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Four years on from the much-loved Shelter EP, Orphic return with the Mambe EP, a long-awaited follow-up that sees the duo push further into their signature world of deep, dubwise techno and hypnotic club music. The record opens with the title track, a slow-burning piece of stripped-back techno that unfolds through submerged chords, rolling percussion and finely detailed sound design. Sitting alongside it are two solo productions from each half
of the Orphic project.

Kieran Jandu’s Back To Mine veers into deep, bass-heavy electro, all cavernous sub pressure, fractured drum programming and smoked-out atmosphere, landing somewhere between the weight of Digital Mystikz and the hypnotic, off-centre psychedelia of a Craig Richards set.

DJ Space Taxi takes a different route with Dream Cycle, an introspective, dreamlike cut where shimmering textures, drifting melodies and restrained rhythm combine to quietly draw
you in.

Flipping the record over, two of the underground’s most distinctive voices reinterpret the title track. Polygonia brings her unmistakable fluid, organic touch, stretching the original into a beautifully detailed, living groove, while Konduku strips things back into a
deeply hypnotic, psychedelic excursion that feels tailor-made for the outer edges of the dancefloor.

A beautifully restrained return from Orphic that more than justifies the four-year wait. Four artists, four distinct perspectives, held together by a shared appreciation for depth, space and subtle movement.

Outlander Wax Records presents its debut record, a story of musical collisions and technoid love, bringing together Ian Tocor and Joseph Schiano di Lombo for this first release

RAWAX welcomes Niko Dalagelis from New York to the artist family.
We are very happy to present you this great talent on DUBWAX.

10 years since his first edits outing on RNT, label co-founder JKriv digs into his deep well of reworks for a four-tracker of cheeky dancefloor madness. Coming in hot on the A side, I Feel Amor is modern twist on the disco classic anthem, a peak time weapon of epic proportions with hard-hitting beats and churning synths, and the inimitable sing-along vocal (pero en Español). Love Dub is a stripped down deep house affair, a solid driving groove with thunderous bass, synth accents and acapella flourishes. On the B-side, Cuando Bailo is the edit you didn’t know you needed; a callback to a bygone era of one-hit wonder magic, flipped masterfully to be all-club and just a sprinkle of camp. And rounding off the record Dance Sexy takes an obscure purple-hued cover into hypnotic red-light territory, with funky synth stabs riding a pulsing and infectious bass line, in classic JKriv fashion.

Swooped Records would like to introduce our limited series of vinyl only edits We love many of the edit labels with 1-2 tracks per release, and we’re going to help you value up with 4 top-shelf cuts on every record! We kick it off with Chainsnatcher “Jump Up In It” Vox that is straight up, dirty, bumping House music! It’s also featured on Derrick Carter’s for The 6 Mix w/ Mary Anne Hobbs on BBC’s flagship BBC Radio 6 Music. Next up Ric Viera of Guided Methods fame teams up with Elrose for “Only Ewe”. This funky House take on an afro-boogie jam will shake the dance floor and keep the discerning heads nodding. The flip side brings us Chainsnatcher “Jump Up On it” Dub. This is for those that want a stripped back version of the Vox with well placed, minimal vocal snippets and that dance floor boogie. Agent 818 rounds it off with “Don’t Let Nobody” and it’s time to get the summer time vibe started pronto! This jam will do the trick whether it’s day party-fun to after-hours strutting, just ask DJ Heather as she’s been playing it for a minute now.

Hope you dig!

DiG Records’ latest release is a reissue of one of the most remarkable Russian electronic albums of the 90s. Available on vinyl for the first time, 100 Photography Lessons is the 1993 debut album by the duo Block Four, with a rich sound spanning a wide range of genres, from downtempo and experimental electronics to trance and techno.

Block Four was formed by Oleg Salkhov and Konstantin Smirnov in the early 1990s at Moscow’s SNC Studio. Salkhov was the studio’s first recording engineer, working with bands including Moralny Kodeks and Megapolis, while Smirnov came from Nikolai Kopernik, where he had already been experimenting extensively with electronic instruments.

The album is built around sampling, experimentation, and a broad range of influences. Block Four drew sounds from jazz, classical music, rock, hip-hop, folk and electronic music, as well as films, VHS tapes, and radio broadcasts, gradually assembling their own extensive library of samples and loops. Combined with synthesizers, samplers, drum machines, unconventional rhythms, and harmonic ideas, the duo brought all these elements together to create their own distinctive sound.

100 Photography Lessons captures a brief but important period when Russian electronic music was still developing its own language. Freely blending sampling, electronic instruments, and influences from a wide range of musical traditions, Block Four created an album that still sounds compelling more than three decades later.

Collecting Orders for 2025 repress

...of seminal Mr. Fingers album 'Amnesia', available officially for the first time in 32 years on Larry Heard's own Alleviated Records. This remastered collection of early Mr. Fingers works is an absolute must have.

2026 Repress

2026 Repress

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

DJ Support: Glenn Underground, Crazy P, Terry Farley, Aroop Roy, Chris Coco, Frank Tope, Greg Wilson, Dom Servini, Francois K, Max Essa, Oliver Dollar, Pete Herbert and many more

Danny Ward’s Balaphonic project, one of many the long-serving performer, producer, percussionist, drummer and DJ has utilised over a career spanning over three decades, has evolved considerably since his first release under the alias 11 years ago. Conceived as a platform to explore his love of Afro-Cuban and Brazilian musical culture, it gathered new impetus during lockdown and the recording of superb first album Resolution Revolutions, which fused these influences with nods to Balearica, dub, dancehall and deep house.

On the Organic Matters EP, Ward’s follow-up to that critically acclaimed set, the Balaphonic musical universe has expanded once more, with the Manchester native showcasing a wealth of eye-catching collaborations and an even more intricately layered and sonically detailed sound rich in live percussion and instrumentation. It’s an ambitious and widescreen musical vision wrapped in sun-soaked melodies, morning-fresh motifs and simmering, sunset-friendly soundscapes.

The dizzying new heights scaled by Ward on Organic Matters is evident from the opening bars of ‘Dew Drops’, a piece created in unison with internationally renowned composer and arranger Robin Dewhirst. Between them, the pair have conjured up a yearning, life-affirming samba shuffler where picturesque piano, xylophone and balafon melodies rise above Ward’s dense, layered Latin percussion and warming bass.

Next, Ward delivers a thrillingly different take on his 2005 composition ‘Switch’, featuring legendary Brazilian jazz vocalist Flora Purim and her equally talented daughter Diana Moreira Booker. Whereas that was a jazzy deep house workout, Ward’s Balaphonic re-make is a shuffling, gentle exploration in 7/4 time – a heartfelt tribute to the Brazilian records with which Purim first made her name in the 1960s and ‘70s.

‘Balaventurers’ sees Ward join forces with an old friend from the North-West scene, R.S.L founder Joe Botham AKA Baleardelica – a multi-instrumentalist and producer whose Flamenco-inspired acoustic guitar motifs provided the starting point for another vividly colourful exploration rich in layered vocalisations, twinkling keys and impeccably arranged percussion.

It’s followed by ‘Life of Strings’, a more up-tempo and dancefloor-leaning excursion written and recorded alongside Amsterdam-based violinist, and composer Katya Gabeli. While Ward’s percussion-rich groove provides propulsion and a rock-solid foundation, it’s Gabeli’s evocative string arrangement that provides the focal point and emotional resonance. It’s a genuinely brilliant collaboration.

To round off a second stunning Balaphonic release on NuNorthern Soul, Ward delivers two simmering, slow-motion delights: the Afro-Cuban rhythms, cascading melodies and melodic percussion motifs of ‘Boxfresh’, and stunning EP closer ‘Home’ – an almost overwhelmingly poignant and beautiful number that gently ebbs and flows on waves of tracked piano, dreamy chords and a comforting sense of closure. It’s a genuinely sublime conclusion to another wonderful Balaphonic release.

A two-way Italian/Mexican stand-off here, as Saint Wax founder Gledd (real name Eduardo Barbi) and Kaninchenbau label chief The Funk District (Fernando Mendoza) deliver their first joint EP since 2022. The latter steps up first with two solo workouts- the Clavinet-splashed nu-disco-goes-bluesy deep house shuffle of 'The River Bends Back' and the Rhodes rich deep house disco of 'Got To Be Alright' - before the duo combine on two collaborative cuts. 'I Said' is a gospel-powered slab of ever-building disco-house hedonism, while 'Down The Middle' is deeper, more bass-heavy and topped off with classic soul vocal samples. Gledd then takes over, following the infectious piano house bounce of 'I Said' with the colourful, acid-flecked excellence of 'Blessin'.

Magazine Announces 15th Anniversary Remaster of Barnt’s Techno Classic Geffen

Cologne-based record label Magazine celebrates the 15th anniversary of Barnt’s visionary anthem Geffen. One of electronic music's most defining tracks of the 2010s will be reissued in a 2026 remaster edition, marking the first time it receives its own dedicated standalone release.

Originally published on the legendary Cómeme imprint as part of the Various Artists EP The Power Of Now, the track rapidly became a global phenomenon. Looking back, one can hardly imagine Geffen without the 2010s, or, conversely, maybe even electronic music of that era without it. The composition mirrors the expressive possibilities of bedroom producers at the beginning of that decade—an era where artists could launch tracks into the world and have them resonate through their sheer sonic power, without major marketing efforts.

Barnt remembers: "It was one of my earliest tracks. I had just entered art school and didn't own much equipment. My MIDI keyboard only had two octaves. I would always play notes with my right hand while simultaneously shifting through the octaves with my left. This is how the hook line came to life. The production only consisted of seven or eight stems, and barely any equalizers were used during the mixdown. In hindsight, this sparse approach to production probably made it sound different and is why it hits so hard on big sound systems (while sounding unfinished to some on YouTube). At that time, we were doing a small festival on a playground in the center of Cologne. When I played the CDR there, Matias Aguayo demanded it right after. That is how it ended up on Cómeme."

The release comes with two very Magazine-esque reinterpretations from the label's two other co-founders alongside Barnt: a powerful atmospheric club remix by Jens-Uwe Beyer, and Magazine Hallucination, a wild, collaborative, psychedelic mutation by Crato and Beyer.

Jörg Burger, who already mastered the original track, is also responsible for the mastering of this release.

With ZURNA OBSESSION, Türkiye Edition, MoBlack explores the rich musical heritage of Türkiye through a collection of collaborations united by the unmistakable sound of the zurna. Powerful, expressive and deeply rooted in Turkish folk traditions, the instrument becomes the centerpiece of a project that bridges cultural identity and contemporary club music. Across four productions, traditional melodies, regional influences and Afro House rhythms come together in a celebration of musical exchange, with MoBlack acting as the connecting force throughout the entire release.

Gavin Belton's move back to the UK after years in New Zealand brought him back into the fold with old Littlemen cohort Steve Lee. They played a few gigs together then got back in the studio for the first time in 15 years. Belton's use of the Korg Opsix is what gives these deft deep house cuts their character while Lee adds the vocal lines to 'People Are You Ready' for a ghostly, shadowy, low-lit sound. LA-based DJ, producer and HAWT promoter Mikey V steps up on the flip for the lithe dub house of 'Smooth' while Giom pulls it into darker territory that echoes the old Murk sound. Lee rounds things out with a remix of the A-side that has a persuasive late night bump.

"Once Turin-based producers Mattia and Massimo joined forces under the Voodoos & Taboos moniker, they quickly became a notable force in contemporary club music. A crafty take on house music, combining groove with sculpted production work and a bent for lush melodies, drawing from a wide range of influences - anything that borders on the electronic genres really, and beyond - fueled their own namesake imprint with 6 EP's and landed them spots on a variety of top-tier labels. We have been keen to work with these artists for a long time, and are thrilled this finally materializes with the release of ALT027. Title track "Sempre Sognar" immediately sets out the duo's floor-focused intentions. Breakbeat-laced drums gradually build momentum before a formant lead drops in. It trades phrases with an equally infectious organ that's eventually joined by a 303 pattern for the track's finale. Similar vibrating, buzzy leads thrust "Take Me" forward. Amid heavily delayed vocal samples, the proggy beat takes a more trippy turn however. Synthesized idiophone interludes create room for moments of repose, although not entirely unambiguous ones. A subtly detuned lead and more sleek acid lines are supported by the type of arp bass that characterizes Voodoos & Taboos' sound on the B-side's "Revolution". A collage of broadcast and war-movie lines alike not only adds color, but underlines the sense of indeterminate imminence that looms throughout the track. B2 "Afterhouse" sees the BPM drop a notch, yet the palette shows no signs of winding down; it is downright exuberant. As different arpeggiated melodies play call and response, tape-delayed chords, alarm-like risers, and sprinkles of guitar add extra flavor. This does not lead to excess, however. Everything is carefully measured and kept in check: after all, at the helm are two artists who understand that perfection lies in getting a great many small things exactly right."

On 24th May, 2024, the exact day of its Golden Jubilee, Diamond Dogs will be issued as a limited edition 50th anniversary half-speed mastered LP. The first single from the album, ‘Rebel Rebel’, reached number 5 in the UK and the album would also reach similar heights on both sides of the Atlantic reaching number 1 in the UK and number 5 in the USA.



This new pressing of Diamond Dogs was cut on a customised late Neumann VMS80 lathe with fully recapped electronics from 192kHz restored masters of the original master tapes, with no additional processing on transfer. The half-speed was cut by John Webber at AIR Studios



The writing of the album was influenced by Bowie not being able to secure the rights for a theatrical production of George Orwell’s 1984 and the work of William S. Burroughs, whom Bowie had interviewed for Rolling Stone in November 1973. The songs on the album created an urban apocalyptic scenario with Bowie appearing on the cover as a controversial half-man, half-dog hybrid painted by the Belgian artist Guy Peellaert from photos by the world-renowned photographer Terry O’Neill. Since its release, tracks from Diamond Dogs have been covered by artists such as Beck, Tina Turner, Duran Duran, Def Leppard, Joan As Police Woman, Dead Or Alive and The Struts.

LIMITED RELEASE Originally released in 1991 on the seminal ZoeMagik Records, San Francisco is one of the defining documents of the early Bay Area rave underground. Tasti Box -- the duo of Kelix Williams and Mouse -- brought together house, techno, breakbeat and psychedelic rave music into a sound that was unmistakably their own. Born from the free-party culture of early '90s San Francisco, their music found its way onto legendary sound systems and dancefloors around the city, helping shape the distinctive West Coast sound of the era. More than three decades later, we're bringing this elusive classic back to vinyl.

Deep in the sea lives one of Earth's most ancient creatures: the Nautilus. Hunted for its beautiful shell and now, through our global evolution, endangered, like so many other beings. Perhaps most astonishingly, no one has ever observed a baby Nautilus in the wild. The title track of this debut EP takes you on a dark journey, searching through the deep ocean for this elusive animal.

On the other side, I don't believe in Fermi’s Golden Rule, is a sonic interpretation of a statement made during a quantum field theory lecture, questioning the experimental mathematics often used to derive the famous rule. But actually, trying to express the confusion about quantum physics in general.

The dub-infused EP is mainly inspired by the pioneering magic of Detroit’s electronic music scientists and the experiments of European electro wizards.

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.

"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis

U-BEND follow up the “sound of the summer” Macareno with a double headed return to their balearic roots on BENDERS 007, which sees the brothers bend once again firmly putting the Torvill in Dean. Bent Rod cruises in at the benders’ characteristically lazy tempo, combining their usual last-track-of-the-night, first-track-of-the-morning confusion with the welcome tones of a familiar husky voice. Broken Britain strips it back to a dusty roller, uniting dancefloors and kitchens alike with a simple but pertinent question ‘what are you fighting for?’. What else to say about the benders’ seventh label release, other than shut up and dance?

Der Euro-Disco-Klassiker „Jasmin China Girl“ von Mozzart aus dem Jahr 1988 feiert sein großes Comeback und erscheint jetzt endlich wieder als farbige Maxi-Single auf Vinyl. Der legendäre Dancefloor-Hit zählt bis heute zu den beliebtesten Euro-Disco-Tracks der späten 80er Jahre und begeistert mit seinem eingängigen Refrain, charakteristischen SynthesizerSounds und dem unverwechselbaren Retro-Feeling.

Neben den originalen Maxi-Versionen des Kultsongs dürfen sich Fans und Sammler auf ein besonderes Extra freuen: Auf der B-Seite befinden sich brandneue Remixe, die den klassischen Mozzart-Sound modern interpretieren und gleichzeitig den Charme des Originals bewahren. So trifft nostalgischer 80s-Disco-Sound auf zeitgemäße Club-Elemente und sorgt für frischen Wind auf dem Plattenteller

Re-Release of Steffi and Virginia's mega house bomb 'yours' on steffi's new imprint!!!

On the occasion of the 40th anniversary of the release of Remek Depo, the very first electronic record from the former Yugoslavia, the group Beograd has decided to unveil eight previously unreleased tracks in the context originally intended. The band initially planned to title their first album as Mrak ( eng. Dark). Recorded with Du Du A and other collaborators, this album serves as a manifesto of resistance—not only in Belgrade and Yugoslavia but everywhere else.

The A-side opens with the track 1984, named after George Orwell’s seminal novel. This piece was recorded in a single night in the same year, featuring Zoran Zagorcic (Du Du A) and one of the first Yamaha DX7 synthesizers. It encapsulates the dark and tense atmosphere of Belgrade during a period marked by economic crisis, characterized by shortages of essential products like coffee and oil, as well as electricity restrictions. This oppressive environment also impacted personal relationships, leading to unconventional expressions of passion and desire, as exemplified by the subsequent track from 1985, Mracni Predjet Zelja (eng: That Obscure Object of Desire). However, the primary source of frustration was political, stemming from the abuse of nationalism and the incitement of inter-ethnic conflicts within the complex Yugoslav society. This sentiment is vividly illustrated in the songs Hare Krishna and Belgrade Beat, recorded just before the country’s collapse in 1991. Remarkably, despite their protest, these songs convey messages of strong optimism and hope. In “Belgrade Beat Dejan Kostic (Du Du A) raps and Dejan Stanisavljevic sings. ”Od Studija B do Amerike, Beograd širi svoje talase, mi nismo sami u nama je svet, dolazi veliki preokret” (eng. “From Studio B to the USA, Belgrade spreads its waves, we are not alone, the whole world is with us, a great change comes!”). It is no surprise that this song was frequently broadcast on student Radio Index during the student and anti-war protests in 1992.

The B-side features contemporary songs produced by Beograd, which reflect protests against the current societal conditions in post-war Belgrade. Crafted with musical clarity and irony, these tracks satirize figures of repression, hitting their mark with an almost childlike purity, reminiscent of Hans Christian Andersen’s fairy tale, “The Emperor’s New Clothes.” The collaboration between Dejan Stanisavljevic, the leader of the Beograd and the Du Du A group not only influenced his musical expression but also laid the groundwork for the group’s socially engaged music in their later career.

As we remember the two late leaders of the Du Du A group, Dejan Kostic and Zoran Zagorcic, alongside the recently departed member of the Beograd, Milan Bubalo, this gramophone record stands as an important testament to the contributions of previous generations of artists in the fight for a fairer society. We hope it will inspire the younger generation in their current struggles, especially at a time when such inspiration is needed more than ever.

DJ Support: Sam Don, Severino Panzetta (Horse Meat Disco), Chris Howler, Sean Johnston, Bill Brewster, For Mankind, Craig Thompson, Andy Taylor, Massimiliano Pagliara, Dean Dixon, Nathan Detroit and many more

Underground Institution Stompa Phunk Re-Launches Vinyl Label with Raw, Chi-House-Inspired Energy. After three decades of defining the UK’s underground club landscape, legendary Brighton party collective Stompa Phunk is officially moving from the dancefloor to the wax with the relaunch of Stompa Phunk Records Inc.

The Heritage: From The Warehouse: The releases will directly honour the roots of house music, a genre born in 1977 at Chicago’s legendary nightclub, The Warehouse. As that scene matured, a grittier, faster, and more experimental counterpart emerged. Defined by an uninhibited, bass-heavy style, it was a movement driven by local innovators who pushed drum machines and synthesisers to their breaking point... It wasn't just a genre; it was a collision between pure imagination and raw machines. A true "sound klash" transformed the local underground subculture into something global...

Release 1: You Had It (Edit) / Music Got (Dub): Capturing the exact spirit of rough, tape-spliced dubbed cuts. The 12-inch from SP resident Sound Klash pairs a vintage production ethos with old hardware pushed to its limits...

The Philosophy: This EP perfectly mirrors the exact philosophy that has fueled Stompa Phunk’s dancefloors since 1996: uncompromising electronic music rooted in heavy sample-delia, jackin' bodies, Acid energy, disco-dub mentality and second-hand technology. Jackinacidiscotech!

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.

The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”

SUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.

The compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.

Framing the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely SUNN O))).

2026 Repress

The sonic movement once known as downbeat continues to cast a long and intimidating shadow over the Austrian electronic music scene, with influential figures like Kruder & Dorfmeister reigning atop a metaphorical mountain of venerable dubplates, resembling ancient gods.

Now, emerging from the depths of this mountain, comes "Triangle," poised to rejuvenate the genre with its eponymous album, brimming with the purest liquid downbeat gold.

Featuring an abundance of dusty breaks, reggae vocals, atmospheric keys and strings, dub stabs, wonky acid sequences, and deep basslines, these tunes check all the right boxes without ever feeling like mere imitations. The overall vibe remains warm, mellow, and hazy, while each track seamlessly weaves in an array of peculiar soundbites.

After a second listen, you may well conclude that this album is a rediscovered DAT tape from the 90s, unearthed from a Viennese basement.

Dive into the depths of "Triangle," an album that bridges eras of timeless electronic soundscapes.

What started as a private tool for Hifi Sean’s sets, slowly began circulating among a few close DJ friends he’d slipped copies to. Before long, the track was bubbling under the radar — then suddenly, it was buzzing! It began life as the ‘Amy Dub (012)’, strictly for the heads. But after a few people asked for a full vocal version, both mixes earned their place on this limited, vinyl only release. Each one was crafted directly from the original multi track tape stems. No AI shortcuts here — just pure, high fidelity class.

"Lost Weekend" ist das erste Album von Phoebe Bridgers seit dem mehrfach für den GRAMMY nominierten Vorgänger "Punisher" aus dem Jahr 2020. Bereits ihr gefeiertes Debüt "Stranger in the Alps", veröffentlicht kurz nach ihrem 23. Geburtstag, machte deutlich, welch außergewöhnliches Songwriting-Talent in Bridgers steckt. Mit "Punisher" löste sie dieses Versprechen eindrucksvoll ein: Das Album wurde für seine kluge, eindringliche und zugleich fesselnde Komposition weithin gefeiert und etablierte sie endgültig als eine der prägendsten Stimmen ihrer Generation. Wer nun "Lost Weekend" hört, wird jedoch feststellen, dass Bridgers noch einen Schritt weitergeht. Auf dem neuen Album präsentiert sie sich auf dem bisherigen Höhepunkt ihres künstlerischen Schaffens. Mit bemerkenswerter Präzision verfeinert sie die Motive, die ihre bisherigen Werke ausgezeichnet haben, und erweitert ihren Sound gleichzeitig um zahlreiche überraschende Facetten. Das Ergebnis ist ein Album, das vertraut wirkt und dennoch immer wieder neue Wege einschlägt. Vor ihren jüngsten Pop-up-Shows stand Bridgers zuletzt mit ihrer Supergroup boygenius auf der Bühne, die sie gemeinsam mit ihren engen Freundinnen Lucy Dacus und Julien Baker gegründet hat. Für das 2023 erschienene Album "the record" erhielt die Band mehrere GRAMMY Awards, darunter "Best Alternative Music Album" sowie "Best Rock Song" und "Best Rock Performance" für die Single "Not Strong Enough". Phoebe Bridgers verließ die Preisverleihung zudem als meistprämierte Künstlerin des Abends. Ihren vierten GRAMMY gewann sie in der Kategorie "Best Pop Duo/Group Performance" für "Ghost in the Machine", ihre Zusammenarbeit mit SZA auf deren Erfolgsalbum "SOS". Zuvor war Bridgers als Support-Act auf ausgewählten Terminen von Taylor Swifts "The Eras Tour" zu sehen. Davor absolvierte sie fast zwei Jahre lang ihre eigene "Reunion Tour" mit mehreren ausverkauften Nordamerika-Etappen, rund dreißig Konzerten in Europa sowie abschließenden Shows in Südamerika, Asien und Australien. Auch abseits der Bühne prägte Bridgers die vergangenen Jahre mit einigen der eindrucksvollsten Live-Performances im Netz und Fernsehen, darunter ihr viel beachtetes NPR Tiny Desk Concert sowie ihr Auftritt bei Saturday Night Live. Seit ihrem letzten Soloalbum veröffentlichte sie zudem zahlreiche Singles, Coverversionen und Kollaborationen mit Künstler wie Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift und The National.

*TIP* Previously released on Low Company in 2023, now back... a weirdo lo fi gem

Naturestrip, Naarm, Australia write:

"purely physical teeny tapes perform an invaluable public service in exhuming static cleaner lost reward’s ‘breathing under honey from the heady year o’ 2023’, a slack-jawed riddle within the all-consuming enigma that is thee world of tarquin manek™.

few records command a reissue so soon after their release, the soil heaped atop the (sainted) low company corpse still remaining more than a little damp, but this one’s discreet-to-the-point-of-fury initial release justifies the flogging of the proverbial carked horse, boiled back down into glue for a fresh round of rollicking mucky. arriving as the last release on that fine imprint, ‘breathing under honey’ represents (obliquely, natch) something of a convenient summary of that aforementioned elegantly sloshed world™, condensing as it does the artist’s proclivities exercised among the sweetest of contemporary depth-dwellers, articulated alongside/within y.l. hooi, bum creek, carla dal forno, f ingers, kallista kult, under endless solo monikers…the fun never ends.

let loose here in a suitably gonzo/spellunked mood, the second full-length under the static cleaner moniker (see debut $mile$ from 2013 thru altered states) is compiled of delirious half-thoughts & riddimic gestures accumulated between 2013 & 2020, everything wet & awash with a fine sprouting of lysergic mush between its digits. the implication thereof might suggest something schlonky or amateurish, but fear not, prospective listener, for your ears are in the sticky hands of one of the finest shit-savant prodigies these times have known, crud-caked technoid shapes & blissed pop-glob nous submerged in sublime dubbed-out grog, the resulting sonar-pong shards positively chemical in their ability to simultaneously slant + seduce.

think: martin denny face-deep in a paper bag at the black ark, graciously fucked tropicalia, liquid dub techno housed in vat of spiked quaff, the skaters infiltrating urban tribe, lopsided + caked to the nines in glitter for the gutter.

utterly tranced, sumptuous/sweet & patently ill. a classique of this modern horror epoch if there ever was one."

Johannes Albert returns with his second ep on HOUSEWAX!
Another superb House Monster from the Berlin based DJ/ Prodcer wich will be out mid of August.

Highly recommended!

2026 has been the year of Deeparture as we have approached this milestone moment for the producer; quality releases from the Dutch artist have pathed the way to his debut album ‘City Reverie’.

‘City Reverie’ is all about Amsterdam – an album created, inspired and born in the great city. Deeparture finds home there but over the years it has been a place where his music has developed and grown into the stunning style he has created throughout this body of work. As an artist on Zerothree, he has been an important part of the label family and working on this album has really seen unique creative aspects, impressive themes and a work ethic that just inspires.

The album features collaborations alongside Lazarusman, Tim Morrison, Jantine, Yves La Rock and plenty of solo material that brings a retro proggy take on 2026 dance music. A real touch of genius and a great body of work that will be timeless.

he four tracks of his 2013-released „Feldspar“ EP see Romanian producer YVAT at the absolute peak of his sonic journey.
Roughly operating within the confines of IDM, Braindance, Phonk and Post-Dubstep YVAT serves a highly seductive sonic menu for advanced late night dancefloors with this one, amalgamating his signature backbone of highly detailed and well crunchy beats, shimmering harmonies and warmly caressing, comforting, all embracing low end goodness for those in the know. Criminally underrated and for the first time available to a global
audience.

Press quote:
„You used to dig Autechre but you think their best days are long gone as they've lost their bouncy beats vs. deep strings and nice little melodies path? Went off into deconstruction?
I'm totally with you here and that's why I love Yvats's recent "Feldspar EP" on the great Minor Label so much. The man named Octavian Justinian Uta - and which is better known to his parents under this name - brings back this special and long time missed twist again, serving the best Electronica 12" I've come across in ages. Limited to 200 copies in greymarbled vinyl and hardly available via regular distribution channels. Get your copy, now! “
baze.djunkiii / nitestylez.de / 04/2013
Never officially distributed before and available limited quantities only.
Limited edition of 200 copies. Grey-marbled vinyl pressing