte globale Underground-Szene erstreckten. Als aktives Mitglied der einflussreichen Illbient-Bewegung arbeitete er mit einigen der wichtigsten Persönlichkeiten des Genres wie Spectre, Bill Laswell und DJ Olive zusammen und nahm für WordSound sowie das Kult-Hip-Hop-Label Rawkus auf. Bernocchi hat seine innovativen Aktivitäten fortgesetzt, indem er als SIMM mit dem Grammy-Gewinner Grime MC Flowdan zusammengearbeitet und mit Harold Budd, Robin Guthrie von den Cocteau Twins, Gaudi Nils Petter Molvaer, Hoshiko Yamane und vielen anderen aufgenommen hat. ,Nocturnal Rainforest" ist das Ergebnis der kontinuierlichen musikalischen Entwicklung jedes einzelnen Künstlers, angetrieben von extremer Musik, aber gemildert durch Deep-Listening-Techniken, die Präsenz statt Distanzierung erwarten. Auf ,Swietnenia Macrophylla" vermitteln suggestive, feuchte Klanglandschaften zunächst ein prekäres Gefühl der Sicherheit, das an den Rändern durch schnurrende Schwingungen, die die Fauna des Dschungels imitieren, verschwimmt. Und diese Ruhe wird schnell durch perkussive, nebelhornartige Verzerrungen unterbrochen, die das Ausmaß der Vision des Trios verdeutlichen. Es handelt sich nicht nur um rohen Lärm, die raueren Elemente werden durch subtile Wellen wogender Atmosphäre und schwüle Low-End-Drones unterbrochen, bevor der Track in eine Symphonie computergenerierter Stottergeräusche übergeht. Es gibt ein ständiges Hin und Her zwischen organischen und künstlichen Klängen - bevor man sich an den DAW-verfälschten Lärm gewöhnt hat, trüben collagierte Bandübersteuerungen und zerschnittene Verstärkerbrummen die Atmosphäre, verwirren gezielt die Sinne und verschleiern die Quellen. Dieser Gedanke wird in ,Ceiba Pentandra" fortgesetzt, wenn das Trio den wimmelnden Klängen des Dschungels mit knurrenden, surrenden Elektronikklängen und dichten Interferenzen folgt. Was als Vogelgesang und Insektenchor beginnt, verwandelt sich in eine Wand aus ohrenbetäubender, transzendenter Vollspektrum-Textur, die sich wie ein langsam voranschreitender Sturm über einer schattigen Wildnis auftut.

Another sureshot heater from a magnificent underground label with a cult following, Adeen Records drops AR026, a landmark release uniting two titans of house music: New York's legendary Pal Joey (Joseph Longo) and Chicago's iconic voice Robert Owens. Side A's 'The Me Inside' is a masterclass in deep, soulful club music. Joey lays down a signature groove-hard-hitting drums and lush piano chords-while Owens bares his soul, asking listeners to witness the vulnerable core of his artistry. It's a heartfelt vocal performance rooted in classic Chicago house, paired perfectly with Joey's unmistakable production style. An instrumental follows, ideal for DJs keeping the vibe deep and emotive. Flip to Side B and you'll find Paolo Aniello aka New Digital Fidelity bringing the heat. Known for his work on Snuff Trax and collaborations with house luminaries, Paolo delivers a pulsing, bass-heavy dub remix that's built for peak-time floors. When legends align, magic happens-AR026 is a future classic.

Dj Fly, DMC Legend with 4 DMC World Champion titles including 2024, France's most successful turntable player, presents his first Battle break / Dj Tool Vinyl!
With 19 tracks, you'll find an ultra-complete Dj Battle Tool including Skip Proof Scratch, Cuts, Tools, Sentences, Beats and Continuous Sound!

It's a limited edition of 300 copies, including a digital download coupon!

Black 12” vinyl.

Easttown, one of Europe’s hottest talents returns with his third release on Cécille Records.

After making waves with his Chaos EP and following up with the acclaimed Timeless EP, Dutch producer Easttown now
delivers his third release on Cécille – the Get Ready EP. With his distinctive house sound that blends groove, depth and
uplifting energy, Easttown has already landed on respected labels such as Franky Rizardo’s LTF Records, Folamour’s House
Of Love, and most recently Jamie Jones’ iconic Hot Creations.

His tracks have become regular weapons in the sets of leading DJs across Europe, establishing him as one of the most
exciting rising talents on the continent. The Get Ready EP features four original tracks plus a digital bonus, showcasing
Easttown’s ability to fuse deep grooves, lush textures and playful energy into timeless, club-ready cuts.
Easttown is an integral member of the Cécille family and a constant presence at our Cécille Events. We’re happy to have
him with us and excited to continue this journey together.

Italian producer, musician, DJ, and groove architect Sam Ruffillo drops his long-awaited debut album Tipo Così on Toy Tonics – a sun-drenched, genre-blurring statement that blends classic house with Mediterranean flair, romantic funk, and tongue-in-cheek Italo vibes. Over 11 expertly crafted tracks, Ruffillo delivers a dancefloor-ready, emotionally rich LP that connects deep musicality with irresistible rhythm and light-hearted elegance.

After three acclaimed EPs and collaborations with revered artists such as Barbara Boeing, Kapote, and Fimiani, Ruffillo has firmly cemented himself as a core artist on the Berlin-based label. Known for his unmistakable signature sound — a warm mix of vintage disco, 90s house, and Italian vocals — Sam’s music has garnered widespread DJ support from tastemakers like Gerd Janson, Palms Trax, Seth Troxler, and DJ Tennis, while becoming a staple on Italian airwaves. His infectious summer anthems like Danza Organica and Perfetta Così have soundtracked countless club nights and festivals, creating a loyal following that eagerly awaited this full-length debut.

Tipo Così is the natural culmination of a musical journey that’s both playful and profound — a travel diary written in grooves, synth stabs, and melodies that feel like postcards from a parallel Mediterranean universe. The album expands and deepens Ruffillo’s world into a fully immersive experience: lush emotional chords meet tight syncopated grooves, vintage synth textures collide with irresistibly catchy pop refrains, and the boundary between sincerity and playful irony is exquisitely blurred.

Entirely written, produced, and recorded in Italy, in his beloved hometown of Bologna, the album finds Ruffillo at the helm on keys, drum machines, and production, supported by a talented cast of musicians contributing live bass, guitar, and other organic elements — further enriching his trademark fusion of electronic grooves and natural instrumentation. There’s a tactile warmth in these tracks, a hands-on feel that adds soul and depth to every beat.

This album also marks Ruffillo’s heartfelt return to singing in Italian, with standout tracks like House Tipo Così, Mi Fa Volare, Ancora, and Dentro Di Me, where romantic naïveté meets pulsing club energy in a way that feels both timeless and refreshingly new. The vocal performances add an intimate, human touch to the music, reinforcing the personal stories woven into each song. There’s poetry in the casual, a bittersweet elegance in the way the lyrics float over groove-heavy production.

Having toured extensively across Europe, Australia, Indonesia, New Zealand, and Mexico — with sets at iconic venues like Panorama Bar and festivals such as Sónar Barcelona — Ruffillo has fine-tuned much of this album in front of live audiences. The real-world testing ground infused the record with a dynamic energy and immediacy that only comes from genuine crowd interaction. These songs weren’t just made in the studio — they were lived on dancefloors around the world.

Tipo Così is not just a collection of tracks. It’s a philosophy — playful, stylish and unmistakably personal. A modern club album bursting with heartfelt emotion and sophistication. Music for dancers with taste; for lovers of beauty, rhythm, and the little imperfections that make things feel real.

But what exactly is Tipo Così? More than just a phrase, it’s a way of being. It’s about embracing elegance without effort, mixing irony with sincerity, and letting nostalgia slip into the room without taking over the party. It’s Sam Ruffillo’s signature language: relaxed, confident, meticulous yet never rigid — where a chord progression can say as much as a lyric, and every beat carries intention.

The album’s visual identity complements this vision perfectly. The artwork and promotional materials lovingly reference Italian design from the ’80s and ’90s, combining bold graphic elements with playful pop culture nods. This aesthetic mirrors Ruffillo’s music — a fusion of vintage warmth and contemporary freshness, delivered with authenticity and charm.

Sam Ruffillo belongs to a new generation of European artists who are reshaping electronic music by blending past and present, analog and digital, groove and emotion — without nostalgia or pose. His artistic universe is coherent, vibrant, and alive; a rich tapestry of sound, images, and stories that coexist with lightness, precision, and a distinctive voice.

Reflecting on his artistic journey, Sam describes music as a vital, deeply human impulse — a tribal connection to rhythm and body that has driven him since he was a teenager. His creative process balances meticulous planning with room for spontaneity, usually sparked by clear melodic ideas that evolve naturally. Collaborations with close friends, especially vocalists like Ninfa, add warmth and authenticity, exemplified in tracks like “House Tipo Così.” For Sam, music is honest self-expression — crafted for listeners who crave memorable melodies and rhythms imbued with genuine feeling.

While technical perfection is tempting, Sam prioritizes emotion, knowing that what truly resonates is the soul behind the sounds. His long-standing partnership with Toy Tonics has been key in nurturing his vision, offering a blend of creative freedom and professional support. Looking ahead, Sam Ruffillo is excited to broaden his live performances, and release new projects that continue to blend electronic grooves with organic, heartfelt sounds — maintaining the delicate balance between playful irony and sincere emotion that defines Tipo Così.




Kurzversion:
Italian DJ, producer and musician Sam Ruffillo drops his debut album Tipo Così on Toy Tonics - a sunny blend of house, funk, Italo and pop, full of groove and emotion. Written and recorded in Bologna with live instruments and Italian vocals, it’s a playful, elegant journey shaped on dancefloors worldwide. A stylish, sincere club album where nostalgia, irony and rhythm meet in perfect harmony.

- Mi Fa Volare
Road-tested across continents and now finally released, “Mi Fa Volare” channels 90s uplifting euphoria with big breakbeats, lush chords, and Italian vocals built to stick. Somewhere between balearic bliss and piano house nostalgia, it’s a feel-good club weapon made for peak-time moments - already sung back by crowds after just one listen.


- Ancora
“Ancora” is a vibrant hi-NRG track inspired by 80s Italo disco, sung entirely in Italian. It blends driving rhythms with dreamy melodies, capturing the radiant spirit of the decade. This fresh yet nostalgic song delivers euphoric vibes and timeless energy, making it a perfect fit for both dancefloors and reflective listening moments worldwide.


- Dentro Di Me
“Dentro Di Me” channels ‘90s sensuality through a fast-paced, UK house-inspired lens. Entirely in Italian, it’s a bold and contemporary dance track where hypnotic vocals meet high-energy grooves. Blending nostalgic textures with forward-thinking production, the result is a seductive and euphoric trip - equal parts emotional and club-ready.


- Amigo
“Amigo” blends Latin groove, acoustic guitar-driven rhythm, and Mediterranean flair into a warm, magnetic, cross-cultural dance anthem. Sung in Spanish and Italian, it celebrates connection, inclusivity, and the joy of moving together - whether stranger or friend. With its unstoppable rhythm and vibrant energy, it’s a feel-good track with a unifying spirit.


- Ma Sei Fuori
“Ma Sei Fuori” is a tongue-in-cheek dancefloor bomb blending raw house energy with catchy vocal phrases and a nod to classic French touch. Driven by hypnotic vocal lines and a playful attitude, it doesn’t take itself too seriously - while still proving serious club impact. Built for late-night moments, it’s bold, bouncy, and impossible to ignore.

Dexstar Recordings returns with its third release - a solid white vinyl featuring three tracks from the Acid Queen, Miss Djax. These tracks, licensed from the seminal label DJAX Upbeats, were previously only available in digital format. The record also includes a brand-new Acid techno remix of "Rave Nation 303" from label boss Sortek and legend Sterling Moss.

First official vinyl showcase from Untamed Sounds Studio featuring Lucadread on vocals. Digi Killer style.

Untamed Sounds Studio was established in 2015 in Northeast Italy as a sound system, hosting regular events for several years. In 2019, the physical system was sold, and the project moved to the UK, shifting its focus to music production. Since then, Untamed Sounds has collaborated with a wide range of sound systems, DJs, and singers, particularly in the dubplate field, providing exclusive tracks to sounds across the globe. Whether it's roots, dub, digital, or year 3000 style, Untamed Sounds continues to staying true to its foundation, rooted in Jamaican music.

Produced and Arranged by Untamed Sounds.
Mixed by Dougie Conscious at Conscious Sounds Studio, UK.
Mastered by Dubfiles.

Pioneering, uncompromising, yet frequent chart-stormer, sound designer/producer/performer Enrico Sangiuliano releases a remix EP of his seminal, startling ‘The Techno Code’. The techno manifesto dropped in April, also on his countdown imprint NINETOZERO, as part of VA EP ‘Discipline’, since when it’s won multiple plays and plaudits on dancefloors, radio and streaming platforms.

Remixes accompanying the original on the new digital EP are by Kevin de Vries & SLVR; Charlotte de Witte; Avalon & Tristan, plus a bonus DJ tool edit.

The Techno Code (Original Mix) is at once a spoken ‘how to’ of techno and a celebration of the genre, in portentous US tones reminiscent of 50s Atom bomb warning films and of Faithless’ ‘This is my church…’ as Sangiuliano builds the track according to ‘my rules – the Techno Code’ – the hi-hats, the main theme, the touch of acid…as the Voice narrates their effect on listener and raver.

‘The Techno Code (Kevin de Vries & SLVR Remix)’: starts slower, looser and stealthier, until fleshed out with ‘plucked string’ melody overlay, while a siren-like ultra-high note joins in. They’ve also darkened the bass elements while chopping, but maintaining the centrality and clarity of the spoken words.

‘The Techno Code (Charlotte de Witte’s Acid Code)’: adds hoover swoops, spacey stabs, and a brain-invading beeping backbeat. As per de Witte’s remix title, the ‘little acid’ of the original becomes a fizzing main theme. Reordering/cutting the words gives more emphasis to the ‘journey’ motif and builds on the ‘tension/anticipation’.

‘The Techno Code (Avalon & Tristan Remix)’ (Digital Exclusive): the spoken word is stripped back to a powerful intro and brief interjections, all processed with echo, robotic effects, distortion... and all about the anticipation - what you are about to hear, here it comes… The acid is raised to sulphuric levels by a pulsing tooth-tingling synth in a fast psy-trance ride.

This is the second volume of the double compila"on Shock Room. This collec"on features iconic
and sought-a(er "techno, trance & progressive" sounds that got en"re genera"ons dancing and
are s"ll being played and sought a(er by DJs and fans of this musical genre. The compila"on
takes its name from the "main room" inside the Ul"mo Impero nightclub in Turin, a historical
temple of '90s techno trance music in Italy

Kosh joins Craigie Knowes for his label debut record ‘Back on Track’. Kosh delivers 4 tracks packed to the brim with Detroit heritage merged with his own original style and signature Casablanca take on the origins of house, techno and the space between. Title track ‘Back on Track’ is an ever-building acid-journey guaranteed to rock in the clubs. ‘Breaksit’ gives us a chance to breathe as we embark on a trip that melds the signature Kosh and Craigie Knowes sounds into a pure and emotive composition. ‘Ridge Racer’ returns us to our feet with bounce, rhythm and octave changes to elevate your next DJ-set. ‘Digital Dilemma’ takes us from North Africa across the Atlantic to the Motor City and reminds us of everything we love about club-focussed, Detroit inspired, techno. It’s pure Kosh and it’s pure Craigie Knowes, enjoy!

ORBIT CULTURE läuten eine neue Ära ein. Das Century Media-Debüt des schwedischen Quartetts, "Death Above Life", ist nicht nur ein Statement, wie weit sie es gebracht haben, sondern es ist der Sound von Metal in seiner modernsten Form. "Das Album steht für einen Neuanfang", sagt ORBIT CULTURE-Gitarrist, Sänger und Songwriter Niklas Karlsson. "Es ruft positive und negati-ve Emotionen hervor, aber insgesamt bedeutet es eine Veränderung zum Besseren. Es fühlt sich an wie eine Wiedergeburt." Vom Opener "Inferna" über den stampfenden Titeltrack bis zum melancholischen Schlussstück "The Path I Walk" ist klar: ORBIT CUL-TURE sind in Bestform.
Neben ihrem DIY-Ethos und ihren kompromisslosen Dark-on-Dark-Visuals prägt laut Karlsson seine Vorliebe für Soundtracks und cineastische Soundscapes ihren Sound und Vision. Komponisten wie Hans Zimmer (Dune, Interstellar) und Howard Shore (Der Herr der Ringe) hätten einen großen Einfluss auf die Band. "Wahrscheinlich deutlich mehr als aktueller Metal", sagt Niklas. "Jeder von uns würde sich lieber den Soundtrack von 'Inception' anhören, weil er zeitlos ist. Wenn ich beim Schreiben nicht wei-terkomme, bieten mir z.B. Cello oder Klavier neue Möglichkeiten. Wir schreiben einfache Riffs und Strukturen, und wenn wir uns dabei von einem Künstler wie Hans Zimmer inspirieren lassen, kommt ein Song wie 'Inferna' heraus, weil wir den Chorus größer und cineastischer machen."
Produziert von der Band und gemixt von Buster Odeholm (Vildhjarta, Humanity's Last Breath, Thrown), ist "Death Above Life" ein Statement für den Metal, seine Gegenwart und Zukunft. Es ist ein entscheidender nächster Schritt für ORBIT CULTURE, da sie sich selbst und Metal als Ganzes frischer definieren. "Wir spielen Metal", sagt Karlsson. "Wir haben Einflüsse von Djent, von Me-talcore und melodischem Death Metal. Wir bleiben uns selbst treu, und ich denke, die Leute sind genau danach hungrig."
"Death Above Life" ist erhältlich als: Ltd. CD Digipak, Gatefold 2LP, Digital Album.