Amazing Deep! Introspective textures with rolling rhythms. Romanian producer RQZ lands on Dreams Come True with a hypnotic slice of microhouse finesse. Known for his precision-cut grooves and subtle yet infectious energy, RQZ delivers a sophisticated trip that floats between deep minimalism and understated warmth. Adding his signature touch, NTFO steps in on remix duties, twisting the original into a deeper, more dancefloor-driven interpretation - fluid, heady, and perfectly in tune with the late-night hours.
A release that connects introspective textures with rolling rhythms - made for both thoughtful listening and immersive club moments.
In a blizzard of breaks and surrounded by towering slabs of icy atmospherics, Quelza comes spinning into the Dekmantel UFO orbit with an EP of grandiose proportions.
Anyone who caught Quelza at Dekmantel Ten last summer will be well aware of the breakthrough producer's affinity for evocative soundscapes — amongst his keen instinct for dancefloor propulsion its his richly rendered atmospheres that have made him such a vital new talent in the industry and club scene. The curious, extraterrestrial quality to his sound is the perfect fit for the resurgent UFO series, and Quelza has more than risen to the occasion with four tracks that take in the widest spectrum of his sound to date.
The title track 'Pensa Poetico' is a dramatic, 11-minute epic that moves beyond dancefloor rigidity into a fractured zone where rhythms splinter and shudder around immersive dub chords pulses and IDM infused rhythms . There might be the anchor of an insistent, staggered kick drum, but it's a simple tool to allow the freedom of movement for intricate layers of steel, glass, ice and dust before the second half erupts in a powerful display of breakbeat science. It's the most adventurous expression from Quelza to date — a track he credits with unblocking his creative process on the path towards a more honest expression within his production.
This spirit of adventure maintains throughout the EP, balancing cathartic compositional shifts with hyper-detailed scene-building and energy shifts that push and pull with your expectations. Quelza's well-established affinity for dancefloor physicality holds true as he twists and turns through these constantly surprising, nail-biting arrangements. Even when everything seems to fall apart, he'll sense the perfect moment to return to a pinpoint groove. Toying with minimal, modernist 2-step and complex organic percussion as well as choppy breaks, this is the sound of Quelza breaking out into a new phase where anything feels possible and his production vocabulary allows him to land audacious moves with mind-blowing finesse.
We are overjoyed to present this album, another one from our bucket list and another one to set the record straight and illuminate the history of another much loved, but until now mysterious group. The Invaders made some of our all time favorite records - back in 2013 we issued five 45’s of their brilliant, sometimes plaintive, sometimes hopeful and sweet early roots music. Their sound touches folk and gospel in lovely subtle ways that elevate them above the many harmony groups of the early roots reggae era. Since the start of DKR we were striving to learn more about the group - and despite being able to license a portion of their output for reissue, and get anecdotes about them here and there, we were never able to connect with the group themselves. But we never gave up asking about them, and finally in 2024 we were able to link with Delroy “Bongo Pat” Forde, the surviving member of the group. Unfortunately other Invader, Lloyd “Paddy” Campbell passed on several years back. To hear and learn their full story, you need to check out this album and read the liner notes. This 13 song LP corrals much of their output - some of the tracks we previously issued but have been long out of press, some more never before reissued, and some great related solo works by the duo. And to cap it all off we’ve added two new voicings on a couple of our favorite vintage rhythms, by Invader Bongo Pat himself, live in 2024, singing two Invaders songs written way back in the early 1970s but never recorded back then. All together this is a long overdue document of one of the 1970’s finest groups and one dear to our heart.
Little John is one of the most loved and prolific 80s dancehall artists. He started as a child artist in 1979 and by the mid 1980s had recorded for every major producer. In 1984 at age 14 he already knew the ropes of the business and started to produce 45s on his own Romantic label, which he continued sporadically releasing tunes on up until 1993. For us this is one of the coolest looking labels of the latter 1980s, and has a handful of hard to find killer 45s, mostly obscure and mostly slept on. So naturally we needed to corral these for another all killer no filler compilation. True to his own roots, Little John’s label mostly features fresh youthman artists, though a handful of veterans, like Frankie Paul and Early B who are both featured here, also recorded for him. The ten songs on this comp are our favorites from the label, featuring a selection of killer rhythms spanning the heavy mid 80s style, the proper late 80s digital style, and the more uptempo early 90s style. Hardcore DKR heads take note - this features three cuts on that most hallowed 1987 digi rhythm.
Dj Stephano steps up to the plate after a run of wicked EPs on Kniteforce, KFA and KFRR....this release showcases his variety in style and ability to turn anything into something dark and terrifying. Darkness has a fierce swagger and pace to it, using wanr stabs in a nasty way, and a strange speech to further mystify and confuse the listener. Just Play is anything but playful, with its hypnotic sounds and unusual format, while Blame brings in a sinister piano to an increasingly claustrophobic vibe...
Dark Knite continues its run of deep, dark and heavy releases with the old skool jungle don himself, Danny Styles, ripping up the rule book on his debut EP for the label. I'm Not Sick is a driven slice of menacing jungle, amen led and heavy as hell, its a simply unstoppable track. Dark Place is just as relentless as the A side, taking the Kid & Play break and melding it with amens and the darkness of the title. Lastly, Badman Bass switches it up to slightly later style of d'n'b, with its warped bass and tough as nails beats...
12th Isle revisit the various artist compilation format first explored with 2019’s ‘Inkosi’ and assemble a veritable mixtape of sorts unfolding across six tracks aimed with the club in mind. Echo Party get things started with a dub heavy, studio alchemy excercise in discipline that appears in an extended mix to the original form on Murray Collier (Dip Friso) & Hannan Jones’s self-released CD-R. Italian newcomer Guizzi features with a thunderous downtempo excursion with tight conga percussion in a DK/RAMZi vein that feels very at home on the label. Der Opium Queen pulls off a propulsive, video game OST style dancefloor hit that brings to mind that Les Aeroplanes project on Jamal Moss’s Mathematics label from way back when whilst on the Side B a freak-folk skit from Memotone sits next to heads-down motorik from Lo Kindre and a bleep-infused dub techno piece by Toronto via Bangladesh real one Raf Reza. More V/A's to come.
Mud Deep returns with a striking new EP, blending influences from breakbeat, Detroit electro, and video game music. This five-track project showcases a diverse range of styles, from driving techno rhythms to immersive breakbeat, electro, and ambient soundscapes. The EP promises to captivate listeners with its atmospheric layers and rhythmic complexity, delivering a fresh, modern touch to classic electronic foundations.
New compilation and long overdue next entry in the long running 'Jah Children Invasion' compilation series! This volume focuses on Wackies' foray into digital reggae, with a killer selection of tracks from the late '80s and early '90s. There are three previously unreleased tunes alongside seven others culled from prior rare and long out of print releases. In DKR style this comes in a 2 sided hand silkscreened jacket.
Here's the first dip into previously unreleased heat from Parish. Fire late '80s Everton Chambers, riding a wicked lick of the tonight riddim. Another one proving yet again that Parish is one of the finest labels of the era.
Hard piece of stepping digital from 1989 with the masters of the era on the rhythm track, Steely & Clevie. Likewise, Conroy is one of the iconic artists of the late '80s digital era with numerous classics to his name.
10 song LP in 2-sided hand silkscreened jacket; blue or green print.
Three tracks previously unreleased.
New compilation and long overdue next entry in the long running 'Jah Children Invasion' compilation series! This volume focuses on Wackies' foray into digital reggae, with a killer selection of tracks from the late '80s and early '90s. There are three previously unreleased tunes alongside seven others culled from prior rare and long out of print releases. In DKR style this comes in a 2 sided hand silkscreened jacket.
The definition of deep roots, here are a pair of almost never before heard tracks from the mythical Creole.
The A-side "Fishers of Man" is an extended mix, while the B-side "Walls of Jericho" is a vocal cut followed by a synth added version retrieved from dubplate. The vocal cuts are the band's personal rough mixes, which thankfully survived to now be heard. These tracks were meant for an LP that never materialized
This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Trevor Byfield's "Tell Me That You Love Me" is one of the most dread love songs that we've heard, and the flip is one of the most truly psychedelic, heavy and unique Tubby's dubs ever mixed. In fact, the crew liked this rhythm for this song so much that they cut three tunes on it!
This batch of releases is what Deeper Knowledge Records is really all about - showcasing and making available fantastic music that has been rarefied, but with no correlation to its quality. That is to say, music that we feel is every bit as great as well known, much-loved and canonized classics, but just never reached the ears of as many folks, only due to its unavailability. And the music made by the close-knit foursome of Trevor Byfield and Clive Matthews as artists, and Norman "Fox Fire" Vassell and the late Clinton "Percival" Williams as producers, is just that. Starting in the late '70s and into the early '80s, this foursome cut some of the best and heaviest roots reggae tunes of the era. We will be issuing eight great singles from these folks. Clive Matthew's "Live Not For Vanity", a serious warning given thru a heavy tune, backed with a great dub mix.
Killer female roots vocal on the tuff lick of the 'Java' rhythm that we released other cuts on (see above links). This tune was originally released on 12" on Park Heights' Son of a Gun label, under the name 'Park Heights Angel' aka Angel Hoytt. This is the first release on 45, and the A-side vocal cut is an alternate previously unreleased mix.
Nearly 10 years on since his last solo LP, Berlin techno icon Marcel Dettmann arrives on Dekmantel with an expansive album captured in a flash of inspiration.
In many ways Fear Of Programming is a reflection on the artistic process – the critical hurdles one has to overcome, the constant strive for originality, the ability to capture inspiration in its pure moment of inception. Bar the closing title track (and we all know Marcel loves a surprise closing), these 13 tracks came together during a period in which our hirsute host was able to immerse himself in studio practice and set the intention to record an album’s worth of material every single day. From the resulting mass of work there were many options to choose from, and Fear Of Programming stood out as one of the most complete statements on Dettmann’s approach in the here and now.
Unconcerned with an overarching concept, it was the work in the studio which drove the musical direction. No labouring over knotty arrangements, no painstaking mix downs – just honest expression, a moment caught, a groove locked, a stroke of synth sent pirouetting over a cavernous bed of texture. The results are varied, and while you might well hear plenty of bruising machinations in line with the techno Dettmann has made his name on, there are plenty of other shades expressed across the album.
Ambient sojourns, beatless epics and angular electronica have equal footing with strident, floor-friendly workouts. Standout piece ‘Water’ offers an icy ballet of swinging minimal and drip-drop melodics fronted by Ryan Elliott on lesser-spotted vocal duties, urging, ‘give me a sign, just a little something to let me know that you’re mine’. It’s playful, but still underpinned with the sincerity that comes with Dettmann’s work.
Running on instinct, Dettmann presents an honest version of himself in the here and now, speaking through the sonics and not over-thinking the results. His decades of experience helming a thousand techno parties speak for themselves, while his evolution as a musical entity through collaboration and his own BAD MANNERS label demonstrate his appetite for change. Indeed, the working method which resulted in the album also spurred him on to create a live set beyond his well-established DJ practice. Without resorting to a conceited overhaul, Fear Of Programming opens up the idea of what Dettmann represents in the modern techno landscape.
Three years after he released the incredible New Experience EP (picking up plaudits from Bill Brewster, Tim Sweeney, Laurent Garnier, Horse Meat Disco, Leo Mas & 6Music’s Tom Ravenscroft, among many more), Tokyo’s Kota Motomura returns to Hobbes Music for his debut LP, Pay It Forward. This is the first vinyl release on Hobbes Music since the much-loved ‘Aranath’ EP by Leonidas & Hobbes last Spring. While the label maintains the level of quality control for which it has become recognised, the artist continues to subvert electronic and dance music norms in his iconoclastic way on this extraordinary record.
He’s a mysterious character with an ear for idiosyncratic music that runs the gamut from ambient, exotica and jazz to disco, house and techno via post punk, new wave and funk. It’s highly original and all adds up to a confection perhaps best described as ‘Balearic’.
Album opener Paradise is a certified jazz-funk JAM. Destined for dance floors worldwide, this one’s been dropping well with DJs, Motomura demonstrating his piano chops alongside Mutsumi Takeuchi’s sax. Tropical pushes the boat in a more rhythmic direction, some pretty wild drum programming laced with more sounds of the, um, tropics, before mad vocal yelps suggest something yet more tribal. To Be Free initially resembles early 90s progressive house (pulsing bassline, synth-driven melodies), before the arrival of some new wave guitar licks a la classic Talking Heads/David Byrne and ooh ooh vocal chants take it to another dimension altogether.
B-side opener Emotion features Takeuchi again (on flute this time) and more vocal chants before things take a dramatic turn, threatening to open up into a full fanfare before calming and then bursting into wild life again with the exhortation that “C’mon, everybody dancing!” Rhythm flirts with an energy and pace more akin to a techno record: drums, drums, more drums plus a fair few yelps and chants - the kind of DJ tool that will send a simmering dance floor wild in the right hands. Flower closes things in a more melancholy style, familiar to fans of ‘Aboy’ from the New Experience EP, with plaintive acoustic guitar (performed by Akichi), birdsong and big piano chords.
Support from Bill Brewster, Leo Mas, Al Kent, Red Rack’em, Nick The Record, Phil Mison, Phat Phil Cooper, KZA, Sean Johnston (ALFOS), S/A/M, Dribbler, Joe Muggs, Monolith Cocktail and more…
‘Gonna review in MÜ mag... very fine stuff!’ JOE MUGGS
‘Will be reviewed on the blog’ MONOLITH COCKTAIL BILL BREWSTER played Flower on the DJ History podcast #641 (25.3.22) 'I really like this album, Flower and Paradise are my favourite' LEO MAS ‘I like Paradise’ AL KENT ‘Woo this is tasty. DEFO playing on my next radio show. The label’s A&R is defo getting better and better. HM has been putting out some dope stuff and this one seems really good quality’ RED RACK’EM
‘Paradise and Flower sounding good’ NICK THE RECORD
‘Tunes sound great!’ PHIL MISON ‘Going to include Paradise and Flower on my Sunday Ibiza global radio show PHAT PHIL COOPER (Nu Northern Soul)
‘Very nice album with influences from many different genres. I especially like To Be Free with nice synths and guitar cutting, and Flower, which is a chill vibe’ KZA (Mule Musiq, Endless Flight)
'100% correct about the ALFOS potential of To Be Free!' SEAN JOHNSTON (A Love From Outer Space)
'Stunning, will fit perfectly with the vibe of my radio show’ S/A/M (Music For Dreams, DK; Playa Del Sol, Ibiza)
'Stellar work, i'll make a bet that Flowers is a Balaeric classic this summer' DRIBBLER (Breakfast Club, Ibiza)
‘It's cool in a nice smelling psycho sense, it was a very DEEP sound that I couldn't produce. Congrats!’ ALTZ (Altzmusica)
‘Paradise is my jam, it's deep, sunny and never boring. I'm interested to see how this will work on the dance floor. Overall a great album with solid composition and impressive use of live instruments!’ SOBRIETY (fka Chloé Juliette)
'Very tidy selection' ASTROJAZZ (Kelburn Garden Party, Wee Dub, Samedia Shebeen, Disco Makossa) ‘This is a lovely release. Follows on from New Experience in the best way possible. It's got lots of vibes going on but holds together as a cohesive piece of work. Love it’ JAMIE THOMSON (La Cheetah, Glasgow)
‘To Be Free is a track i could imagine Andy Weatherall playing in one of his sets at A Love From Outer Space’ KIRSTIE PATON aka She-Bang Rave Unit (Threads Radio, Radio Magnetic)
Dekmantel regular Matrixxman returns with the third, and final instalment in the Sector series, Part III: Polyphony. In this triptych, the producer from San Fransisco sets out to highlight the key components behind the sounds and style of techno, exploring the range within the confines of a particular limitation. Following Parts I and II, which looked at Rhythm, and Acid, Charles McCloud Duff charters the realm of Polyphony with four, meticulously produced techno tracks, expanding his repertoire of cult, dancefloor music.Polyphony refers to the simultaneous combining of many notes in a musical sequence. In electronic music, this specifically refers to the role of the synthesiser - such as the Minimoog, ARP Odyssey, which can produce different pitches simultaneously. Polyphony has been an integral characteristic of the genre's sound for over a quarter of a century, and can be heard in many key records, living a the sonic forefront of these four tracks. 'Sector Series: III Polyphony' provides an exercise in melody and polyphony. Throughout the EP, swaggering rhythms are inter-washed with a sea of multi-melodious, reverberated notation. 'Initiation' resonates with the grandiosity, and harsh claustrophobia of early Underground Resistance. 'Access Granted', drives hard with pulsing effects, with a dystopic, rhythmic cacophony of euphony. 'Desert Planet' plays around with a differing tempo, imagining a more fantastical vision of music, echoing back to earlier Plastikman productions, using a vast sonic spectrum to conjure up a colour palette of alien imagery. 'Horizon' rounds things off; a track that builds on minimalism with a progressive composition, allowing the polyphonics to drive the track, harnessing the adept production qualities that Matrixxman has come to be recognised for.
Parasole's music fits the bill for cutting-edge electronic music. Infrared Vision is a display of his love for polyrhythmic drum patterns, post-club sketches, twisted dance floor gems and classy, big room-ready tunes.
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Few words of the artist:
''When I started to conceptualize my album I had a few end goals'', explains Parasole. ''I wanted to string my own style through Infrared Vision, so it would be familiar to the people who like my music. In tandem, I strived to produce a fresh voice sonically and experimented with a few new production techniques. I also grabbed ideas outside of techno and house, because I didn't want to be influenced by anything new. I was listening to a lot of jazz, hip-hop, Nine Inch Nails and Prince for example.''
Parasole took his time to write, produce and record Infrared Vision, dividing the process into three steps. ''First I wrote the album in words, pinning down ideas and track concepts on a notepad. Subsequently I transferred my ideas to my gear. Due to a heavy tour schedule I sometimes brought gear with me on the road, to continue my sketch process on the hardware. I then recorded it at home and at Phil Moffa's studio in New York. When the music was fully finished the album morphed to its final version. Phil Moffa laid down the final mixdown at Butcha Sound Studios, while Marco Spaventi handled the mastering.''
DKMNTL letting out the celebration 12"s like fireworks ..this time it's the turn of Hundred20 (MCDE & Praterei team up!) and one of our personal favorites, Hunee turning in two awesome tracks...TIP!
Hundred20 - Minke Whale Congregation
Aka Felix Bergleiter and Danilo Plessow (Motor City Drum Ensemble). Analogue Chicago sounds for this one, resulting in a cut-the-crap-and-get-on-the-floorand-dance record. Pure bliss.
Hunee - The Lowest Animal Rising star Hunee digging up some oldschool sounds for his The Lowest Animal.
Nine-o-nine action and a string-laden climax do the job properly here. The 7.38 minutes are gone before you know it.
The re-launch of mars assault records last year brings the possibility to re-issue its back-catalog: the tunes that were released during the first run of the label (1998-2003).
here we have 4 tracks from "Arach", from the studio concept "centiped sound system", ( a duo of composers, also including Peter Pan), which were originally released on two records ( mars assault 3.65b, mars assault 3.7r1) in the years 2000/2001: very sharply produced hard-tekno, very original also (the "sound of centiped" is like no other hardtechno), and yet 100% as relevant on the dancefloor nowadays as it was at the time.
Another mars assault record equality good to play in a party as to listen to at home.
2025 cut with Hervé at dK Mastering /Paris (cut in 33/45rpm for optimum sound quality); 300 copies limited re-press, 180g pressing; a very sober object on the outside, but translucide red within.
First time on 45 for the other early Don Carlos killer from the Wackie's/Joe Morgan/Soul Syndicate connection. Previously only released on the "Reckless Roots Rockers" compilation LP. Rhythm laid & tune voiced in JA, mixed and overdubbed at Wackie's in NYC.
Dj Ultramars hasn't released many tracks altogether, and since 2024 he is again too busy to release everybody else's music on his label to find the time to compose more music, but many of his previous tracks are still relevant today, still pleasing party audiences in as much as when first released, and it's been too many years that those tunes have been proposed new on vinyl, so time for a recut & repress.
Here we have:
A1: Cab Carlco, the biggest hit of Dj Utramars, originally released on Mars Picture 1 (1999) as well as Toolbox Killerz 25 (2015), so 11 years since its last (limited) release !
Very uplifiting / very "in your face" kind of track, always & eversince so efficient on the dancefloor.
A2: Ennui (voicemix), originally released on Mars Picture 2 (2003), 23 years ago! (what a round number...). A track that will hypnotize you with its female vocals playing with the echo, yet runnin steady on a heavy deep bass & enough arrangements to not get bored of it: every Mars Assault is designed as a record to DJ as much as a record to listen to.
This track is cut in 45rpm to keep optimal quality until the end of the side.
We had to put some of the best two tracks of Dj Ultramars on the music side since the flip side is a laser etched side ! After we had released the two first picture discs, our current pressing partner was giving the possibility for a laser etched record, so here is the Mars Picture 3 ! See the picture of B-side above.
200 copies limited in this laser etched pressing.
Cut with Hervé @ dK mastering
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Defining the moment in sound and vision, Immersion are a snapshot of ‘the now’. Through constant reinvention, they have honed their sound into a startling present that references their past but refuses to live in it.
This perfect synthesis of their styles boldly creates a brave new world for core couple Colin Newman and Malka Spigel, along with satellite musicians Matt Schulz (Holy F*ck), whose drumming strongly features on many tracks, and Ed Chivers (AK/DK), who makes a guest appearance drumming on ‘Breaking Free, Diversity, Evolution’.
What Is Lost Will Return is the second ‘pure’ Immersion release in as many years and heralds their third UK tour since 2024. It follows 2025’s acclaimed WTF??, with the title reflecting the fact you can only say “What The F*ck??” so many times before looking beyond to see what endures.
With What Is Lost Will Return, the ever-productive ‘life and art partner’ duo present a reflective album of modular moods and stripped-down electronic psychedelia, leavened by a clipped guitar that you can nonetheless dance to, defying these chaotic times. It perfectly captures the yin and yang of the moment – or as Colin and Malka explain, “The emotion we feel the album invokes is a poignant mixture of joy and melancholy.”
“What Is Lost Will Return is an album of grooves, observational snapshots, hypnotic repetition, joyful creation, intoxicating melody and mystery, all threaded together by a fascination with new sounds and textures. It's both an underground gem and an album that bends pop into new shapes.”
John Robb, June 2026, MCR
12" single w/ full picture sleeve. A-side is extended mix, B-side w/ version.
A best of both worlds reissue of the two most sought after tracks on Keith Cole's Lovebird imprint. Keith cut some sides for producers in Jamaica in the early '70s before coming to New York and starting his own Lovebird label, mostly self producing thru the first half of the '80s. The A-side here "Honey Bee Fantasy" is a killer slow burner of mid '80s boogie/funk, featuring a couple of well known American jazz/funk session players on the rhythm track. The picture sleeve is a near replica of the one that came with the original press. For the B-side we have Keith's production of Canadian singer Ann Marie, who also does backing vocals on "Honey Bee Fantasy." On "Together Again" she's singing on a well known and loved moody early '80s rhythm, laid by the first incarnation of the Roots Radics which featured Blacka & Bingy Bunny of the Morwells.
Delivering four precise, direct techno weapons with expertise and personality in abundance, Efdemin arrives on Dekmantel with Mirror Phase.
Phillip Sollmann has been an enduring source of inspiration and originality within the techno scene since he rose to prominence in the early 00s. As Efdemin he's found a sweet spot between warmly melodic expression and constantly curious textures, holding true to techno's original MO as a bittersweet soul music while delivering his own distinct take on the tradition. After last year's more introspective LP POLY he makes his Dekmantel debut with a sharp, incisive bundle of workouts that champion unfiltered techno of the highest calibre. In Sollmann's own words, it's a loving tribute to the original Detroit architects of the sound.
"All four tracks are based on studio jams using mainly analogue gear, and were done pretty quickly," he explains. "They all nod to the roots of my idea of techno, which is very much informed by the Detroit-Berlin legacy we all benefit greatly from in many ways. In a way, this EP is a deep bow to this."
The sense of tribute behind the music manifests explicitly on opening track 'Mirror Phase', which features a fully cleared sample of DJ Minx's sultry spoken word intro to Kevin Saunderson's 1997 entry into the seminal X-Mix series — a formative release for Sollmann on his journey into electronic music.
With adventurous synth lines and tweaked samples rubbing up against chiseled 909 drums and a generous serving of emotive machine soul, Mirror Phase EP is a perfectly-formed slice of techno done properly — classic, timeless, futuristic and eternal in equal measure.
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Channeling his trademark style of driving techno and robotic rhythms, Phase Fatale makes his Dekmantel UFO series debut, upping the ante with his forward cutting production methods. His first solo release in 2 years, the Berlin-based DJ, Producer and Label owner hotwires his signature wall of sound with precise, hypnotic magnetism and dystopian textures.
A key protagonist in Techno’s lexicon as a regular in the booth at ∄ in Kyiv and with residencies at queer collective Merge in New York, alongside institutions Berghain and Khidi. The New York native’s unflinching mutualism of past and present comes forward in his introspective production style of textural waves and melancholic narrative, welded together by true techno formation. A deep referential lens cutting through layers of whirling cybernetics form his sonic coil, surrendering the listener into dissociative euphoria.
Underpinned by a focus on bass heavy techno, the 4-track EP circulates an ebb and flow of surrealist, atmospherics and whirring futuristic frequencies. Hypnosis inducing polyrhythmic analog sequences, flesh-out the EP’s core whilst the track progression traverses over a terrain of experimental cuts, driving beats, and oscillating sonic shrapnel. A culmination of influences spanning techno born out of Birmingham and Detroit alike form an architecture of stripped back electronics alongside soulful melodies, as well as references to acid house, post-punk and shoegaze. The title track ‘Off Desire’ a nod to longtime friend and collaborator the late Silent Servant, evokes a dream like crescendo between David Lynch and the sci-fi body tech of David Cronenberg, electric stabbing beats are offset by wistful guitar riffs and the digital rain of ethereal distorted vocals as if echoes from the void.
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From 1993, a hallmark UK Dub album returns to the light. Originally pressed in a small run and extremely hard to find, this record was produced at Earthquake Studio by TNT Roots and Winston Dread.
Together, they provided a raw contribution to the early UK Dub scene using a basic setup: a Siel DK-80 synth, a Yamaha home keyboard, a Casio RZ-1 drum machine, and an Atari 1040 computer running Cubase V2.0. The tracks were shaped through an old Dynamix 8-channel mixer and captured on a Casio portable DAT machine.
TNT Roots provided the drum, bass, and chord patterns, while Winston Dread added the lead lines and performed the mixing duties. This raw, undiluted music reflects the evolution of Dub and contains the seeds of all their future work. Their dubplates were staples for legendary UK sound systems like Aba Shanti-I and Iration Steppas, becoming sought-after anthems that defined the "heavyweight" digital roots sound.
These are heavy sounds that stand the test of time. Back on the streets after 30 years, the album has been fully restored and remastered to honor the dubplate masters of UK Sound System culture
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Amsterdam techno icon Dimi Angélis, an early Dekmantel family member, delivers four raw, driving techno tools on the new Dekmantel UFO white label series.
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One of the true, undisputed pioneers of Dutch techno, Steve Rachmad appears on Dekmantel for an EP of peerless machine music. On the 3-6-9 EP, the artist also known as Sterac, Parallel 9 and many other names plies a powerful trade in funked up, gritty and soulful techno made the proper way.
The connection between Rachmad and Dekmantel reaches back many years via his frequent appearances at the Dekmantel Festival — he has two performances at the 2026 edition as well as sets at Dekmantel Selectors lined up later in the summer. The 3-6-9 EP lands ahead of an album and world tour that marks 45 years in service to electronic music, nodding to Rachmad's earliest roots in electro funk through to his day-one embrace of house and techno as it made its way across the Atlantic from Chicago and Detroit.
There's a rowdy, rave-spirited energy to the synth hook bucking its way through the centre of '3 Creation Energy', coming on in brassy tones laced with artful distortion while the drums dutifully jack the way they ought to. There's a more linear, pressure cooker quality to the tidal filter work guiding '6 Physical Manifestation' to its own energetic peaks, while '9 Completion and Delivery' surfs on coursing waves of arpeggiated lead lines before breaking through to the oceanic calm of grandiose pad tones.
There's no mystery to unpick here — this is quite simply techno perfection made with the instinct and experience of a master of the form, whose life is synonymous with every inch of the culture.
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Last delivered 45 days ago available to reorder, subject to availability
Back to back deep roots here. Both sides produced by Niney the Observer on one of Augustus Pablo's all time masterpieces, the 555 Crown Street rhythm. The A-side is Johnny Clarke chanting out "Warrior", then flip it over for Ranking Trevor, one of the most underrated deejays ever, breezing out over a dubbed cut with plenty of our beloved bleeps. These were undoubtedly dubplates at the time they were made in the '70s, but both first released later, the Johnny Clarke on CD in the 1990's, and the Ranking Trevor actually much earlier in 1979, when the late great Dave Hendley released it on his Sufferers Heights label. Both tunes have been issued in a couple forms since, but not in quite a while, and we just love them and felt they were too good to remain unavailable; top shelf essential material.
Unplayed, mint condition, OG 1996 12”s, in generic black sleeve
A-side is the Paying the Price of Love (The Ocean Drive Dub) from The Bee Gees. AA-side is a mash-up of Todd Terry and The Shamen: Phorever People.
"Tapping into a shared affinity for early trance – as in short for transcendental – Function and Nastia Reigel come together on Dekmantel with ‘Devocion’. Bridging the past and the future, this partnership draws deeply on brooding, melancholic early-90s sounds and supercharges it with the immensity of modern techno.
The project began when Nastia Reigel shared a series of discoveries with David ‘Function’ Sumner – records rooted in the rave-leaning edge of the era, spanning labels like R&S, FAX and EXperimental. He responded that this was precisely the music he had been absorbing while coming up in the thick of New York’s club and rave scenes and beginning his journey into DJing. The excited exchange of deep digs around this niche of dance music history naturally led to a conversation about collaborating on music in this vein, and Devocion is the result.
Familiar genre touchstones are everywhere, from the plaintive bleeps and understated breakbeat roll of 'Eternity' through the sad-eyed arpeggios strafing on the edges of 'Reverence' and on to 'Flowstate's blue-hued acid lines and 'Orion's sky-scraping gated pads. But Reigel and Sumner deploy these strongly coded elements with poise, feeding into a richly rendered production that feels anything but old-school. The emotive streak is wielded with care, spelling out the mood without losing the steely, shadowy sensibility that tracks through their respective catalogues.
In a perfect demonstration of honouring the past while embracing the present, Devocion EP lands as a distinctive artistic statement on its own terms."
This murder three track 12" is the next installment in our ongoing Park Heights series. The Heptones "Get Up & Chant" is a certified roots anthem, FINALLY retrieved from album duty and now on a nice fat single for the first time, heavy anthemic roots with a killer mix and lashing reverb. Following this is another total gem formerly hidden away exclusively on an old Park Heights compilation - Bobby Floyd's "Need to Belong", a beautiful soulful roots tune with harmonies by the Heptones. On the flip side we have a total killer previously unreleased Stranger Cole roots tune from the early 80s, in extended discomix style.
