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2026 Repress

Robag Wruhme, working on the material. On the very same piece. And performing two different movements. First, thinking in category Album: who will hear it where? also: mood, position, length. Second, thinking in category Maxisingle: a spinning-tool for the club – another form of another functionality: accelerating the rhythm, lowering the harmonicmelodious, still preserving the nature of the song. And each version should make you HOT for the other!
Nata Alma, a voice loses itself in the infinite, a car brakes, a horse whinnies, the sun scorches relentless. Further, further on, towards the flickering, stoically. Water, flames on the horizon, Fata Morgana, a mirage. »And you might say, we've got no place to go?« - okay? no notokay at all!: Shuffle!
Nata Alma, melancholic Eight-minute-forty. A love song, a wave good-bye: »And you might say, that you need me no more?« sings Sidsel Endresen alongside Bugge Wesseltoft's swells and ebb-aways – metal never sounded so longing; a buzzing swing, a siren call from afar.
Robag Wruhme takes a seat at the organ and plays minor bass notes. He gets up, leaves the room and lays down a dry rock of funk: wooden kick on wooden snare, tight-cut voices, driving hi-hats and shakers, gated synth danglers and percussion loops. Relentless, stoically. »And you might say, that it's over?« – relentless, maybe, but that's how he creates the Further: keep going! dance it off! a new day rising!
And right here. Flip it and keep on moving: Venq Tolep. A summer meadow, grass-stains, a gentle breeze, an early smell of hay. Venq Tolep. Endorphins tickle under the skin. A
percussive spectacle, dance of the insects. Hopping around in flat shoes, the beat is phat and reverberated by a cluster of trees. Stabs on the e-piano set in, picturing the euphoric moment when Loving-feelings walk hand-in-hand with a Hint of Melancholy.
Robag Wruhme, Nata Alma and Venq Tolep - music for dance floors, inside and outside, music for the summer, day and night, and for convertibles on the way there.

Blur Records marks eight years of international artists and bright, instrumentally rich disco jewels with the second part of its anniversary compilation. The super reliable Monsieur Van Pratt opens things joyfully with 'Just Wanna Make You Dance' complete with strutting bass and disco-house grace that never stops soaring. Delfonic's 'Diamonds' brings filtered depth and a soulful sparkle that supports the glittering vocals. Reiner Von Vielen & Dizko Kreme's 'Good For You' rounds out the A-side with more rooted, chugging disco and a vocal that tugs at the heart. Flip it over and N.W.N.'s seven-minute 'Twin Souls' is a soulful house dreamer, Andy Bach's 'Keep Going On' samples a classic horn riff in a rolling groove, and Sven Wegner & Reiner Von Vielen close with the sophisticated and jazzy house cool of 'Inside Of Me. ' Here's to the next eight.

The duo of Nail and Barney Osborn are rising stars who work under the Indoor Tall Boys alias, a new name on us but this fresh drop on In The Dance suggests they have a deep understanding of dancefloor dynamics and a wide-ranging taste. 'Flames' is a supple, succulent and poppy sound with silky disco flourishes and a soulful, almost gooey groove. 'Re-Vibrations' has a lovely double skip in the drums and a gloopy bassline that brings a nice louche vibe, while 'Hold A Groove' has a sunny outlook and subtle strings worked into a smooth groove that exudes summery heat. 'KTT' shuts down with a filter-edge and glistening keys all stitched into a classic disco house groove full of colour and funk.

Finnish-American producer Tin Man aka Johannes Auvinen has spent much of his career updating 80s Chicago acid house for a new era and on 2006's now reissued 'Love Sex Acid', the three 303-driven cuts recall the acid work of Laurent Garnier and Ludovic Navarre. 'Falling Acid' opens with a gloomy intro before building into clattering snares and a slowly intensifying 303 wig out. 'Let's Do It Acid' writhes hypnotically with a snake-like bassline and a haunting whispered sample, while 'Love And Sex Acid' leans into deep house, with tasty electric piano licks over acid textures. A still well-crafted new take on acid's roots that hasn't aged in the 20 years since the revered Finnish label Sahko first issued it.

*Kissa* is an immersive ambient electronic project crafted by Mathias, drawing inspiration from the serene and evocative atmosphere of Japanese jazz kissa cafés. These intimate spaces, known for their deep reverence for music, serve as the foundation for *Kissa’s* sonic landscape—where warm nostalgia and futuristic minimalism intertwine. Consisting of eight expansive compositions, *Kissa* abandons traditional rhythmic structures, allowing sound itself to guide the listener. Ethereal textures, evolving drones, and subtle harmonic shifts create a meditative experience that blurs the lines between memory and imagination. Each track is a portal—an invitation to lose oneself in sound, to explore the spaces between notes, and to embrace stillness as a form of movement. With *Kissa*, Mathias redefines the boundaries of electronic music, crafting an experience that is at once deeply personal and universally resonant. Whether serving as a soundtrack for introspection or a companion for late-night contemplation, *Kissa* embodies the essence of timeless listening—where music is felt, not just heard.

Amelie Lens' debut album 'AURA' is the first full-length studio album to come from the Belgian artist despite being one of the most respected and sought-after acts in electronic music today.

Of the album, Amelie says:

"'AURA' is my story. Aura is about the connection between the crowd and me. Music has always been my escape, my way of turning my emotions and energy into something new. When I was younger, I would disappear into nightclubs and create myown world in my head. Being in the nightclubs gave me this feeling of belonging somewhere, I felt connection and freedom I had never experienced before. That feeling changed my life completely. So this album really reflects that whole journey. From playing tiny local clubs and driving myself through the night for gigs, to standing on huge festival stages, becoming a mother, building EXHALE and learning how to balance it all in life.

I wanted 'AURA' to feel emotional but still powerful, uplifting but raw. From big festival tracks to the trippy tracks I'd play at 4am at RSO. Although making this album is one of the biggest things I have ever done in my life, I wanted to keep it light and somehow playful. Because that is also how I am as a person. This is the most honest version of myself I've ever shared. I hope it brings some light, happiness and connection to others as it does to me. Because Aura is and always will be about my connection to you."

The album will consist of 11 brand new tracks, all produced by Lens - with one stellar collab, who will be announced in due course.

Nail is one of our favourite house artists. He was a key player in the 90s, not least with Nottinghman's DiY, then disappeared for many years before returning a decade or so again. Since then he has kept on turning out unique house jams (there have been tens of them by his and others on his latest label in the last six months) and now curates the first volume of House Fire Records material for his In The Dance label. This compilation brings together his aliases Scorpio Parish, DJ XE0re, George F, Peoples Inc. and Five Bagonag. The grooves are killer, the production perfectly undercooked, the swing often central to everything.

Glasgow’s Hot Towel are a DJ & production duo, community dance party organiser and now record label reimagining the balearic spirit far from its original context and sunnier climes.

This debut EP contains 4 dance floor focused tracks tested and developed on the Hot Towel dance floor and beyond. Produced over the last 4 years in grey and rainy Glasgow these 4 tracks reinterpret the joy of warmth, connection and world building in dance music.

Warm in Your Office is a feet on the floor, head in the clouds, bouncing 90’s piano house inspired track with warm driving bass, punchy gated snare, percussion samples and a surprising nostalgic drop for fans of late 90’s and early 00’s Serie A.

The lo-fi beatbox rhythm of Low Pressure in Paradise features a melodic, rumbling bassline, vintage synth string stabs and a warm melancholic synth pad swell reminiscent of the day after the night before, or the thunderous ambience of an oncoming storm and the reflection that brings. Think warm orange and magenta sunset overcast with heavy mauve clouds and possibly a hangover from one too many negronis.

A sunbaked synth flute melody shimmers like heat haze in the latin / balearic inspired beach bar romp Last Minute Staycation. Cowbell and syncopated piano move the hips, while romantic synth strings pine for that magical other world away from the mundane. A shift in tone midway evokes the peril of a balearic dream turned nightmare, capped off with timbale and a shredding electric guitar solo serving Lambada meets Zappa.

Endless Cosmic Procession is a downtempo balearic builder that chugs along with minimal effort. Tuned percussion drives the groove, with bass and synth punctuations that reverberate into space and swirl with delay. A rising arpeggiator gently brings melody to complete the harmonic space of the track that rounds off the EP with a contemplative dance floor moment.

Sakro, Brandub, Rhythm Box, and Nomad lock horns for the next transmission on Facing Realities. Following the runaway success of their inaugural drop last year, the imprint returns with a heavy-hitting, four-track V/A engineered strictly for the dancefloor. Expect a potent brew of hazy, dreamscape textures, raw 909 workouts, and relentless groove—primed to fuel those dark autumn/winter club sessions.

Coin-Op Records serving up another killer 4 track EP, this time from The Sentinel.

Title track "Theme from Sentinel" is a slab of jacking, relentless, robotic funk that will get heads nodding like nothing else. "Binary Communication" recalls 00's tech; punchy drums and drifty intro pads set the scene before dropping into a heavy stabs-n-bass groove.

On the flip, "Fight or Flight" builds from driving percussion into a gorgeous peak-time synthy slammer. Closing track "Climbing Cosmos" is in the classic B2 style; laid-back, groovy deepness, with glassy chords and 808 drums lifting you up to round off the EP.

For its 24th release, Daydream welcomes rising talent Soha to the label. Across four refined cuts, the Belgian artist explores a deep and understated sound built on lush textures, ethereal pads and dense, rolling grooves. The EP unfolds with patience, balancing dreamy atmospheres and restrained club energy. A timeless collection crafted for both intimate listening and late-night dancefloors.

Nug-Net returns to vinyl with another best-of selection from last year's contest entries. The disc compiles a pair of anytime anywhere cruisers on the A-side from returning Nug-Net alum Guessbeats and newcomer Tanda. The Big Paneer's contribution harks back to the early days of Limousine Dream (pitch drift on high) while Franz Fraiz strays into what do you even call it indie-pop-house territory. Take the Nug-Net production course yourself at nug-net

Ty Segall, precleared for flight in full rock congress with the band (Ben Boye/Evan Burrows/Mikal Cronin/Emmett Kelly), shifts Chrome. Songs of massive riffs, swung, tightly arrayed lines of fuzz & distortion, twin-guitar attack-and-parry, endopic keyboards kicking, precise & thudding power, a rhythmic core on the march in full BAND energy. The songs are lyrically allusive trips, dark passages in the labyrinth, everything in the air bristling collectively, as minds collide.

Surprise! Some stories were still untold… some tracks still needed to be brought back to the public. That’s why we’re adding this episode to the MEMORIEZ collection. Four very popular retro house tracks from the harder styles are immortalized in this final “tuning edition” of MEMORIEZ. We’ve also added a bonus track by DJ Puthond, the former winner of the Club System Contest back in the day.

Drop the needle and enjoy this tuning edition!

Scottish producer and label owner Graham Wilson signals a new phase for Seventh Sign Recordings with a four-track EP that blends Detroit techno roots with bright European electronic colours. Across the release, Wilson moves between pulsing four-on-the-floor rhythms, analogue basslines, crisp drum-machine percussion and shimmering synth work. "Mode" opens with an energetic, uplifting drive with steady kicks, pulsing bass and bright synth leads shaped with clean, modern production and side-chained pads. "Oberheim' follows with warm analogue textures, arpeggiated lines and optimistic pads, carrying a classic synth-wave feel while keeping a tight, Detroit-leaning groove. "Are You There" pushes into tense, atmospheric territory: rising pads, crisp hi-hats and a pumping bassline build momentum, giving the track a spacious, late-night techno edge. Closing cut "Parallel Lives" shifts into retro-futurist mode, neon-lit and melodic, evoking 80s energy and nocturnal late night drives. All in, a strong, forward-looking EP that connects machine-soul heritage with modern electronic clarity, ushering a fresh chapter for Seventh Sign.

Teemon and Poomba go looking for light in the darkness on their new EP “Hopeless.” The Madrid duo have a knack for dragging nostalgic sounds into the present, and this release is no exception. With equal parts Hi-NRG euphoria and dark disco dread, the four tracks feel like a glitchy transmission beamed in from another decade, or perhaps another galaxy…

The title track, “Hopeless,” sends us hurtling down a wormhole. Powered by a cavernous bass, we are propelled through kick drums, warp effects and sparkly synths, while a distant voice calls at us through the darkness.

Iranian producer Amirali takes “Hopeless” somewhere a little lighter with his remix, easing the intensity down before letting it slowly climb again. His version foregrounds the track’s earworm synth line and builds on it, layering and expanding on the vocal line until it sounds celestial. Amirali’s skills as a classically trained pianist feel reflective here in his compositional approach.

If “Hopeless” is the wormhole down, then “Moon Connections” is what’s waiting on the other side. The track leans heavily into sharp, percussive sounds that form a grounding contrast to the high synths that glitter above. With a spoken word line that sounds like it’s being transmitted through a space-age radio and enough deep warp effects to get lost in, this B side sends us to the stars.

Closing things out, the Eagles & Butterflies remix of Moon Connections brings us down to earth. Chill, deep-house adjacent and with a hint of Daft Punk in its DNA, it wraps a heavily filtered guitar line around a softened groove built for the comedown – the sound of the sun coming up on the last people left on the floor.

Techno is an experimental journey: deep, moving, cinematic, carried by science-fiction dreams steeped in true melancholy. Over time, much of this heritage has faded away. The soul and spirituality of the music have receded, giving way to the oversized ego of some, and to the constant need to show off on social media: a techno that looks beautiful, but is sterile, limited, meaningless, with no jazz, gospel or disco influence at all. The innovators, whether African-American in Detroit, Chicago and New York, or German with Kraftwerk, bet everything on the hypnotic and mesmerizing side of this music. "Lost Spiritual" was born from this observation, with a simple idea: to give more credit to the music and what it makes you feel than to the musician's look or haircut. This record is a tribute, an inspiration, and the hope that the spiritual dimension, which was the priority in the early 80s, will never die.

La techno est un voyage expérimental : profond, émouvant, cinématographique, porté par des rêves de science-fiction empreints d'une véritable mélancolie. Avec le temps, une grande partie de cet héritage s'est effacée. L'âme et la spiritualité de la musique ont reculé, laissant place à l'ego démesuré de certains, au besoin permanent de s'afficher sur les réseaux sociaux : une techno belle en apparence, mais stérile, limitée, vide de sens, sans aucune influence jazz, gospel ou disco. Les innovateurs, qu'ils soient afro-américains à Détroit, Chicago et New York, ou allemands avec Kraftwerk, misaient tout sur l'aspect hypnotique et envoûtant de cette musique. « Lost Spiritual » est né de ce constat, avec une idée simple : donner plus de crédit à la musique et à ce qu'elle procure qu'au look du musicien ou à sa coupe de cheveux. Ce disque est un hommage, une inspiration, et l'espoir que la dimension spirituelle, qui était la priorité au début des années 80, ne meure jamais.

Flowgeist emerges from a shared inquiry into sound and aesthetics. Genre remains peripheral; meaning stays tethered to sensation. The self-titled debut, released on Evighet Records (EVIGHET007), follows that logic across a full record, moving from matter to memory and giving passing states somewhere to stay. Trip Hop, Drum and Bass, post-punk, breakbeat, EBM, Techno and modular electronics all surface within it, summoned only where a feeling demands them, with acoustic instruments retaining their grain inside the electronic frame. The A side keeps its instruments close and its focus intimate, opening on "Molecules," where Zainab J Lascandri's voice and Arthur Boudet's guitar set the album's tone before it moves through cycles that won't break: a life stuck in place, a trust already gone bu14t still being tended, an attraction whose charm thins out under repetition. That inward attention eventually turns outward, closing the side on a colder note about how influence gets performed and mistaken for substance. The B side works through broken rhythm and cinematic scale. It examines political language for the seams in its polish, follows a relationship reduced to proximity without real contact, and rises to the record's most forceful club passage before settling into "Crystal Muse," where Massimo Capobianco's guitar moves alongside an extended modular passage, luminous and unhurried. The album closes by turning its attention to composition itself, treating the act of writing music as a way of holding onto experience before it disappears. Across both sides, the record travels from immediate, bodily feeling toward something more contemplative, carrying the same emotional attention from private entanglement into wider systems and finally into the quiet work of making the record itself.

Moving In Silence welcomes AI Robot for its third release, balancing driving grooves and deep atmospheres, the Bucharest based dj/producer crafts four underground hits that will not leave the bag.

The latest in our series of Limited Edition 7x7" Soul Box Sets celebrates the work of Dave Hamilton.

Dave's musical career in Detroit stretched from the 40s into the 80s. He was involved in all black music styles during that period - blues, jazz, and gospel as well as soul music.

A talented songwriter, he wrote or contributed to ten of the fourteen compositions here and produced them all in his studios.

Though his released output was modest, considering the amount of recording he did, the gems in his tape vaults have been surprising and entertaining black music lovers since they were accessed by Ace in 1990.

That purchase came about due to Richard “Gilly” Gilbert’s detective work in discovering that a big covered-up Northern Soul spin at Wigan Casino was actually Dave’s production on “Little Ann” Bridgeforth. The ensuing years have seen soul tracks in all genres, issued on Kent and BGP and we are still discovering great tracks 36 years on. Witness ‘You Got Me Where You Want Me’ by Chico & Buddy, a fabulous funky number from around 1970 that would have been a soul fan’s favourite whenever it was issued; this is its first public appearance.

Funk crosses over to all dance scenes these days and even jazzier tracks like Dave’s own ‘Soul Suite’, a close relation of his coveted ‘Pisces Piece’ will pick up plays now it is on vinyl. Northern Soul lovers have been demanding J T Rhythm’s ‘I Love The Way You Walk’ on a seven, as have Motown connoisseurs with Rita DuShay’s original of ‘All I Need (Steal Away Tonight)’ as covered by Barbara McNair on her 1966 Motown LP.

Original copies exist of the Ravins ‘Your Love Is What I Want’ but unless you have several grand to spare on this fast and furious dancer, our audio-enhanced release is a great substitute; especially with the Kent 45 deleted.

OC Tolbert delivers a tough and menacing Clarence Reid song ‘Along Came A Woman’ which has huge dancefloor potential, like Dave’s own bluesy vocal on his similarly gritty, R&B composition ‘Take Care Of Your Own Business’.

Dave’s accomplishments into the 70s and 80s are admired by modern soul lovers and his ‘Ride The Disco Train’ by the Moderations, hit a perfect groove for progressive clubs of the genre. Both the Felecia Johnson and New Experience tracks thrive on the laid-back atmosphere Dave was able to conjure up in his home studios and the talented singers present his thoughtful songs with panache.

With enhanced audio for both of Little Ann’s uptempo and ballad classics ‘What Should I Do’ / ‘Deep Shadows’ this box set is irresistible as well as being a tribute to the unsung heroes of Detroit Soul music.

Glasgow’s Hot Towel are a DJ & production duo, community dance party organiser and now record label reimagining the balearic spirit far from its original context and sunnier climes.

This debut EP contains 4 dance floor focused tracks tested and developed on the Hot Towel dance floor and beyond. Produced over the last 4 years in grey and rainy Glasgow these 4 tracks reinterpret the joy of warmth, connection and world building in dance music.

Warm in Your Office is a feet on the floor, head in the clouds, bouncing 90’s piano house inspired track with warm driving bass, punchy gated snare, percussion samples and a surprising nostalgic drop for fans of late 90’s and early 00’s Serie A.

The lo-fi beatbox rhythm of Low Pressure in Paradise features a melodic, rumbling bassline, vintage synth string stabs and a warm melancholic synth pad swell reminiscent of the day after the night before, or the thunderous ambience of an oncoming storm and the reflection that brings. Think warm orange and magenta sunset overcast with heavy mauve clouds and possibly a hangover from one too many negronis.

A sunbaked synth flute melody shimmers like heat haze in the latin / balearic inspired beach bar romp Last Minute Staycation. Cowbell and syncopated piano move the hips, while romantic synth strings pine for that magical other world away from the mundane. A shift in tone midway evokes the peril of a balearic dream turned nightmare, capped off with timbale and a shredding electric guitar solo serving Lambada meets Zappa.

Endless Cosmic Procession is a downtempo balearic builder that chugs along with minimal effort. Tuned percussion drives the groove, with bass and synth punctuations that reverberate into space and swirl with delay. A rising arpeggiator gently brings melody to complete the harmonic space of the track that rounds off the EP with a contemplative dance floor moment.

2026 Repress

The Third Room launches its new curator-led series with Oscar Mulero, one of techno's most uncompromising and influential voices. Through decades of releases, DJ sets and his work with PoleGroup, Mulero has helped shape a sound defined by tension, reduction and depth, leaving a lasting mark on contemporary techno culture. For this first chapter, he brings together artists who reflect that same discipline and sonic clarity. Rather than focusing on solo authorship, Mulero shifts towards dialogue - connecting with producers who operate within a shared language, while bringing their own distinct perspectives to the record. He opens with Sonic Synergy, the only solo track: restrained, dub-influenced and immersive, built on warm low-end and gradual development. The centrepiece of the record follows with Reaction Pair, a collaboration with DVS1. Bringing together two of the scene's most established voices, the track unfolds as a fluid, open construction: a rolling, slightly woobly bassline meets evolving chords that build and dissolve tension in continuous cycles, creating a sense of forward motion without obvious peaks. Seven, with Luigi Tozzi, introduces a more spatial dimension, merging Tozzi's atmospheric depth with Mulero's steady drive. Closing track Between the Stars, with Isabel Soto, leans into a timeless, understated energy - functional without ever becoming forceful. Across all four tracks, the EP remains consistent in tone: spacious, spheric and focused on long-form movement. As the first entry in the series, it sets a clear direction - reduced, hypnotic techno built for longevity. ? 2026 The Third Room A1 Written and Produced by Oscar Mulero | A2 Written and Produced by Oscar Mulero & Zak Khutoretsky | D1 Written and Produced by Oscar Mulero & Luigi Tozzi | B2 Written and Produced by Oscar Mulero & Isabel Soto Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

2026 Repress

The second chapter of The Third Room's curator-led series is shaped by D.Dan, one of the defining voices of a new generation pushing techno into sharper, more forward-leaning territory. Through his productions, DJ sets and close ties to an emerging network of artists, he has helped shape a sound defined by precision, intensity and subtle experimentation. For his curation, the focus lies on collaboration and alignment. Rather than presenting a wide spectrum, the release draws a tight circle around a shared sound: one defined by contrast and a strong sense of aesthetic cohesion. D.Dan's Bound sets the tone: reduced, warm and controlled, balancing sharp accents with a steady, grounding low-end. On Dynamic, Rene Wise delivers a record's standout moment: a fluid, rolling tool shaped by subtle disruptions and evolving tension. Slither by Connor Wall expands into a more trippy, forward-facing space, while Gensou by Sunju Hargun & DJ MARIA. closes on a fresh, detailed take on acid - understated but effective. Across all four tracks, the release feels tightly unified - less like a compilation, more like a single body of work shaped from a shared sonic language. Contrast plays a central role: between tension and warmth, control and surprise, functionality and detail. Cohesive and focused, the record feels carved from a single aesthetic, where contrast and small, unexpected shifts drive its momentum. Copyright 2026 The Third Room A1 Written and Produced by Theodore Su-Ahn Shin | A2 Written and Produced by Andrew Shobeiri | B1 Written and Produced by Connor Wall | B2 Written and Produced by Sunju Hargun & DJ MARIA. Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Molecular Recordings – Structure Series 3

The framework expands.

Structure Series 3 marks the next instalment in Molecular Recordings' ongoing vinyl series, bringing together a selection of artists connected by a common language: deep, functional, uncompromising techno.

Forged between machine pressure, hypnotic movement, and warehouse energy, the release continues the label's tradition of spotlighting both respected figures and emerging producers without distinction. The focus remains where it has always belonged — on the music itself.

Across four cuts, Structure Series 3 moves through shifting textures and intensities, balancing raw groove, atmospheric depth, and precise rhythmic architecture. Built for sound systems rather than algorithms, these tracks are designed to reveal their full weight in the physical space of the dancefloor.

Three decades after its foundation, Molecular Recordings continues to operate beyond trends and short-lived cycles, remaining committed to authentic underground techno and the artists shaping its future.

Structure Series 3 is another transmission from the Molecular network: Built from experience, driven by instinct. Structured for the underground

Last summer, Psychederek released his four-part cosmic journey Thinkin' 'Bout U as the debut release on his label, Via Jupiter.
This summer, he's brought together a gang of local mates to deliver a fresh and unexpected set of remixes of the underground psychedelic hit.

Synkro, Moodymanc, ATM Musick and Bobby Thorpe serve up a diverse selection of remixes, bringing Psychederek's galactic world into the realms of drum and bass, deep disco, baggy krautrock swagness and pure-up voodoo energy.

After a few years of silence, the London-based label resurfaces from the depths of the underground with a new split EP, the fifth in the series, merging nu-skool breaks and futuristic electro from the like of two firmly established talents.

The Brussels-based artist and founder of ZwaarteKracht Records - Arsonist Recorder.With standout releases on Diffuse Reality, 20:20 Vision and Specimen he takes control of the A-side to deliver two finely crafted electro gems. Spanish producer Sigma_ALgebra, co-founder of Tensor Norm and already featured on Science Cult, Elektrodos Recordings, Anti Gravity Device, Digital Distortions or Urban Connections is slamming the Side B with two experimental yet powerful electro assaults, unmistakably stamped.

Ranging from dancefloor-oriented electro to industrial breakbeats and lo-fi textures, this fifth chapter offers a deep dive into raw, hammering rhythms and pulsating grooves crafted for sweat-drenched, late-night sessions.

Hen & Goose returns to the shelves with a heavyweight compilation for their 6th installment.
Gathering friends and family for a versatile 5-tracker, this record explores the raw and emotive side
of House music.

The record opens with a bang: Dukwa delivers a raw, driving peak-time cut that demands attention,
followed by the dusty, swinging grooves of rising talent Moglis. On the flip, Bobby Cazanova sets
the mood with "Realidad" – a lush groover carried by warm pads and a Balearic touch. This paves
the way for label head Júlio Cruz, who delivers a nostalgic, vocal-led Deep House anthem that
blends pure euphoria with a touch of melancholy. Finally, Bobby Analog closes the affair, taking us
back to the roots with his trademark raw and dusty sound.

A record bag essential that works from the peak time to the early morning hours.

This year marks the 40th anniversary of one of the true cult classics of the Italo Disco universe: Mike Mareen’s “Love Spy.” Released in 1986, the track sounded strikingly different from much of the dance music around it: futuristic, dramatic, playful and instantly recognisable. It quickly found its way into DJ cases across Europe and became one of the records that would define Mike Mareen’s electronic sound.

But the story actually began under a different name. An early incarnation of the song was called “Batman,” with lyrics inspired by the adventures of the famous comic-book hero and the villains surrounding him. A small number of promotional copies circulated before copyright concerns meant that the concept had to be abandoned. The title and lyrics were rewritten and “Love Spy” was born. The early “Batman” version has since become one of the most fascinating curiosities in Mike Mareen’s catalogue.

Four decades later, we felt an anniversary like this deserved something special.
LOVE SPY 40th Anniversary will therefore arrive in two parts, bringing together some of our favourite producers from today’s Italo, synth and electronic scene.

Part One features brand-new remixes by Luca Dell’Orso, Flemming Dalum, Also Playable Mono and Disco Computer. And enthusiasm was never going to be a problem here. “Love Spy” is not simply an ’80s classic, it remains a genuine DJ favourite, loved by old-school collectors and a new generation of Italo-wave selectors alike.

Alongside four killer new interpretations, we are bringing back the original Badman Mix, plus the highly sought-after “MAKE YOUR OWN MIX” material – rare set of individual elements created for DJs to deconstruct, combine and rebuild “Love Spy” themselves. These samples have become particularly desirable among collectors and make the perfect addition to the first chapter of our anniversary edition.

Four new remixes. Two pieces of history. Forty years of LOVE SPY.

And we are only halfway there.

LOVE SPY 40th Anniversary Part Two, featuring another line-up of major names from our scene arrives in November.

Black Truffle is pleased to present Even Colder Spring, the latest release from the mysterious and wildly prolific Cities Aviv (a.k.a. Wilbert Gavin Mays, who also records as African-American Sound Recordings), a rare appearance from the artist outside his own D.O.T. Audio Arts label. For over a decade, Cities Aviv has twisted hip-hop conventions into the most skewed and splayed forms, layering and lacerating twitching loops, extreme production techniques and his mercurial vocal stylings into hermetic décollage. Across 16 tracks, Even Colder Spring charts Mays’ restlessly experimental approach: what sound like fully formed productions are interrupted suddenly after seconds; interjections of field recordings cue unexpected shifts; details drown under layers of fuzz. His vocal delivery takes in rhythmically intricate rap, barely articulate murmurs and freely melodic song, the latter often with a disorientating lack of connection to the track’s harmonies. The lyrical shifts are as paratactical as the musical movements. Apocalyptic visions of social and cultural uniformity alternate with reflections on mortality, glimpses of everyday life and head-scratching one-liners: ‘Maybe Mars is bougie?’ His reference points are as surprising as ever, the Dante quotes of previous releases joined here by a track named after Henri Bergson’s idea of the élan vital. Australian listeners, in particular, might be especially taken aback to hear ‘Closing Door’ open with the phrase ‘the tyranny of distance’.

While Mays’ work can sometimes be claustrophobically bleak, the productions here are often sparkling, at times touching on the shimmer of private-issue New Age sounds and the more playful end of krautrock. The instrumental ‘Martine Drift’ could almost be a snatch of Cluster’s Zuckerzeit caught through dial-up internet. The distant echoing drums of ‘L_area’ cross Persona’s Som with lo-fi IDM, while closer ‘Final Heaven’ dissolves a cloud of loops across almost seven minutes into ecstatic, rippling distortion. The graphic design, at the artist’s request closely modelled on the format of Corwood Industries, offers as good a clue as any to what awaits the listener on Even Colder Spring: a world at once impossibly opaque and intensely personal.

2026 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

Jewel Kid debuts on Rekids with the ‘Explicit Behaviour’ EP. Malta’s Jewel Kid debuts on Radio Slave’s Rekids with the ‘Explicit Behaviour’ EP on 14th August 2026. It follows two decades carving out his place in the House scene with releases on labels including Abode and Toolroom, while heading up his own Alleanza imprint. He was a winner of the Carl Cox Worldwide Remix Competition and a recipient of the Best Dance Production award at the Malta Music Awards, while his music routinely dominates charts such as the Beatport Top 10.

The title track of Jewel Kid’s ‘Explicit Behaviour’ EP opens with swirling synths, sirens and filtered vocals before erupting into chunky drums, classic piano stabs and crisp percussion, while ‘In The Dance’ channels early Chicago infl uences through hypnotic vocal hooks, tense synth work and bold analogue grooves. Closing cut ‘The Tribute’ rounds things off with rolling drums, sweeping filters and fuzzy synth textures that steadily build pressure into another heads-down dancefloor workout.

2026 Repress

The clergy is pleased to introduce you to a new initiate: Birds ov Paradise. This highly anticipated Hypnus debut comes split into three separate EP's which will be released one each full moon starting October.

Some of you may be acquainted with the music of Birds ov Paradise already as he's put out two stellar records on Jens and Aniara Recordings in 2016-2017, as well as making a contribution to our podcast series The Memoir where his sound was put on a grand display. Those of you who are new to the fantastic dream world of this very talented artist will quickly get lost in the flowing rhythms that drives his magical deep techno sound.

Early support from Etapp Kyle, Ness, Slam, Iori, Refracted, Svreca, Cio D'Or and Dorisburg to name a few.

Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with 'Damaged', his first album for The Bug's PRESSURE label..

Having recently dropped two criminally overlooked, experimental dub LPs, with his 'Dub Over Science' series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance. For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades, and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, 'Damaged' celebrates the point of departure within it's mesmerising low end grooves. Album opener 'Chemical', provides an opiated slo-mo skank, which sounds like Plastikman's 'Consumed' era pulsations drenched heavily in sub aquatic fx. A triumph of surface noise surfing and sub woofer testing relentlessness, it provides the perfect intro to this compellingly immersive album. For batty shakers and headtrippers alike, there's added thrills aplenty, as Ghost Dub's richter scale tremor rhythms remain impressively massive, and the atmospheric depths of 'Damaged' appear tantalisingly oceanic. Throughout the duration of the dreamy selection, there is an obsessive balance of bewitching ambience and heavyweight bassbin shaking. The lead single 'Thin Line' itself provides a missing link between African Headcharge's early percussive body probes and Rhythm & Sound's addictive radiance, with the slightest hint of Burial's doomed romantic hauntology added for good taste. Alternately, and no less gracefully, 'Dub Lobotomy' bizarrely resembles Miles Davis 'Get Up with it' chopped, screwed, and relocated to a futuristic Kingston Town. Impressive indeed, Fiedler's mastery of live dubbing on his mixing desk shines accross the duration, and gives the album an improvised edge, and sense of peripheral chaos. Elsewhere, spooked steppars('Hot Wired'), haunting house ('True to life') and 4th World psychogeography('Undone'), combine to ensure there is a forever changing mixture of flavours percolating within the admirable consistancy of the overall sound.

With a tip of the cap, and nod of the head to Pole('Second Thoughts'), its no surprise then that PRESSURE would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. And a fine job he did too, as high quality sound and levels are definitely maintained throughout.

If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, 'Damaged' provides the perfect prescription and entry point into Ghost Dub's spectral soundworld.

180 GR returns with the third and final chapter of Music & Territory from N-Zino, continuing his exploration of groove, rhythm, and deep-rooted dancefloor music through a record balancing organic textures with timeless club sensibilities. The 180 GR Classic Mix of Your X leans towards the label's signature dancefloor language: stripped-back, hypnotic, and groove-driven, built around rolling rhythms and functional energy. In contrast, the 180 GR Organic Mix opens the arrangement into warmer and more textured territories, emphasizing musicality, movement, and a more immersive atmosphere. On remix duties, Trinidadian Deep delivers his signature spiritual approach -- deep, meditative, and richly textured -- stretching the source material into immersive territories built for late-night moments. Meanwhile, Nico Lahs brings his unmistakable blend of raw groove, jazz-infused house aesthetics, and driving rhythm sections, injecting extra energy while preserving the emotional core of the originals.

In the early ‘10’s the WPH Summer Special was a yearly tradition: a stamped vinyl only releases featuring lost tracks, one-off collabs, dreaded digital only gems, etc. Some summer specials were so hot we released them in the winter to battle the cold…

Guess what? It’s back! Four killer tracks on one slice of vinyl. Satoshi Fumi remixing Ian O’Donovan to devastating Detroit-styled effect, Red D taking things deep with some dreamy deep house magic, Fabrice Lig going from ‘Border 2 Border’ on vinyl with Red D & Lady Linn and then Uit De Hoogte teaming up with Lefto for an oldskool house jam that will only be available on this release.

If this doesn’t get your heat up…

Ame: Thanks for ‘Border 2 Border’

Frankey & Sandrino: Great music in here, thanks!

Ben Sims: Ian O’Donovan one…asap!

Axel Boman: The dancefloor is open indeed.

Terre Theamlitz: Thank you for ‘Sweet Synthie Pauline’.

Simon Caldwell: Lovely E.P. of reminiscence!

Satoshi Fumi: Cool pack J

Red Rack’em: Love the Satoshi Fumi remix.

Severino Panzetta: Grooovy!

Jimpster: I can imagine the Ian O’Donovan working nicely. Classy stuff!

Harri Subclub: Play and support from me.

Massimiliano Pagliara: Great tunes!

Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.

Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.

He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.

Seven-piece instrumental group Let Your Hair Down herald their triumphant return with super heavy new 7” Pingu’s Anthem b/w Gronk.

Hailing from the hotbed of Melbourne / Naarm, Australia, Let Your Hair Down step out from the shadows for the first time since their 2021 album‘Waiting Room’. The seven-headed cinematic funk group is a conglomerate of Melbourne’s thriving cinematic soul movement, comprising members of Surprise Chef, Karate Boogaloo, Owelu Dreamhouse and Temporary Blessings. The band’s sound is a sturdy mix of dusty minor key funk, off-kilter conguero psychedelia and horn-heavy boogaloo, represented robustly across both sides of the forthcoming College of Knowledge 45‘Pingu’s Anthem b/w Gronk’.

Side A, ‘Pingu’s Anthem’, pays tribute to the tune’s titular penguin protagonist. Emblematic of Pingu himself, LYHD’s horn section sticks its chest out boisterously atop the rock-solid drum feel of Hudson Whitlock. The tune is laced with a resolute flute solo from saxophonist Will Morrissey.

Side B, ‘Gronk’, is a punishing funk cut; relentless rhythm section careening through the tune, punctuated by the metallic, percussive sound of an empty gas bottle being struck. Razor sharp farfisa and menacing horns reinforce this deadly joint as one to handle with care.

Pingu’s Anthem b/w Gronk is out worldwide on 45RPM 7” vinyl on College of Knowledge Records August 7th 2026.

Unlock the allure of The Hot Spot through its unforgettable soundtrack, a captivating collection that brings the film's sultry ambiance to life.

Set against the backdrop of a small Texas town, The Hot Spot follows Harry Madox, a charming drifter with a dark past. As he arrives in town, he becomes embroiled in a web of seduction and deceit, navigating his way through a love triangle involving the sultry waitress, Gloria, and the alluring femme fatale, Dolly. Tensions rise and passions ignite, leading to a thrilling climax where desire and danger intertwine. Directed by the visionary Dennis Hopper, the film is a masterclass in mood and atmosphere, capturing the essence of 1990s neo-noir.

The Hot Spot has garnered acclaim for its stylish cinematography and gripping narrative, but it's the music that truly sets it apart. It's an amalgamation of swampy blues, jazz and rock — all mixed and recorded in a sparse, bloomy and eerie sort of way.

Critics hailed the soundtrack as "an electrifying fusion of jazz and blues that perfectly complements the film's seductive undertones." The blend of sultry melodies and haunting instrumentals creates an immersive experience that resonates long after the credits roll.

This recording is just so damn fine, so airy and warm. And the musicians aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought-after and collectible record among audiophiles. This soundtrack is essential for any music lover or film buff, capturing the very essence of the film's seductive spirit.

DJ Support: Shy One, Macca, Jaye Ward, Secretsundaze

For the 10th ITTY release, Comb has recorded two new interpretations of a 303 Post-Punk classic, reimagined in a Street Soul-inspired style.

The Juicy Mix pairs soulful female vocals with a popping DX bassline, crisp 808 drums and the iconic saxophone solo. The After Hours Dub is a deeper cut, with stripped-back instrumentation and breaks, M1 bass, and a repeated male vocal refrain built for serious head nodding.

Culoe De Song brings ancestral rhythm to his Crosstown Rebels debut EP, ‘Moonhound’.

The Afro house veteran delivers a three-track excursion, featuring remixes from Manoo. One of South Africa’s most storied house exports, Culoe De Song, lands on Crosstown Rebels for the first time with ‘Moonhound’, a three-track EP fusing organic, electronic textures around a minimal core. His take on deep, Afro-house has carried him from a breakout year in 2008 to an acclaimed run of albums via labels including Innervisions, Mule Musiq and his own De Song Music. With a career spanning more than fi fteen years, he has shared line-ups with the likes of Black Coff ee, Seth Troxler, Louie Vega, Carl Craig, Âme, and, in particular, label boss Damian Lazarus, at some of the world’s most renowned festivals and venues. His arrival this August feels like a natural convergence of two paths that have long run in parallel, less like a debut and more like an overdue reunion that channels percussive rhythms into a stripped-back, hypnotic core.

Title track ‘Moonhound’ eases in slowly, layering organic textures over brooding rhythms as whimsical, drifting elements and soft synth lines pull it into a steady ebb and fl ow. ‘The Spiker’ follows, driven by a punchy bassline and animalistic vocal calls and chants, before crisp percussion builds and breaks down into panning melodies for a blissful close. With releases on MoBlack, Classic Music Company and Deeply Rooted, French house mainstay Manoo brings his instinct for groove to ‘The Spiker’, with his ‘Abstrakt Remix’ showcasing a hypnotic rework that stretches the original’s key elements into a tone-setter for the evening ahead. He then doubles up via his ‘Club Remix’, a digital-only addition that trades the ‘Abstrakt’ interpretation’s slow build for echoing synths and syncopated rhythms, bringing a heads-down, functional cut built squarely for the club.

Tokyo-based 25-year-old up-and-coming producer/DJ Till Yawuh delivers a floor-ready house EP, marking the inaugural release of his own independent imprint, House of Jade. The A1 title track, "Hoodina," is a dynamic floor-shaker that builds tension through nearly five minutes of kick-less beats before dropping into a powerful, heavy-hitting groove. On the flip side, the B-side features two unique deep house cuts highlighted by highly emotional arrangements. While deeply respecting straight house music traditions, this record boldly breathes a fresh new breeze into the genre. Mastered by Rei Taguchi at Saidera Mastering.

The fourth instalment on Daniel Poli's, Suspect Package released in 2002 produced
by Leonora Epremian aka Autonomy. A three-track EP with soulful techno-inspired
textures and rolling, UK groove. The A side features a collaborative project between
Leonora and Daniel Poli.

Truths and secrets often reveal themselves at night, under the freedom of shadowy darkness, away from prying eyes. In creating Given to the Night, sisters Valentine and Clementine Nixon have crafted a world that drifts through the in-between: between dream and reality, between day and night and the undefined, and ultimately a world that embraces the discomfort of being untethered. A process that follows simplicity and intuition rather than pre-determined narratives. “We recorded songs as they appeared, which sometimes felt like catching light. Before we realised it we had a record”, the duo explain.

While making the record Valentine and Clementine gently pushed away from the world- deleted social media, retreated into the trees of their native New Zealand - and only invited a couple of people in during the recording process. From that space, the album came together in an eerily easeful way.

There is a dream-like drift and sonic timelessness to the the record, as reflected in its nocturnal title, which can be read in two ways:

“Being taken by, or being inclined towards nighttime, preferring its blurry cloak of shadows to the harsh light of day; or giving oneself up to night, in sacrifice, letting go of fear and melting into the darkness.”

Written during a time of personal transition there was “a sense of finding the light in the shadow” they add. Guitar lines float, synth lines entwine, tapes hiss and vocals stream creating a kaleidoscopic montage of transient memories and emotions. A spectrum of feelings arise - isolation and joy, insomnia and manic highs, confusion and fleeting clarity, grief and healings. In the record, these feelings all merge and fade into one another in a nonlinear manner, as life tends to do; creating something deeply human that simultaneously gestures towards the transcendental.

David Rodigan MBE and Defected Records announce the release of House Of Roots; a specially curated three-track remix project by the legendary tastemaker, DJ & broadcaster, reimagining Defected classics as they’ve never been heard before.

House Of Roots has been born out of a partnership that’s blossomed since David first touched down at Defected Croatia in 2025, with his performance becoming one of the defining moments of the entire festival. After returning to Croatia for this summer’s festival finale, Rodigan - this time armed with the House Of Roots remixes - delivered another landmark set, underlining exactly why he remains such a revered DJ & selector.

The House Of Roots project reimagines Defected’s rich catalogue through the lens of reggae, dub and drum & bass in a celebration of music genres that have continually inspired one another throughout the decades.

Enlisting legendary drum & bass originator Shy FX, jungle maximalist CLIPZ, and fabled dub reggae producer & engineer, Prince Fatty, to remix three of the label’s seminal records - Fish Go Deep’s 2006 classic ‘The Cure & The Cause’, Soul Central’s ‘Strings Of Life’ (2004) and The Vision’s ‘Heaven’ (2019) - House Of Roots marks some of David’s most important and intriguing curatorial work yet.

House of Roots comes as a limited edition 7” box set including the 3 remixes plus exclusive dubs and instrumentals plus a 16 page sleeve note collectors booklet.

Nachdem seine legendären Aufnahmen aus den 1970er Jahren zu grundlegenden Meilensteinen des modernen Reggae geworden waren, setzte der einflussreiche Musiker und Produzent Augustus Pablo in den folgenden zwei Jahrzehnten fort, neue Ausdrucksformen seines einzigartigen Sounds zu entdecken. Ob er nun seine Dub-Meisterschaft mit digitalen Techniken verfeinerte oder die instrumentale Palette seiner basslastigen Melodica-Grooves erweiterte - der wegweisende jamaikanische Künstler blieb während seiner kurzen Zeit auf dieser Welt stets ein Innovator. Nur wenige Wochen vor seinem vorzeitigen Tod im Jahr 1999 erschien ,Valley Of Jehosaphat" - das letzte Album von Augustus Pablo und ein zeitloses Statement eines Künstlers, der seiner Vision stets treu blieb . Mit einer Produktionsqualität, die die körnigen Klassiker seiner frühen Karriere bei weitem übertrifft, erklingen die fesselnden Instrumentalarrangements dieser Sammlung mit Klarheit und fangen die friedliche Essenz von Pablos Kreativität ein. Jetzt erscheint ,Valley Of Jehosaphat" zum ersten Mal überhaupt als vollständige Vinyl-Veröffentlichung. Dank Nature Sounds und dem neu gestarteten Label Rockers International enthält diese 2-LP-Vinyl-Edition außerdem fünf Bonustracks mit seltenem Material von Augustus Pablo aus den 1990er Jahren.

“Nothing grows in the shadow of great trees,” said Constantin Brancusi when leaving Auguste Rodin’s studio. The same holds true in music, as Richard Raux’s journey proves. At the end of 1970, after recording the debut album of the legendary band Magma, which he co-founded, Raux set out to explore new musical horizons. Under the names Faarmadin and later Hamsa, he crafted a sound deeply rooted in jazz and improvisation, yet daringly open to experimentation.


A devoted admirer of Charlie Parker, Raux played bebop alongside René Urtreger and performed with Bernard Lubat’s Percussion Expérience. Jazz is a cornerstone of Hamsa’s iconoclastic approach, blending seamlessly with psychedelic and progressive rock, and the rich musical traditions of Madagascar, where Raux spent his formative years.


Hamsa is as much a personal endeavor as it is a “family affair.” Alongside his brother Patrice on guitar, Raux brought together a circle of friends—Alain Lecointe (double bass), Jean-Lou Besson (drums), John Faure (guitar), and Alain Pistre (percussion)—to record at the iconic Château d'Hérouville, just outside Paris, at the end of 1974. Yet the spirit of Hamsa is deeply Malagasy, rooted in the village of Andranomadio, which gives its name to the album’s opening track: a vibrant explosion of percussion and color. Africa’s presence resonates throughout the record, whether invoking Brotherhood of Breath (Chris McGregor) on “Johanna,” the Malagasy-infused work of Jef Gilson, or paying homage to John Coltrane’s Africa.


Far from being “just another fusion,” Raux’s music dazzles and transports. The saxophone-guitar unison on “Ahiri Lalita” captivates, the vocals of “Fahamadina” sweep you away, and the manifesto of “L’exploité” hits hard—yet with a liberating warmth. Sunshine and joy shine through on the album’s closing track, “Cultivate the Garden of Your Heart” (with Alby Cullaz on double bass and Jean Padovani on drums), capturing the ethos of Richard Raux and Hamsa—and now, ours too.

A first dispatch from Fernland. Three states of inner terrain: drift, then suspension, then trace. Nothing here announces itself. A pressure gathers before shape does; a distance opens that is not measured in space. What remains after each track is less a sound than a residue, the contour of a state that held still while you passed through it.

The evolution of Andreas Tilliander's moniker TM404 has reached its third stage. The first TM404 album was a heavily self-restricted concept album, live recorded with classic Roland machines. The subsequent album had a more playful vibe, shaped by Tilliander's extensive live touring. This third TM404 album on Kontra-Musik simply tells the story of what he's been up to since. The third part of a musical diary, initiated in 2013. The TM404 venture might have started out as a dreamy acid dub project, more suited for the chill-out than the main floor. But by popular demand Tillander found himself touring big clubs around the globe and the TM404 sound adapted organically. As a result, the album features tracks like Vactro and Rymdeko: fast paced acidic techno tracks in the same vein as classic Plus 8 releases, but with more space echo. Much more. But never fear, fans of the classic warm and bubbling TM404 sound. You'll certainly get yours as well. A substantial portion of this album was recorded in a studio flat in Berlin as part of an artist residency. For obvious reasons, Tilliander could only bring a small portion of his studio gear to this German sanctuary. As a consequence, this album has a more stripped down vibe than its predecessors, which creates more space for Tilliander's glowing melodies. The last track on the album, a loving homage to Kontra-Musik's label boss, is a sublime example. And for the Instagram generation, here's the short version: The album is called Syra. That translates to Acid. You're welcome.

PAPv006 delivers a refined blend of groove-led cuts primed for deep dancefloor moments. Max Kion opens the A-side with 'Revival', a warm, rolling track that builds momentum through subtle progression and soulful energy. On the B-side, the MYOB Rework of Groove P's 'Are They Real' injects a fresh, driving twist into the original, layering hypnotic rhythms with a crisp, modern edge. Closing the release, 'He's Mine' leans into deeper textures and late-night moods, rounding out the record with confidence and style. PAPv006 stands as a versatile addition for selectors seeking depth, movement, and understated power.

ARMOR, a new alias by Pascal Pinkert (Ambassade / Dollkraut). A few years ago he visited Turkey and Lebanon to collaborate with artists such as trip-hop legend Zeid Hamdan and Egyptian singer Maii. While many of these recordings found their way into Dollkraut releases, revisiting the material sparked the need for a new outlet. With ARMOR, Pinkert dives deeper into the space between folk traditions and electronic experimentation. Hypnotic drones merge with Middle Eastern percussion, while subtle rhythmic structures fuse with immersive soundscapes.

Sohrab Karimi is doing a fine job of establishing his still young but increasingly vital label Kolony Gorky with another superb two-tracker here. 'Work It!' kicks off at pace with slick, punchy tech house drums, but the structure of them is offset by liquid synths, trippy details, and warped melodies that bring an after-party vibe where space and time melt away to a fuzz. On the flipside is a deeper jam, 'Yousef Abad, which is slower, more dubby and soothing for those late-night hours when you just want to lock into a groove and zone right out.

The Jazzcodes and Michele Chiavarini kick off this fine survey of contemporary deep house with 'Wolf Dust (Saison Rework)' which draws on jazz-inflected motifs and feeds them into a steady groove with layered keys sitting over a controlled kick pattern. 'Friday' from DJ Romain works in a more direct frame driven by looping piano stabs and clipped drums with diva vocals injecting heat. 'In The Moment' has an air of cool jazz to it with deft horns and spoken word that muse on the great genre while Saison's 'This Is A House Record' sure is that: classic drums and knotted little synths bring a warming vibe for grown-up floors.

FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.

Deep frequencies beamed out from Brixton’s front line. Four highly sought-after cuts from Grant Dell’s back catalogue that need little introduction now gathered onto a single 12”. The record highlights the infectious and rolling house groove Grant became synonymous with in the early 2000s which is as relevant today as it was then.

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Recorded between 2002 and 2005 the record features ’So Good’ originally released on Jay Tripwire’s Spaced Out and ‘Acid Bubble Baby’ ft. DJ Deano on Stupendous. The other side see’s a reissue of Grant’s Chicago Transit Authority alias with ‘Still Disillusioned’ and also ‘Be Good Tonight’ originally released on his own label, Cove Records.

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Written and produced between 2002-2005 by Grant Dell except A2 featuring DJ Deano.
Remastered by Justin Drake
Pressed by Vinyl Presents
Distributed by Palace Vinyl

Consummate selector DJ Sundae returns to Efficient Space with Nothing Ever Was, an immaculate compendium of phantom independent melancholia spanning '60s/'70s village green folk, outsider shoegaze and new millennium domestic pop. Each recording an emotional exorcism, Sundae breathes oxygen into music that was barely there in its own time, made in quiet places and crawl spaces, shared only with a precious few via private presses, hobby labels and now-decaying CD-Rs.

Free of any prescribed epoch, continent, scene or rarity, Noughties homemade indie pop opens both sides with the 4-track wonders of The Motifs and Betelmire, unlinked contemporaries finding their place alongside Andrew Jay's Crazy Horse rust, the regional-garage adolescence of Pauline Scribner and the anaesthetised Mancunian guitar-poetry of the late Quigley.

The remaining coordinates zigzag between the UK and US. Folk wayfarers John Strang & Valentine Lewis Lloyd, Virgin Insanity, Kusudo & Worth and Penny Wager's spartan Garden of Eden acoustica find their mirror in Empress and Slumber's close-quarters indie pangs. Chicago power pop fixture Phil Angotti is caught at his most tender, while Teri Rini takes the final bow with her universe-stopping hotel lounge torch song.

A deeper, more personal exploration of Sky Girl's sentimental songwriting, Sundae found himself amassing a cache of tracks too undeniable to remain confined to his anonymous mixtapes for TTT, P.A.M. and Good Morning Tapes, or bi-monthly hour on NTS Radio. Again his emotional sorcery draws together an unlikely cast, their unwritten narrative assembled from fragmented memories of past lives left behind by future horse trainers, ketamine therapists and Fab Four cover band careerists.

With not a second squandered across 1LP, it took a village to bring this new companion into being, with David Bergot's forensic audio restoration, dreamlike imagery from Matthieu Crozier, Ivan Liechti's elegant design and a perceptive foreword by kindred spirit Jessica Pratt.

Oscar-nominated composer Max Richter's new album While The Flood Rages, drawn from Richter's latest collaboration with choreographer Wayne McGregor, MaddAddam, inspired by Margaret Atwood's trilogy.

Across 15 tracks split into three acts, Richter blends orchestral writing, electronics, processed field recordings, choir and piano to create an immersive sonic journey.

Themes of ecological collapse, technological acceleration and resilience run throughout, with recurring piano motifs providing moments of reflection amid dense, cinematic soundscapes.

For this second volume of UK ELECTRONICS, we’ve once again selected, here at Delodio, some of our favourite tracks from Mindscan Tapes, an English DIY label active from 1988 to 1994, run by Robert Maycock, a young Englishman with an extraordinary ear.. Its Beatronic and UK Electronics compilations brought together electro, early techno, ambient, experimental, house and industrial music at a time when most labels stayed within clearly defined genres.

Here at Delodio, we are amazed by the contrast between the quality of these cassettes and the label’s extremely underground nature: its best-selling title has barely sold 30 copies.

More than a compilation, the album is a tribute to the artists involved, Robert’s artistic vision, and the pre-internet DIY culture that connected music obsessives through mail, flyers and home-copied cassettes.

A snapshot of an era when a young Englishman spent his dole money bringing unheard music into the world.

Elypsia Records presents A Future Tribe, the new album from Italian electronic music producers CEM3340 & 2030. Rooted in the formative language of electro and early techno, A Future Tribe channels the past through a lens very much focused on the future. Across the album, analogue warmth, machine-driven funk, synthetic textures and futuristic atmospheres come together in a sound that channels the pioneering spirit of early Detroit while remaining unmistakably connected to the present. For CEM3340 and 2030, machines are not simply tools, they are central to the creative process. Both producers have spent years immersed in the culture of electronic hardware. They've been carefully building and refining their own approach to production through an extensive collection of synthesisers, drum machines, sequencers and studio equipment. Based in Bari, southern Italy, their work reflects a deep fascination with the physicality of electronic music: oscillators, circuitry, voltage, rhythm and the unpredictable character of machines programmed and played with a human touch. That philosophy is deeply embedded in A Future Tribe. Rather than treating the early years of techno as a museum piece, CEM3340 & 2030 approach its foundational ideas as a living language - one that can be stripped back, re-translated and taken somewhere new. The influence of Detroit's first generation of electronic innovators is unmistakable. There are echoes of the futuristic electro and techno pioneered by artists including Juan Atkins and his contemporaries, where funk, science fiction, machines and the possibilities of tomorrow became part of a new musical vocabulary. It is an approach that has already earned the duo recognition within that lineage. Their previous Machines Awake EP, released through Atkins' Metroplex Records, was described as paying homage to the classic foundations of the genre while pushing them into new territory. Juan himself gave the release his sonic approval. But A Future Tribe is not an exercise in retro-futurism for its own sake. The album comes from two producers who understand the history, have the hardware to explore it and, crucially, are interested in what happens when those influences are given space to evolve. The result is electronic music that is full of funk, groove and a kind of nostalgia that is pure and intentional without being a pastiche. Together, they make music that is rooted in one simple truth: machines can't come to life without human creativity.

Francesco Messina is perhaps best known for his split album with fellow composer Raul Lovisoni, Prati Bagnati del Monte Analogo, originally released on the seminal Italian label Cramps in 1979. Along with contemporaries Franco Battiato, Juri Camisasca and Giusto Pio, Messina helped reshape the world of modern composition with an organic rawness and haunting beauty.

In November 2023, Messina performed Prati Bagnati live for the first time in Milan, Italy – along with pianist Michele Fedrigotti, who appeared on the original LP. The concert was a tremendous success and led the composer to further reflect upon the music he made over 40 years ago. From his home piano – a hundred-year-old Schimmel with magnificent resonance – new pieces began to emerge out of these meditative sessions.

As Messina says in the liner notes, "The idea of making a new album wasn't the driving force at all; what mattered was trying to reconnect with the 'freedom' I had experienced back then while creating that music. I started over without haste or deadlines, simply trying to find a deeper, inner connection."

W.25TH / Superior Viaduct is honored to present Le api dell'invisibile. From the hazy drone of "For Florian" and the title track to the gentle swells of "Letter for an Absent Friend," the album is a lush amalgam of new age and ambient minimalism that is vividly reminiscent of Messina's earlier work.

The title draws inspiration from a famous reflection by Austrian poet Rainer Maria Rilke: "We are the bees of the invisible. We ceaselessly gather the honey of the visible, to store it in the great golden hive of the Invisible." It is a phrase that has long shaped the way Messina looks at his music – transforming lived experience into sound, making audible what normally eludes the eye.

Format: LP , Limited
With his first longplay EUROSTAR, the Danish disco-dj-turned-rock-crooner Boogie Rookie seeks to bridge the troubled waters between UK new-wavey rock and sleazy euro-disco. It's a ten track italo-rock outburst uniting extreme hedonism, climate crisis and the European railnet.

The album is produced partly in Copenhagen with Danish disco royalty Vinnie Who and balearic-proghouse wunderkind William Winding, and partly on the hills of Napoli with the Neapolitan Italo-don Whodamanny. In the middle of the album there are steamy vocal features from the Parisian disco queen Corine and the Danish model-chanteuse Klara Kristin.

The album is already remixed by the likes of Prins Thomas, Italo Deviance and Danger Boys and has gained traction amongst DJ's all over who fear neither kitsch or raw rock'n'roll power.

When he's not busy making punky HI-NRG tunes, Boogie Rookie is one of the busiest European cosmic disco dj's. On weekend nights, you're very likely to find him with a glass of red wine behind the booth of his countless Copenhagen residencies, his residency at Paris' hyped disco La Fète or at happening disco dances elsewhere in Europe.

In the history of hip-hop, certain collisions alter the orbit of the culture entirely. When Busta Rhymes first stepped into the otherworldly, swing-heavy universe of J Dilla, it was an alignment of two unstoppable titans—the most chaotic, kinetic vocalist in rap history meeting the quiet deity of raw soul and sub-bass perfection. Their original pairing set a gold standard for what happens when top-tier lyrical warfare meets sacred production. Now, the vault opens to unveil DILLAGENCE II: a resurrection of that mythic frequency, bridging the raw grit of the streets with a legendary, earth-shattering grandeur.

Authorized directly from the Yancey estate, DILLAGENCE II pairs Busta’s razor-sharp, rapid-fire flows with Dilla’s nastiest, most sought-after unreleased beats. Built upon rare MPC canvases unearthed from Dilla’s legendary vault, the album captures both masters in a state of absolute, unchained ascension. Every track hits like a heavyweight knockout—blending off-grid snares, filthy basslines, and soaring soul chops with Busta’s apocalyptic precision. He treats every lost Detroit tape like a battleground, unleashing a larger-than-life energy that turns unreleased boom-bap into a stadium-sized manifesto.

Forget the cheap nostalgia cash-ins and posthumous butcher jobs. DILLAGENCE II hits with the weight of two master craftsmen operating at the absolute peak of their powers. By locking Detroit’s deepest low-end grooves directly into New York’s loudest, most relentless vocal engine, this record doesn't just honor Dilla's legacy—it kicks the door off its hinges and demands you listen.

Infusing his cinematic, psychedelic musical vision into cutting-edge, bass-heavy electronics, Kutiman presents a euphoric club journey through UK garage, D&B, post-dubstep, and futuristic dance music.

With syncopated drums, deep basslines, and R&B-soaked vocals from standout artists like Jenny Penkin, Misha Sutherland and Odelya Illouz, the project bridges the gap between the indie electronica of Four Tet, Caribou, and Jamie xx and classic alternative club sounds.

Club music is emotional at its heart, and this release captures its essence perfectly; the peak-time euphoria, the moments of introspection & the times spent lost in the music.

Aura Safari are taking it back to the source with new album Spaced Out Disco on Hell Yeah. The eight-track record is inspired by the iconic sound, feel and studio techniques of the original 1970s disco and was played entirely live with real instruments.

Aura Safari are Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni and Nicholas Iammatteo, and they have been releasing EPs, LPs and remixes on this label since 2020. They have long been entrenched in the local scene of Perugia and are live specialists with a unique chemistry that allows them to translate funk, jazz, soul, disco and house into their own timeless and universal musical language.

Integral to the album is the live performance aspect. All the band members hooked up in the studio and played together, often laying down tunes in one take and then adding some post-production for a modern edge. Disco, dub, jazz-funk and instrumental grooves define the sounds while the creative use of classic delay, echo, spacey FX and dubbed out arrangements lead the record the same Jamaican character that inspired original dub-disco pioneers like Arthur Russell, the Compass Point Studio and labels like Prelude and West End.

'Starlove' opens with low-slung grooves and squelchy bass that twist you inside out before 'Spaced Out' shimmers with astral melodies and synths that rise like a rocket disappearing into the night sky. Funky claps and flashes of Dexter Wansel-inspired soul complete the picture, while 'Santa Barbara' eases the pace with a brain-bending dub workout full of weighty low-end and warm, sun-kissed chords. 'Cosmic Affair' lives up to its name, gliding through the galaxy on uplifting guitars and slinky drums, all wrapped in irresistible retro-futurist magic and lit by the moon.

'Disco Mirage' turns inward with simmering bass, dusty open hi-hats and hazy synth trails drifting through effervescent jazz keys that rise like champagne bubbles. 'Magik Space Dust' stretches towards the stars with soaring leads and knotted bass locked into an effortless groove.

Spaced Out Disco does exactly what it promises and plots a richly imagined journey that never stops looking towards the stars while keeping its feet firmly on the dancefloor.

Hamburg-based artist Maasym joins Lost Verses with his new EP, Angle45, featuring three hypnotic and driving techno cuts, plus a remix by label owner Oxygeno. Four tracks built for the dancefloor, ranging from deep to intense.

FORT is launching a sub-label, NOCOWALNYA, and introducing its debut release.

The new label's guiding principles are authenticity, the personal taste of its founders, and a synergy of opposing sensibilities: melancholic romanticism and raw, uncompromising rhythm. The first release is the EP NOCOWALNYA 001, recorded by three key figures of the label: Nocow, Valentin Fufaev, and DJ Designer.

NOCOWALNYA deliberately steers away from the canons of classic techno, trance, or house. The label is built as a space for artists ready for unconventional forms and bold experiments, a place to express their individuality.

The sub-label's visual symbol, a logo of two young men standing on an anvil, sums up the idea perfectly. It's a manifesto of duality: fragile sensitivity set against a cold, industrial beat, romantic motifs joined with dense, hard-hitting sound.

It's fitting that the sub-label takes its first step with its three founders, who stood at the origins of FORT. NOCOWALNYA 001 distills their shared vision and shows how different creative approaches can come together as a single monolith.

The result is a techno-trance hybrid where driving energy meets sincere musical drama. This release doesn't just open the new label's catalogue, it sets the direction for every single and mini-album to follow. The release will come out in two formats: digital and vinyl.

7–Early Years–79 was The Fall's first comp ever. Originally released on Step-Forward in 1981, the LP compiles the group's first four singles recorded for the label between 1977 and 1979 – Bingo-Master's Break-Out, It's The New Thing, Rowche Rumble and Fiery Jack – none of which appeared on any of the band's studio albums. (Also included is "Dice Man" from 1979's Dragnet.) Taken together, these 7-inches are The Fall as they initially emerged from the primordial soup of '77 Manchester, pushing out from founder Mark E. Smith's poetry-collective origins into the early punk scene.

Right from the first track, "Repetition," Smith and crew's working-class art punk is in full effect. His obtuse lyrical brilliance and inimitable vocal delivery ride atop the band's ringing atonal guitar, looping basslines and propulsive drumming – complemented by wheezy combo organ tones. The tracks from each 7-inch are presented here in reverse chronological order. The Fall's fierce contrarianism defines the early UK punk sound and, at the same time, sounds nothing like any of their contemporaries.

The revolving cast of band members includes Martin Bramah, Una Baines and Karl Burns as well as Marc Riley, Craig Scanlon and Stephen Hanley who would remain in The Fall's classic '80s lineups. Many of their best-known songs are featured here – from "Psycho Mafia" and "Rowche Rumble" to the Mayo Thompson-produced "Fiery Jack."

Superior Viaduct's edition is the first time that 77–Early Years–79 has been reissued on vinyl. Includes liner notes by Stephen Malkmus.