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Jon Porras verfügt über eine seltene Fähigkeit, den Puls einer Klanglandschaft zu lokalisieren und ihren emotionalen Kern herauszuarbeiten. Seine Arbeit speist sich seit langem aus der Reibung zwischen organischen Formen und elektronischer Verarbeitung, doch mit Achlys bewegt er sich weiter in Richtung Textur, Erosion und Gewicht. Diese Musik ist von Zusammenbruch durchdrungen - nicht als Spektakel, sondern als langsamer Prozess. Diese Stücke entfalten sich nicht, sie sammeln sich. Gitarre, Subbass, modulare Synthese und verarbeitete Geräusche sammeln sich wie Sedimente an und schichten sich zu Kompositionen, die sich eher wie Wettersysteme als wie traditionelle Songs bewegen. Das Album navigiert durch eine Abfolge von fragmentierten Klangvignetten: zerfallende Umgebungen, monumentale Stille und reale wie auch innere Landschaften. Die Struktur wird durchlässig. Jedes Stück deutet sowohl auf Präsenz als auch auf Verschwinden hin. Häufig wurden mehrere Stücke isoliert geschrieben und ohne Synchronisation übereinandergelegt, sodass absichtliche Dissonanzen die resultierenden Texturen bestimmten. Dieser Ansatz begünstigt Drift und Reibung, wobei Melodien durch verschwommene Intervalle geistern und eine Spannung zwischen Erinnerung und Verzerrung erzeugen. Das Album beginnt mit ,Fields", wo schwache Gitarrenphrasen in hohlen, resonanten Tönen versinken, die eher erinnert als gespielt wirken. An den Rändern flackert Wärme, gefiltert und entfernt, wie Licht, das sich durch Ruß drängt. In ,Holodiscus" treiben elegische Linien über einer sanften Unterströmung von Dissonanzen und widerstehen leise dem Sog in Richtung Zusammenbruch. Der Titeltrack gleitet zwischen Klarheit und Verzerrung und verwandelt harmonische Fragmente in ein schimmerndes Gitter aus Verfall. Während des gesamten Albums dehnen anhaltende Töne die Zeit zu einer Unschärfe, während bearbeitete Gitarrenklänge wie Echos aus benachbarten Räumen auftauchen und wieder verschwinden. Jedes Stück trägt eine emotionale Prägung, ohne eine Richtung vorzugeben, und hinterlässt Texturen, die sich sowohl taktil als auch unruhig anfühlen. Diese Dualität der Größenordnung - immens und winzig - fließt in die Klangpalette des Albums ein. In ,Sea Storm" brodelt und zieht der tiefe Klang nach unten und verstreut dabei Gitarrenfragmente. ,Before the Rite" schwillt mit abrasiver Dichte und verzerrten Obertönen an - ein Moment der fast überwältigenden Intensität, der sich gerade noch im Gleichgewicht hält. Die Klänge bleiben in der Schwebe und weigern sich, sich aufzulösen.Achlys bewegt sich durch ein Gebiet wechselnder Schwellen - wo Licht und Schatten, Struktur und Erosion nebeneinander existieren, ohne sich in Gegensätze aufzulösen. Anstatt auf eine klare Schlussfolgerung abzuzielen, bietet das Album eine zyklische Form von Entstehung und Erosion. Es ist klanglich dicht und doch weitläufig, emotional resonant, aber losgelöst von jeder Erzählung. Nichts hier ist feststehend. Alles trägt die Spur davon, einmal etwas anderes gewesen zu sein. Während einige Fragmente verblassen und andere nachklingen, prägen sie alle die Atmosphäre.

Eoism return with six tracks of driving and atmospheric Electro, Techno and beyond. All based on live jamming, expect some crispy rhythms, pounding baselines and lush melodies suitable for both home listening and excessive club treatments.

Delsin invites you to submerge into the prismatic electronica of Xenia Reaper. Across nine tracks of exquisitely rendered sonics, the shadowy producer engages in the time-honoured craft of introspective sound manipulation, folding gaseous pads into dissected breaks and running heavyweight machine pulses through achingly beautiful synthesis. The sound is sharply realised, modernist music that revels in the finegrain detail afforded by technology, but never at the expense of warmth and charm. It's nuanced electronica for deep listening, but it also hits on an instinctive, physical level.

Phoenix-based DJ and producer, Paul West, steps out with his debut EP "Blue Sun", on Rocky Hill, serving up a first slice of grit on wax. Blue Sun opens on the A-side with three moody 808 workouts, tipping the hat to Motor City atmospheres while keeping things raw and warm. Flip it over and the energy shifts: a sun-kissed Adriatic voyage with the title track, and "Elon's Musk" -- a bass-driven groover destined to linger in your record bag.

At this point a regular contributor in defining Token's sound, Border One steps up for his sixth EP on the label in five years. As in many of his past projects, 'Where is Now' bleeds character through effect for a trip on the dancefloor.

The first part of this wonderful new album from Mexican pair Destino Sonido aka a new coming together of veteran Juan Soto and new school vocal talent Labibe, got us well and truly hot under the collar. Part 2 now drops in quick succession and is another summer-ready blend of disco, funk, synth wave and hooky pop. 'Ardiente' is percussive, hip-swinging magic, 'Night Creatures' brings more driving grooves with withering sci-fi melodies and 'Destino Sonido' has sleek synth bass and Donna Summer vibes, while Disco 86 ups the cosmic energy with a fine remix. 'Somos Espacio' comes as lush ambient then chugging Italo, and elsewhere Matt FX brings a nice deep house rework to close.

Following the monumental release of the JS Zeiter album, Lempuyang is back with a VIP remix 12" packed with stellar reworks. Legendary minimalist and tech house man Dean Decosta kicks off with a Reconfiguration of 'Arrival' that rides on fathom-deep drums with gently churning percussion and endless reverb. Rod Modell's Darker mix has more intent but remains silky smooth and deft then the JS Zeiter Reshape brings some more techno energy with a frictionless groove topped with dusty hi hats. Mike Schommer shuts down with a gently broken beat dub of 'Pradox' for early morning sessions.

Letters Home is the debut full-length on ambient powerhouse Pas tInside The Present from Tennessee-based Slow Blink aka Amanda Haswell. And a fine one it is too with mesmerising routes through hazy soundscapes she calls "tape loop weather patterns." Across two half-hour pieces, bowed guitar, piano, bells, and toy synths dissolve into dreamy loops and create symphonies of colour and memory. Side one, 'The Heart's Docent', feels like a love-struck dance unraveling in slow motion, while 'Laughter at Cascade Park' evokes bittersweet nostalgia for long-lost joys. Handmade, analogue and alive with imperfections, Letters Home is an intimate meditation on memory, nature and impermanence.

‘Cataclysm’ is a poignant call for revolution of both politics and consciousness, conveyed through ten distinct songs written and produced by Zanias between 2020 and 2024. Each piece of music inhabits its own aesthetic universe and rhythm, featuring elemental fusions of coldwave, italo disco, witchhouse, trance, breakbeats, hyperpop and even a touch of drum and bass. The unique amalgamation is best described as post-industrial ethereal wave, of Zanias’s very own signature. The subject matter grapples with how to move forward through times when civilisation and the entire ecosystem of the planet feel like they are on the brink of total collapse, while gazing back over hundreds of thousands of years of human survival in total awe of how far we’ve come. The lyrics aim for a balance of vulnerability and poetic strength, as the audience is beckoned to “thread the power through the pain”. While darker atmospheres are conjured through the sound design and instrumentation, the album ultimately directs itself steadfast toward the glittering sheen of hope. As the tempo ascends through the course of the album’s tracklist, so too does Zanias’s deep attachment to our sacred humanity and refusal to give in to despair.

‘Cataclysm’ represents an ambitious defiance of genre tropes in pursuit of pure artistry, with a potent political message delivered with assertive fervour and playful sincerity. Additional production was contributed by mixing engineer Trey Frye, best known for his work in the band Korine, and the album was mastered by Alain Paul.

- Limited edition solid 2x12” vinyl LP.
- Housed in PMS printed inner sleeve, featuring custom fonts by No Format and spot gloss abstraction of the original album artwork.
- Accompanied with a double sided 2-panel insert and double sided 4 panel poster.
- All sleeved in a custom PMS reverse board outer sleeve with die cut square centre panel and belly band.


Grinning Cat confounded devotees of Sakura with a far more complex set of tracks. A landscape of ambiguous emotional resonance within an album of measured extremes. Sentimental without being schmaltzy, joyful without being saccharine, Grinning Cat sees Yokota at his most playful and experimental, channelling moments of transitory wonder and jubilation, and opening up a sonic environment in which we can romp and play.

On November 7, 2025, the Belgian label Sdban Records will release a reissue of the mythical Open Sky Unit (1974) by the eponymous jazz fusion group featuring Micheline and Jacques Pelzer, Steve Houben, Ron Wilson, Janot Buchem and Michel Graillier. The album returns on vinyl, highlighting a pivotal moment in Belgian jazz history, where soul, funk, and free improvisation came together in a vibrant and family-driven project.

Formed in the early 1970s as a homage to Dave Liebman's group Open Sky, Open Sky Unit grew out of informal jam sessions in Liège, Belgium, into a unique collective. One of the central figures was Jacques Pelzer, father of drummer and vocalist Micheline Pelzer, alongside his second cousin, saxophonist/flutist Steve Houben, bass player Janot Buchem, percussionist Michel Graillier and American pianist/composer Ron Wilson.

Their 1974 debut album was released on the Duchesne classical music label, run by Pelzer's brother-in-law. The group's sound carefully balanced jazz and soul and was largely directed by Wilson, a Californian pianist and singer who settled in Liège and nearby Maastricht after his army service. Wilson composed the entire repertoire. Open Sky Unit was recorded live at Jazzland club in Liège, and the band made several short tours in Belgium and abroad (including Tunisia) until around 1975-1976, when Houben left for Boston to study at the Berklee College of Music.

Although the original live recording from 1974 was not technically perfect, the group succeeded in capturing their heartfelt live energy. Tracks such as Open Sky, Sunshine Star, and Passion and Compassion are striking examples of this. Years later, the album version of Sunshine Star found its way onto Funky Chicken (2014), the compilation that not only brought the track back into the spotlight but also marked the beginning of Sdban Records.

In addition to the standard reissue, a limited edition of 200 copies will be released for collectors, featuring a 7" single of Ron Wilson's Sunshine Star as a special bonus. This single was originally released in 1973 with the acoustic version of Sunshine Star (piano and vocals) on the B-side, recorded a few months before the longer jazz-funk version later featured on the LP Open Sky Unit. The A-side, Peace Is The Answer, was only released on that single at the time and is now being reissued for the very first time. The 7" is thus a faithful and long-awaited reissue of a rare piece of Belgian jazz history, it's intimate, soulful, and an ideal complement to theexisting and well-known LP.

Although the band never achieved a major international breakthrough, they were highly valued in progressive European jazz circles and later secured a place in anthologies such as Utopic Cities: Progressive Jazz in Belgium 1968-1979. The reissue of Open Sky Unit brings their music back into the spotlight and reaffirms their role as key figures in the Belgian jazz scene of the seventies.

It's not often where I sign a whole release off the back of a demo folder sent to me but when Radicall sent me some tunes he'd made on the Polyend Tracker, I was well impressed by the quality of the tunes & knew I had to have some for the label.

I narrowed it down to my favourite four and thankfully, they were all available for signing and ready for release, probably one of the most seamless releases I've worked on since I started Future Retro London a few years back!

Big thanks to Radicall for his wicked tunes!

One of London’s underground dance music hero’s, founder of The Utopia Project and Love Fever Discotheque, Alex Bradley presents a fresh moniker, Dreamphaze, for People & Place’s 004. The ‘Glow EP’ is a four-track dive into the London-based artist’s psychedelic take on blissful house & techno, moving between trance-tinged dreamscapes and playful grooves to soundtrack the halcyon days of a summer gone by.

A key label on the Berlin scene since the 1990s, Muller Records—famed for a deep and chunky club sound from artists like Dave DK, Claude Young and The Hacker—is back with a new EP from Beroshima feat Rummy Sharma with remixes from Namito and Pascal Hetzel. Beroshima, of course, is the production work of label Frank Muller sometimes accompanied by ethereal electronic music specialist Ulrich Schnauss. After more than twenty years together they have amassed a fine body of work that includes five albums and more than a hundred Eps!

Always mixing up acid, techno and tribal into something fresh, the Beroshima sound has its own unique signature.... For this latest single Muller steps up solo to produce another gem. The stellar Delhibelly is a slick and muscular cut that bubbles away on a bed of warming bass.... Smeared pads add soul and snares flap about like tin foil in a breeze. It's a futuristic cut that will always pack a punch in any context. The Techno Mix is just as soulful but is quicker and more expansive so as to carry dancers away on an uplifting groove. Namito is a Green Horn Records producer from Iran but based in Berlin. He is another veteran who is as relevant as ever and his mix slows things down to a deep, inviting roller with jazzy perc, absorbing synths and kinetic kicks driving things along in style. Finally Pascal Hetzel, fresh from his super CYRK release with Sierra Sam, completes this sterling great package.

His classy remix is another rounded affair full of warm synths and bass that is sure to keep energy and emotional levels high in any set. Once again here Muller Records have concocted a club ready record that both DJs and dancers will love.

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)

Going Up, originally released in 1983, is one of the most curious and enduring records from British studio mavericks The RAH Band. Long out of print, it now sees its first ever vinyl reissue courtesy of Shocking Music and Rush Hour.

Led by super-producer, arranger, and multi-instrumentalist Richard Anthony Hewson, The RAH Band has always existed just outside the mainstream. Blending jazz-funk, sci-fi synth pop, and cosmic lounge, their sound never quite fit the mould. That might explain the cult status they’ve held ever since. Beloved by Balearic heads, rare groove collectors, and adventurous synth diggers, Going Up is perhaps their most influential record.

At the centre of it all is the intro track “Messages From The Stars”, the band’s runaway cosmic hit. A spacey, retro-futurist groove that has become a viral favourite in recent years, it now boasts hundreds of millions of streams, with a new generation discovering it through TikTok and YouTube. But it was originally just one track on this understated 1983 album.

The rest of Going Up is just as compelling, filled with dusty drum machines, off-kilter instrumentals, woozy vocals, and that unmistakable early '80s charm. It is a snapshot of a band in transition, blurring the lines between leftfield pop, sci-fi funk, and home-brewed synth experiments.

Out of print for over 40 years, Going Up finally gets the reissue treatment it deserves. Restored and remastered, and still sounding like nothing else.

Concrete Noir is the latest project from multimedia artist and sound designer Piero Fragola, known for genre-defying ventures like We Love (BPitch Control) and ANGLE (Tiptop Audio Records). With this project, he explores a hybrid space where electronics, voice and image merge into an introspective and shadowy form. The debut album, Romance Ruins, is the first release on the newly founded Frequens Records.

Composed entirely using Tiptop Audio’s ART modular system, it unfolds as a series of layered, emotionally charged compositions. These are structured songs with a physical low-end impact.

Musically, Romance Ruins moves beyond genre boundaries to inhabit a space shaped by contrast and collision. The result is a form of modern hybridization—melancholic yet forceful, intimate yet expansive. The sonic identity is carefully constructed but deliberately raw, emphasizing emotion over precision.

The title itself captures the core of this paradox. Romanticism, in its intensity, may ultimately destroy. And yet, from that destruction, something vital emerges. The album embraces the figure of a decadent hero—a child of broken ideals who reclaims beauty from collapse. It’s a romantic vindication of decadence, a belief that clarity can rise from ruin, and meaning from fragmentation.

Moving through a broad range of tempos, the tracks explore murky, melancholic, tactile and cinematic moods. Synths intertwine with guitars (Fender and Gretsch Dobro). All vocals are performed by Piero Fragola, except on Faraway Places, where his voice is joined by that of Viktoria Lishkee—the album’s only guest appearance.Nearly every track is paired with a video, expanding the work’s audiovisual dimension. As a designer for Tiptop Audio and instructor at IED and LABA in Florence, Fragola brings a multi-sensory vision to Concrete Noir—one where medium and message, form and feeling, are inseparable. With Romance Ruins, he delivers an artistic statement. A body of work that resists categorization and embraces the beauty of decay.

Romance Ruins marks the beginning of Frequens Records. Available in a 180-gram vinyl edition.

Funnuvojere’s curator and founder, Massimiliano Pagliara, reunites with longtime collaborator Gian to present a new chapter in their shared musical exploration: a full-length album under the moniker Hidden Frequencies. The pair’s creative dialogue began with a 2017 release on LACKREC — itself a tribute to Detroit electro — and this LP continues that sonic discourse, refining and expanding their vision. Hidden Frequencies pays homage to the emotive minimalism of acts like The Other People Place, channeling the melancholic elegance and machine soul of Detroit’s second wave.

It’s a record built on analog textures, brooding basslines, and crisp drum programming — both a reverent nod and a forward-looking reinterpretation. Tracks like “Oscillations Of Us” and “Dreaming In Electric Blue” inject peak-time energy into the atmospheric and almost restrained narrative, with a techno drive built for the dancefloor. “Obsidian Reflections” walks the line — structured around classic electroarchitecture but charged with intense propulsion. Pieces like “Dancing On Data Streams” — the contemplative title track — and “EncodedWhispers” offer more introspective soundscapes, inviting deep listening and emotional immersion.

Together, these tracks form a nuanced body of work that shifts seamlessly between reflective and kinetic, minimal and expansive. Familiar yet exploratory, Hidden Frequencies is the sound of two artists in conversation —not just with each other, but with a musical legacy they continue to honor and reshape. This is a modern electro séance that blends introspection with intention, nostalgia with forward motion.

The special one! Mr. G’s productions are distinctive, deep, driving and, above all, a listen to behold. Like the man–machine interface between hypno house and roots techno, he manages to unite dance floors either through his High Mass–like live sets full of swing, grit and soul, or simply through other DJs playing his records.
Blessing Running Back for the second time, Mr. G’s Reconnection EP is the result of a serious dive into his vaults.
City Heat (G’s Underground Dub) is a picture-perfect example of his skill to groove without a doubt: raw, funky and fabulous. Serendipity and Work on the flip side complete this picture. Decades of record buying, music making and a love supreme for this culture rolled into one. Made yesterday, released today, and it will still sound great tomorrow. A personal gift from Mr. G’s archive to Running Back.

In the two years since Parallel Minds’ Juno-Award-winning 5th release Homesick by label co-founder Ciel, we have taken our time reassessing our next moves as the larger dance music scene experienced a paradigm shift. What does it mean to release music made by underground artists from lesser-known scenes like Toronto at a time when bookers and A&Rs are taking fewer risks than ever before? How do we truly celebrate the musical diversity of electronic music when the bottom line threatens to reduce any and all forms of risk-taking?

You just do it, of course.

In truth, few artists have come to represent the music scene in the Big Smoke more than Phèdre, and having seen the duo’s progression from indie weirdo-pop to live hardware act to breakbeat wunderkind in the last decade has been nothing short of amazing. It’s really artists like these that inspired us to start the label in 2018, and we are super elated to usher in PM006 with their long-awaited album, Liquid Constancy.

On its face, Liquid Constancy is a breakbeat record. There are housier joints, to more bassy Baltimore club bangers, to breakneck footwork and jungle steeped in sunshine. All of them share a distinctly syncopated, dubwise rhythm that grounds the album’s tracks. With some having been developed as early as seven years ago, these tracks had their genesis in Phèdre’s mostly improvised live hardware sets from some of Toronto’s most notorious warehouse raves. Primarily powered by two Korg Electribe ESX-1s and the semi-modular Moog Mother-32, the jams found new life in the studio when the duo began recording them as tracks, which demanded a mindfulness of their permanence that Daniel Lee and apè Aliermo at first found intimidating.

Over time, the pair developed a synergistic workflow that pulls from Daniel’s background in drums and apè’s keen ear for texture and movement. They sourced samples featuring voices of BIPOC and feminist icons, drew from their shared love of sci-fi and kung fu movies, and from their Filipino, Chinese, German, and Surinamese backgrounds. Samples were manipulated via techniques like lowering bit rates and adjusting speed to maximize usage due to the Electribe’s limited sample time, which was a subtle way of injecting their interests into their music without being too on the nose. Growing up in the melting pot of the GTA, going to raves as teens, bumping post-punk, industrial, electro, hip-hop and 90s R&B — these experiences all had an undeniable influence on Liquid Constancy. As kids of immigrant parents, equally informed by both their adopted and native cultures, Phèdre makes music informed by sampling and defined by cultural hybridity. In times like these, what is more feel-good than believing in music as a universal language that brings our different backgrounds together?