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Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.

As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.

To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.

Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.

Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.

Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.

To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.

Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.




d B1: Visions of Light -

The title track, Let It Be, is a true dancefloor weapon. Driven by a dynamic pulse and rich melodic layers, it unfolds as a breathtaking journey where evolving chord progressions create moments of pure magic. Each transition feels alive, pulling the listener deeper into an immersive and uplifting experience.

On the flip side, Aurora offers a more introspective yet equally powerful voyage. Slowly building with elegance and grace, the track rises with a majestic progression, blending subtle textures and emotive harmonies into a captivating sonic landscape.

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AMAND – Let It Be – Diki Records

Après avoir marqué l’histoire avec le mythique The Age Of Love et son remix acclamé par Charlotte de Witte & Enrico Sangiuliano, Diki Records a signé un retour remarqué l’an dernier avec Mentalis de Kayinda et son puissant remix par Pig&Dan.

Le label poursuit aujourd’hui sur sa lancée avec une nouvelle sortie marquante signée AMAND.

Reconnu pour sa signature melodic house raffinée et ses sorties acclamées sur All Day I Dream, ainsi que pour ses collaborations avec Lost Desert et Capoon, AMAND livre ici un EP deux titres qui capture parfaitement son univers : profondeur émotionnelle, grooves hypnotiques et progression cinématographique.

Le titre principal, Let It Be, est une véritable arme pour le dancefloor. Porté par une énergie dynamique et des nappes mélodiques riches, il se déploie comme un voyage saisissant où les évolutions d’accords créent des instants de pure magie. Chaque transition semble vivante, entraînant l’auditeur dans une expérience immersive et exaltante.

Wenn Sie Joey Quiñones fragen würden, woher er die Inspiration für seine Musik bezieht, müssten Sie nicht weit von dem Ort suchen, an dem der Sohn aus East LA aufgewachsen ist. Wenn man seine Werke hört, fühlt man sich in einen Umkreis von zwei Blocks seines Viertels versetzt - vom Spirituosengeschäft zum Plattenladen ,Sign of Music" am Whittier Boulevard und zurück zum Haus eines Freundes. In diesen zwei Blocks hört man Cumbia aus den Geschäften dröhnen, Punk-Proben aus einer Garage, Oldies aus dem Garten eines Nachbarn - eine Reizüberflutung, die Sie bis nach Hause begleitet, all diese Genres, die gleichzeitig in Ihrem Kopf erklingen. Für langjährige Fans von Quiñones' Musik ist das keine Überraschung. Er hat sich als einer der führenden Interpreten seiner Generation etabliert und seine Karriere der Vermittlung seiner einzigartigen Perspektive auf das Chicano-Soul-Songbook gewidmet. Doch vor Thee Sinseers, vor den üppigen Orchestrierungen und den perfekten Harmonien, die zu seinem Markenzeichen wurden, sammelte Quiñones erste Erfahrungen als Leiter verschiedener Begleitbands für jamaikanische Ska- und Dancehall-Acts, die durch Südkalifornien tourten. Er beschreibt diese Jahre als Reggae-College, in dem er von jedem jamaikanischen Künstler, der eine Platte herausgebracht hatte, angeschrien wurde. Diese Jahre der Ausbildung in Rocksteady und Roots-Reggae prägten alles, was danach kam - und auf seinem neuen Soloalbum ,Inna Soul Steady Situation" stellt Quiñones diese Einflüsse endlich in den Vordergrund.

Vinyl packaging includes 12" gatefold vinyl with matte UV and spot gloss finish, 2x black vinyl, dust sleeves, and digital download card. In the year 2000, Brother Ali Joined Rhymesayers with a self-produced demo called Rites of Passage. Three years later Ali took the underground by storm with an undeniable stage presence and his critically acclaimed debut full-length Shadows On The Sun. The impact was unquestionable and that next year Ali solidified his place amongst the independent Hip Hop elite with the release of 2004's The Champion EP. Like deja vu, here we are three years later and Ali is ready to take the world by storm with his latest creation. After struggling through a series of personal roadblocks, from parting ways with his wife of 10 years, becoming homeless and trying to secure custody of his only son... Brother Ali along with Atmosphere producer and Shadows & Champion collaborator Ant, present the long awaited sophomore full-length album The Undisputed Truth. Personal, political and more powerful than ever, simply put, the truth is here. "I wanted to make an album that gives you no choice but to feel what im saying at that given time", Ali explains of The Undisputed Truth. "I made choices that sent me through a lot of struggle in the past few years and Ant and I have made music that really communicates the exact feeling of those situations." -Brother Ali

Farron is back on Shaw Cuts with his next EP called ãHuman LanternsÒ - a tale of social jealousy and long-standing rivalry transformed into 4 bass-heavy broken techno tracks.
The two wealthy kung-fu masters Lung and Tan are embroiled in a long lasting game of perpetual one-upmanship. Vowing to show Tan up, Lung enlists the aid of a man he defeated in a duel years ago in fashioning a masterful lantern for the upcoming festival in which both masters will compete. ãWe Are The WaveÒ and its noisy fragments and broken rhythmics led by a hefty stormy bassline, underline the tension and aversion between the two competing masters.
But the eccentric artisan is more interested in seeking revenge for his old defeat, in taking away everything Lung holds dear. The bass-driven ãSwitch OddÒ and its sharp percussions and phat kick underline the ulterior motives of the shady character.
The evil villainÕs plan of revenge contains kidnapping several beloved women of Lung, skinning them alive and using their flaps of skin to create the ordered lantern. ãGX100Ò and its fast-paced drum pattern carried by virulent synth fragments and raucous pads, epitomises the merciless act of violence.
Tan and Lung falsely accuse each other but feel constrained to eventually team up and hunt the criminal together. ãTalking To ThemÒ rings in furiously and chases the enemy with its rolling bass, chopped vocals and stomping drums, but the villain is sneaky and recalcitrant. Silence before the attackÉ

TECH040, titled INTRO, is a functional exploration of electronic music’s most delicate moments. The concept was born from Nastia’s personal experience as a globally touring DJ, identifying a distinct gap in the modern market: a scarcity of sophisticated, atmospheric tracks specifically designed to set the tone during the first minutes of a performance.

This compilation is more than just a collection of tracks; it is a professional toolkit. From deep hypnotism to restrained energy, each contribution has been meticulously selected for its ability to prepare the space and the audience for the journey ahead.

Conceived as a functional extension of the DJ set, the Intro / Outro series explores the moments that frame the dancefloor experience. Focused on beginnings and endings, each release navigates the subtle tension between anticipation and resolution – from the first pulse that opens a space, to the final echoes that dissolve it. Stripped of excess and driven by intent, the series reflects a deeper layer of Techno: not just as a peak-time tool, but as a language of transition, atmosphere and control.

The record, bringing together techno legends and contemporary tastemakers around the art of the "opening set," featuring the long-awaited production debut of the label head herself.

Forged from the fire of internal struggles, Loraine James was wrestling with confidence and a desire for change when she embarked on “Detached From The Rest Of You”. A guiding hand came through producing 2025's “Clandestine” EP with singer Anysia Kym, which gave her the experience of a more 'pop' setting and the tools and insight to work her instrumentals into more conventional shapes; a shift from club driven sounds and winding instrumentals into more precise song forms.


Loraine’s production is stripped to the bone, soundscapes of clicks and glitches inspired by Aoki Takamasa, Ryoji Ikeda, and the early-00s Clicks & Cuts school. Here, often with not much more than sparse keyboard chords to fill in with subtle colouring, she uses the space around the sounds and vocals to draw the listener in to a succinct and direct album, her most confident yet.


Guest contributors include vocalist Sydney Spann on “In a Rut”, Alan Sparkhawk (Low) on downcast anthem “Peak Again”, Miho Hatori (Cibo Matto) on “Flatline”, Anysia Kim on “Score”, and Tirzah on “Habits and Patterns”. Finally her old spar, the rapper Le3 bLACK returns to spit fire with the jazz-indebted track “Ending Us All” with Fyn Dobson backing on tumbling drums.

Contours brings together New York–based producers and DJs Abby Echiverri and Clay Wilson for a four-track 12” on Acid Camp. The record moves across acid house and techno, unified by a clear
craft for pressure, pacing, and machine-driven tracks, with moments of restraint that hold up far beyond the dancefloor.

Wilson opens the A-side with “Interdimensional Romance,” a science fiction workout that threads together acid echoes of Chicago, Detroit, and New York. “Nightride” follows with a more laid-back approach, rooted in acid yet softer around the edges, with a subtle ’90s pull. On the B-side, Echiverri’s panned synths on “Chaos Terrain” vividly wax and wane across layers of LFOs. “Roche Lobe” closes the record in a more spacious mood—another acid-minded piece, less aimed at peak-time utility than at the late-night afterglow of the club.

Together, the four tracks understand acid not as a fixed formula, but as a flexible language. These are the songs of the underground clubs on Arrakis. See you at the front of the speakers.
Contours is released as a 12” on Acid Camp Records.

Written and produced by Abby Echiverri and Clay Wilson
Artwork by Gabe Benzur
Layout by Cookhouse Studio
Mastered & Cut by Tim Xavier at Manmade Mastering Berlin
Pressed at RAND
Liner notes written by Daniel Sharp

Hitting back with another 2-tracker, Jay Tripwire delivers two more timeless pieces.

“Incantation” homes in on tribal drums and innate patterns, teeming with abstract chants, noise and other such oddities. Building tension through cleverly structured beats and carefully crafted sounds, spellbinding stuff as ever from Mr. Tripwire.

Over to the other side, “HEAR ME OK” embraces the light as it paints prettier pictures with hypnotic arpeggios, techy drum patterns and intricate plucks that evolve and meander before giving way to some wiry lines that usher in a darker side. A tale in two parts that culminate for an intense ride.

The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.

This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.

The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill

Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.

‘Batteries Not Included (Brain Sold Separately)’ EP Arrives Via No Static Automatic

No Static Automatic is proud to announce the new EP from UK Electro legend Phil Klein under his Mental Note alias. Titled “Batteries Not Included (Brain Sold Separately),” this release marks the dynamic follow-up to the acclaimed 2020 debut “Voices In My Head (Noises In My Pants).”

Few authentic Electro producers from the UK can wear the badge ‘legend’ with the same level of justification as Phil Klein, aka Bass Junkie. Active since the late 80s, Klein has tirelessly shaped his distinct vision of Electro, both as a solo artist and through storied collaborations with icons like Dynamix II, Keith Tenniswood (Radioactiveman), and Si Brown (Dexorcist). As a DJ, remixer, live act, and the driving force behind the seminal Battle Trax label, his influence is woven into the fabric of the genre.

With essential releases on labels including DMX Krew’s Breakin’ Records, Andrea Parker’s Touchin’ Bass, and Billy Nasty’s Elektrix, the Bass Junkie sound seamlessly bridges the old-school beats of Electro’s origins with a potent, borderline-industrial edge. As noted by Andy Barton of Bass Agenda: “From funky to ferocious, Bass Junkie’s discography is a must-have for anyone claiming passion for the genre – influential, individual, and infectious with every beat.”

Now, as Mental Note, Klein continues his exploration of electronic psychedelia. The new EP, “Batteries Not Included (Brain Sold Separately),” is a four-track expedition through the Electro cosmos:

“Brainwash” immerses the listener in swirling, hypnotic synths.
“They're Not Blue, They’re Purple” delivers a masterclass in crunchy, textured drums.
“Primordial Soup” showcases frantic, intricate programming.
“Kluster Funk” offers a moment of deep, sonic relief and groove.

Each track reinforces Mental Note’s signature: a journey that is cerebral, raw, and irresistibly rhythmic.


About Bass Junkie/Mental Note:
Phil Klein, operating primarily under the alias Bass Junkie, is a cornerstone of the UK Electro scene. For over three decades, his work has defined and evolved the sound, earning him a revered status among peers and purists. His Mental Note project is a focused outlet for a deeper, more experimental strand of his production genius, further solidifying his legacy as an electronic music innovator.

Dissident Music presents TANGLED (DSMV001), a five-track Various Artists release exploring the meeting point between hypnotic techno and the raw physicality of contemporary Spanish techno.

Featuring contributions from RNGD, Joton, Sarf, DCM and Elias the Prophet, the record moves through sustained tension, organic texture sand direct-driven grooves while maintaining a refined and balanced identity throughout.

Rather than seeking contrast for its own sake, TANGLED finds coherence through friction itself: different sonic sensibilities intertwining into a shared language. The result is a living and intense record, designed equally for powerful sound systems and darkerclub environments as for more intimate listening spaces where detail reveals another layer of the experience.

The visual dimension reinforces the same sense of organicity.

The cover artwork originates from an original painting by Alejandro Alcántara, later digitalized and reworked by Jose M. Castro, creating a consistent dialogue between image and sound.

As the label’s first vinyl release, TANGLED reaffirms Dissident Music’svision: an independent cultural platform focused on sophisticated, honest and uncompromising techno.

Mastering by Paul Mac at Hardgroove Mastering

After three years without releasing in their own platform, NX1 returns to full control with a new chapter in Nexe Records catalog. This Deprogramation EP not only marks their first EP on the label in that period, but also reaffirms their language through a more refined sound: direct, mental, and designed to alter perception on the dancefloor.

third album, "Magic Seeds". The record represents his most personal and collaborative work and blends live recordings and analogue synths to create an organic, rhythmic sound reminiscent of trip-hop and hip-hop.

"Magic Seeds" explores themes of growth and reconnection, featuring unexpected musical moments and influences from 90s electronic music to neoclassical. Tracks like "Smoke in the Air" and "Inner Child" highlight his ability to balance emotional peaks with deep, moody atmospheres. The album’s dynamic range and authenticity reflect James's commitment to musical freedom and societal reflection, making it a compelling sonic collage of his recent experiences.

Over the past few years, Leifur James has steadily built a reputation as a vital new voice in electronic music on both sides of the Atlantic. He’s played prestigious London venues like the Barbican and Village Underground in London and toured Europe, as well as being named Pitchfork and KCRW’s ‘best new music’ in the US, and his music has been championed by the likes of tastemakers Gilles Peterson, Mary Anne Hobbs, Bradley Zero and actor Cillian Murphy, and from BBC 6Music to NTS via KCRW and RMC Italia. James has also enjoyed further flagship press support from Consequence of Sound, Clash, CRACK, Passion of the Weiss, XLR8R, Complex, MixMag, DJ Mag, The Vinyl Factory, and more

The tenth anniversary edition of Venetian Snares' Traditional Synthesizer Music adds ten more tracks and alternative versions previously available only on a limited edition compact disc from the artist's Bandcamp.Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music. Each song was approached from the ground up and dismantled upon the completion of its recording. The goal was to develop songs with interchangeable structures and substructures, yet musically pleasing motifs.

Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures. An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece, a number of which are released for the first time on vinyl and digital for this updated version of the album. BIO Aaron Funk, mainly known artistically as Venetian Snares, is a Canadian electronic musician based in Winnipeg, Manitoba who’s been working since the mid nineties. He is widely known for innovating and popularising the breakcore genre being something of its breakout star. His signature style features complex drums and unusual time signatures and a knack for making ultra-vivid music that takes listeners into unusual places, from the aggressive and extreme, to the surreal, comic and sometimes plain beautiful. His musical explorations extend out in many different ways, from the complex Hungarian, classical-inspired Rossz Csillag Alatt Született, to acid explorations as Last Step, to innovations with modular synths on Traditional Synthesiser Music.

As a collaborator, he’s made music using intimate recordings as musical elements with the artist Hecate as Nymphomatriarch, as Poemss with Joanne Pollock, where they both sing over strange delicate pop. He’s recorded an album of rich, edited improvisations with producer and guitarist Daniel Lanois and he’s also part of the sometime duo Speed Dealer Moms with John Frusciante. Most recently he features on Rosalia’s album Lux on the song Reliquia, providing drum programming and production input.

For its eighth release, Distant Gaze welcomes Ruksby with Phosphene Cognition, the artist’s debut EP on the label. Known for his hypnotic acid energy and cold, driving groove, Ruksby has developed a distinct sonic signature resonating with both classic rave devotees and listeners of indie-leaning electronic music.

The EP opens with two original cuts. “Imagination” moves in a trancy and hypnotic direction, where slow pulsating TB-303 lines and drifting acid leads unfold through a dark, steady groove. “Illusion” follows with a sharper, more aggressive edge, pushing acid frequencies and overdriven synths into tighter late-night territory. Both tracks stand as focused dancefloor pieces driven by Ruksby’s balance of tension and intensity.

On the B-side, two remixes expand the release. Long-time label friend Mike Sacchetti delivers an acid-driven dancefloor weapon built around a relentless pulsating bassline. Closing the record, Rambal Cochet offers a Goa-inspired chill-out reinterpretation, providing a calm and spacious conclusion.

Walter G & Jay Caruso deliver a warm, groove-led Soulful Disco version of “From East To West”, built for DJ’s who appreciate real disco dynamics. Rolling basslines, bright piano chords and lush strings wrap around an emotive vocal, creating a timeless club-ready moment that bridges classic 70s soul-disco with modern dancefloor aesthetics. Ben Liebrand delivers a classic 12-inch reconstruction rather than a modern nu-disco vibe. It leans into Ben Liebrand’s signature extended format philosophy, letting the groove breathe. His is a rhythm-first reconstruction with crisp percussion, dynamic low-end and long instrumental sections. The vocal sits naturally within the groove, while the arrangement allows DJs space to build, ride and transition with ease. Less modern sheen, more heritage authority, a purist disco tool with timeless floor appeal.

Back in stock !

First three releases in Ministry Of Sound's new 'Origins Of' series of vinyl releases. Taking it right back to where it all began, Ministry of Sound’s Origins series charts a selection of pioneering records responsible for shaping the sound of modern day dance music. It’s hard to imagine a world without House; this 2x LP release explores the origins of the genre from its early beginnings in 1980s Chicago presenting some of the key building blocks of a sound that went on to change the world. Featuring, Frankie Knuckles&Jamie Principle, “Steve” Silk Hurley, Marshall Jefferson, Farley “Jackmaster” Funk, Ron Hardy, RalphiRosardo, Joe Smooth and many more.

2025 Repress

“We created a holiday inside our heads.”

A Deeper Life, Chaos In The CBD’s debut album over 10 years in the making, is nostalgic for the duo’s nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish…” The album’s blissful setting is also depicted on the album cover: a painting, by a childhood friend, of the beach where they grew up in Devonport.

A Deeper Life whirls that profound love of house music and wide-ranging influences – from Brazilian to R&B, ambient to Italo to deep house and downtempo pop – into a serene, cohesive whole with their signature finesse. The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours.

On the album they’ve teamed up with a number of US legends and married their vocals with the UK underground: Josh Milan of house pioneers Blaze brings his soulful vocals to the bossa nova beats of ‘I Wanna Tell Somebody,’ a future jazz-dance anthem. Unheralded Chicago house hero and Larry Heard collaborator Lee Pearson Jr. goes deep over ‘More Time’s broken beat flex. And on ‘Maintaining My Peace’, the brothers have matched veteran house singer-songwriter Stephanie Cooke with UK grime MC Novelist, on a slinky LDN interpretation of LA hip-hop and g-funk.

Also featured on the album are New Zealand jazz artist Nathan Haines, frequent collaborator Isaac Asaeili and more.

Decibel Place arrives on Dorbachov's Scrap & Delete with the 'Swarm' EP landing on 8th May 2026, coming with a remix from Belgium's Steve Redhead. Known for navigating the darker, more experimental edges of the genre while maintaining driving, floor-focused energy, the Liverpool-based Decibel Place has previously delivered on labels including Materialised, Transition, MASS, and Khazad Records. As a DJ, he continues to earn attention with his tightly constructed sets across the hardgroove circuit, a sensibilitycarried through this latest body of work. The EP opens with the title track 'Swarm', setting the tone through immersive, tension-building arrangements. Undulating sound design and tightly interlocked rhythms draw the listener into a dense, atmospheric space, rich in detail and forward motion. Steve Redhead steps in on remix duties, reworking 'Swarm' into a stripped-back, percussive cut defined by clarity and control, where subtle shifts in rhythm and texture drive a deeper, hypnotic propulsion. 'Infection' follows with a shift into more industrial territory, introducing broken rhythms and raw, mechanical textures that sharply punctuate the groove. Closing track 'Smoking Kills' leans fully into hardgroove territory, with driving drums and visceral energy bringing the EP to a powerful, club-ready finish.
Decibel Place's 'Swarm EP' comes via digital and vinyl on Scrap & Delete on 8th May 2026.

memotone returns to Accidental Meetings with a collection of stunning and delicately crafted songs, featuring Ugné Uma, guest (Jabu) & Typesun!

Multi-instrumentalist, producer & composer memotone (Will Yates) announces the release of his album Warm Shadows and a homecoming on Accidental Meetings. Warm Shadows sees Yates’ discography continue to flourish and traverse into new territory once again, his ever-growing sound palette commands total attention throughout the LP. Within the album sees delicate collaborations with Lithuanian artist Ugné Uma, Jabu’s guest and percussionist, Typesun.

Memotone is a learn-by-playing multi-instrumentalist and producer, working with minimal, ambient and contemporary classical music. Predominantly an improviser, recent years have seen memotone lean towards a more free-form approach, exploring jazz, drone and more meditative music, also showing a keen interest in sound design and textural experimentation. Will has released music with various labels over the years to critical acclaim, most notably; World of Echo, The Trilogy Tapes, Sähkö Recordings, Accidental Meetings, Patience/Impatience & Black Acre.

One of the most innovative and ambitious albums ever made, Genioh Yamashirogumi’s Ecophony Rinne is a sonic masterpiece featuring over 200 musicians that expanded the limits of what music and sound could do.

Before Akira there was Ecophony Rinne. Originally released in 1986, Ecophony Rinne is a four-part symphony of “ecological music” by Geinoh Yamashirogumi that married ancient tradition with technological innovation, and changed the way we listen to music in the process.

Half-speed mastered at Abbey Road by Miles Showell, Time Capsule’s high-tech analogue reissue is the first to reproduce composer Ōhashi’s ground-breaking “Hypersonic Effect” theory on vinyl, cutting frequencies beyond the realm of human hearing into wax to capture the full spectrum emotional impact of this extraordinary work.

Founded by genius polymath Tsutomu Ōhashi aka Shoji Yamashiro, Geinoh Yamashirogumi is a shapeshifting collective of over a hundred members from across disciplines. Rejecting professional musicianship, Ōhashi cultivated an ethos where neuroscientists, psychologists, doctors, journalists, engineers and students could critique society through artistic expression and pursue their research in ethnomusicological performances that spanned global traditions, Eastern spirituality and Western classical form.

Ecophony Rinne represents the pinnacle of this vision - an expansive orchestral suite made with over 200 musicians that channeled Ōhashi’s thinking about mankind’s relationship with nature, and fundamental questions of life, death and rebirth.

Here pipe organ synths made from sampled Tibetan horns sit alongside field recordings from Central African forests, Buddhist mantras circle dummy head microphones, Javanese Jegog percussion ensembles pulse like verdant ecosystems, and the acoustics of temples, caves and landscapes are conveyed in the mix. Weaving together culture, nature and technology, it is a record that vibrates with the polyphony of life on Earth.

But Ecophony Rinne was not only musically innovative. Noticing the difference between vinyl and CD versions of the album where digital reproduction limited the sound, Ōhashi developed a theory of “Hypersonic Effect”, determining that ultra-high frequencies above 20khz can impact human perception even if they are inaudible. At once a physical and a psychological experience, to listen to Ecophony Rinne is to feel music differently.

The rest is history. After its release, Ōhashi was approached by director Katsuhiro Ōtomo to produce the soundtrack for Akira, the work for which Geinoh Yamashirogumi is best known. Emerging from the shadows at last, Ecophony Rinne was its transcendental blueprint, reissued in its most complete hypersonic form on vinyl for the first time.

Rather than describe nature, Ecophony Rinne embodied it. Rather than reflect culture, Ecophony Rinne defined it. Rather than explore technology, Ecophony Rinne changed it. As a work of art, it is more relevant than ever. You won’t have heard anything like it.

San Francisco style driving techno tinged with dark dubs and disco from two of the town’s most explosive producers.

Brick & Zero Idea represent the same city, blazing their own paths in San Francisco’s heady techno scene. Both manage their own labels / parties, Brick with Perfect Dark and Vitamin1000 a la Zero Idea respectively, but are no strangers in the studio together.

First up, two full-bodied techno timebombs from the duo: a mega sub’n’dubchord special alert on A1’s “West End” paired with a more refined, smoother, slippier companion on the A2 “No Room For Error”. Combined-strengths banger collabs for different moments and moods of a night.

Sticking with the theme, we see contrasting solo tracks on the flip side as well. Brick’s “Sigil” spotlights the producer’s laser focus for darker, hypnotic, full force synths in impeccable arrangement, while “Xhale” ends this release on an upliftingly funky bassline disco tip showcasing Zero Idea’s ease at blending techno sensibilities with French House techniques.

we are super excited to present a brandnew artist straight out of France - Alik
the "Dans Le Club EP" is fully packed with 2 high-level pumping, jackin fast House tunes ranging from 136-140
BPM - the short french vocal cuts make it feel like a crossover between Ghetto Tech and Garage House.
To round it up the remaining two tracks are more soulful house tracks for the ladies.

We are back again in 2026 with more DJ Seduction - this time his very sought after Papillion alias that he released back in 1992 on a private pressing. All headz that use to go out raving back in the day will recognise So Good for those days, plus its been well sampled over the years too. A total anthem!

I first encountered Pascal Comelade’s music thirty years ago—and nothing has sounded quite the same since. I was immediately captivated: he is an artist like no other, whose sincere and selfless love of music is always evident, especially in his tender reworkings of other people’s songs.

Comelade seems to work like a watchmaker: meticulous, precise, and obsessive—yet always drifting into something dreamlike. His music opens hidden doors, telling strange and beguiling stories filled with obscurity, kindness, and reserved humour.

Back then, my fascination was instinctive. Today, with a few more words at my disposal, I look to this exceptional 70-year-old French musician and feel exactly the same pull.

Métaphysique Du Hit-Parade is the first vinyl compilation devoted to Pascal Comelade’s favourite cover versions. It spans a forty-year career and traces sixty years of rock and roll history along the way. “Sheena Is a Punk Rocker” becomes a soft, soothing lullaby that may well have made the Ramones weep. Then there are his idiosyncratic tributes to Jonathan Richman (“Egyptian Reggae”) and The Kinks (“Sunny Afternoon”), alongside nods to formative heroes such as The Gun Club, Captain Beefheart, and MC5.

Two exclusive recordings stand out particularly: Bob Dylan’s “Girl from the North Country” and Nirvana’s “Come As You Are”—a song that shaped my early youth. Both were recorded especially for this release.

Jan Lankisch, January 2026

On this release Dying in Beauty delves into harder, EBM infused tracks on the A-side, whilst the flip-side offers a more groovy and upbeat set of tracks to accompany your journey into the excesses of pleasure.

‘Sustained’ is the new album by Jungstötter, the solo project of Berlin-based songwriter and musician Fabian Altstötter. With sparse, poignant arrangements of piano, strings, electronics, and noise, Jungstötter composes a tender, raw, and poetic song cycle of exquisite romanticism, featuring a cast of close collaborators including the Berlin-based artist Ronja (Roomer). Evoking the fervent vocal versatility of ANOHNI and Scott Walker, Jungstötter adopts the human breath as a central metaphor in a miraculously moving opus of intimacy, vulnerability, and communion.

Across ten tracks of experimental pop songcraft, notes oscillate, soft strings linger, piano ambles, noise billows up and sears back into itself – and all of it is bound by a distinct voice that roams from a remote, warped undertone to an immediate melodic intensity.

Distorting the soft edges of vocal melody with rattling tactile noise, ‘Sustained’ is a mercurial portrait of layered lyric and contracting sound. The third album by Jungstötter, ‘Sustained’ bends away from the more dense, knotted sounds of his last two solo albums, ‘Love Is’ (2019) and ‘One Star’ (2023), toward a particular rawness that reestablishes the strength of poetics, of vocal sound, and the softness of song when reduced, restrained, redirected.

Uroš Umek returns to eudemonia for the label's 21st outing, delivering another set of high-quality electronics as Zeta Reticula.

The EP carries a vibrant, optimistic energy throughout. "The Human Scientific Vessel" leads the way as a club-ready electro cut with a driving rhythm and clean, melodic synth lines. The energy stays high as the EP moves into the broken rhythms of "Black Liquid Spawned Wildlife" and "Yellow Dwarfs," where Umek explores more complex, atmospheric territory without losing the dancefloor focus.

The EP balances dancefloor energy with musical songwriting, making for an engaging listen from start to finish.

Aspetuck has been steadily carving out a name for himself through releases on Never Late and Oslated, garnering a respected following for his DJ mixes and festival performances. Aspetuck’s latest record, Immersion, was sequenced and curated from dozens of ideas spanning a transformative few years in Griff’s life. The album is less a snapshot in time and more of a memory bank - flashes of fatherhood, loss, modular rabbit holes, late-night studio sessions, and long walks by the Hudson River with his daughter.
The emotional undertow of the album is immediate. Opener Hit Me With Your Pet Shark is one of the earliest compositions in the collection, created just months after the loss of Griff’s brother and during the sleepless swirl of new parenthood. Built around a single sound from Spectrasonics Omnisphere, found while rediscovering his brother’s studio gear, the track sets the tone: restrained yet searching, personal without becoming precious.
From there, The Printing Press captures the raw energy of a live jam in Griff’s upstate New York basement, running through a 1980s Tascam mixer like a lo-fi assembly line of synths, pads, and drum machines. REI, named after a spontaneous family mission to find a pink water bottle, encapsulates his knack for imprinting daily minutiae into sound. And title track Immersion- once known simply as Tuesday 303 Jam- emerges from a dinner break and a blender, distilling modular sketches and distorted drums into a powerful, slow-motion march.
Under, Under The Tree hits hardest. Built around a grainy iPhone voice memo of Griff’s daughter singing by the Hudson. And closing the album is Bobik, a collaborative studio session with Moon Patrol channeling the playful chaos of a close friendship and modular exploration. Named after a joke about their golden retriever and filled with alien textures from Griff’s beloved EMU XL7 gifted years ago by his late brother, it’s a fitting send-off to an album that straddles celebration and mourning with grace.
The artwork comes courtesy of Peter Skwiot Smith, whose textured analog/digital aesthetic resonated immediately with Griff’s original vision. Peter’s treatment draws on Griff’s personal photography and leans into motion, blur, and the layered nature of memory, echoing the album's sonic tone without overexplaining it.
Mastered by Sven Weisemann, Immersion is available on blue smoke colored 12”

Friese Ruiters (also know as Redray), brings us 2 new volumes of heavy jams from the trenches. Absolutely on the money. More info soon.

With the launch of Flirt, Alarico distills the essence of his current techno vision while sketching its next phase.
This is techno stripped to its most instinctive form: rolling basslines, teasing vocals and seductive rhythms with hints towards deeper and more melodic realms.

JUDDER opens a new chapter in its history with its first 12-inch vinyl release As part of a new mini-album series, the label brings together artists from diverse backgrounds and musical perspectives. What unites them all is an openness to experimentation and a deep affinity for sub-frequencies. Side A is driven by a bold, high-impact sound with references to techno, grime, and baile funk. The release opens with Komo by Italian producer Coido. The track unfolds in unpredictable ways, its rebellious character maintaining tension from start to finish and refusing to let go of the dancefloor. This energy is carried forward by Oddkut. His Phase Shift is a pure body-mover, where the core bassline and rhythms awaken a raw, primal energy. Side B shifts the focus toward more minimalist, rhythm-centered forms of bass music. In Diligence by Nattah, breakbeat and UK techno merge into a hybrid where atmospheric reverbs are expertly balanced with the drive of sub-bass pressure. Inspired by racing games, Naprimer closes the release with Carrera. This new 100 BPM experiment brings together the best elements of the Bristol and Manchester scenes. Tracklist: A1 Coido – Komo A2 Oddkut – Phase Shift B1 Nattah – Diligence B2 Naprimer – Carrera

If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.

Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.

In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.

Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.

“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”

For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.

LP presented on Crystal Clear vinyl.

A cult classic reborn for a new generation.

Originally released in 2002 on the short‑lived US imprint Square Room Records, the In Stereo EP by Aruba (Darran Nugent) has long been a prized gem for vinyl collectors of quality underground house and techno.

Now, two decades later, Darran brings In Stereo back to life on his new Sleight of Hand label, with ‘Soundz From My Stereo’ completely re‑recorded and sounding hotter than ever. This special edition also features a brand‑new Re‑edit plus a standout remix from UK DJ and producer Man Power (Geoffrey Kirkwood), who delivers a bold, imaginative re‑interpretation that elevates the release into something truly special.

Also returning is ‘Body Groove’, freshly reimagined for today’s floors. The original’s slap‑bass funk remains gloriously intact, now paired with a more modern, refined house sensibility that gives the track a whole new swagger.

From deep within the astral planes of all that is cosmic in the Northwest and through a fog of kaleidoscopic haze emerges the latest mind-expanding music makers to arrive on Sprechen in the form of the Todmorden based Lines Of Silence.
Living amongst a hotbed of UFO activity and home to the UK's highest ever beach they combine experimental analogue and digital electronics, motorik beats, polyrhythmic improvisation and drone rock guitar explosions to create an immersive, expansive and contemporary take on psychedelia.

Their long player on Sprechen: 'Lines In Opposition !' takes the listener on a visionary aural journey across 8 tracks of electronic, shamanic soundscapes where the sounds of Krautrock exist in harmony alongside drone-esque ambient excursions through an array of synths, guitars & sequenced patterns that draw heavily on the stylings of NEU!, Aphex Twin, Kraftwerk and the musical pickings of the more esoteric sets and radio shows by Andrew Weatherall.

A truly universal listening experience to take you into a higher state of electronic music consciousness...

Tropical Pop return to serve two more peak-time refreshments to the stale dancefloors of the world !!

Bursting with flavour, artificial sweeteners and a whole load of E numbers, these cuts deliver totally tropical disco pump and tangy technoid madness - teased, tweaked and transformed for maximum sugar rush.

LIMITED EDITION - ILLICIT INGREDIENTS

Feel the fizz !

Second release for Miguel Herrnandez on HOUSEWAX!
We re very happy to present you this great artist again on our imprint.
5 superb Detroit-House tracks on black solid vinyl - we couldn't ask for more happiness!
Highly recommended!

Sirens" resonate a lot in 2026. "Sirens" are everywhere right now, in the many fields of the human reign, sounding at its highest level ever... Pioneering Swiss DJ and electronic music producer Ripperton joins forces with Berlin-based singer, composer and passionate aural storyteller Joy Frempong (OY) to create a beautiful and deeply moving piece of electronic music. And after three years in the making, “Sirens” finally emerges. The roots of this collaboration however reach back more than a decade. Around 2010, Ripperton first encountered Joy’s first album with Oy after hearing it on Swiss national radio Couleur 3. Shortly after, he saw her playing live — a moment he describes as pure magic. So inspired, Ripperton approached her label with a request to remix her music. The label agreed, and in exchange, Joy promised to feature on one of his future productions. What began as a mutual artistic gesture quietly planted a seed and eventually, pretty much fifteen years later, that seed has fully grown. “Sirens” began as one of Ripperton’s nocturnal modular jams — exploring and playing around with pulsating sequences, pure analogue sound textures and fluid, hypnotic structures. The track was then elevated to an entirely new level by Joy Frempong’s deep, evocative lyrics and her celestial voice, transforming the song into something haunting and profoundly human. The song also grew on a shared work ethos rooted in patience, trust and refinement. A slow process, shaped by intuition and feeling rather than pressure. Listening over noise. The result is an emotionally charged composition that blurs the line between inner reflection and collective awareness — a sonic response to the sirens of our time.

Quotes: Laurent Garnier: “This is lovelyyyyy * “ Aera: “Love it! A brooding masterpiece. Simple yet multilayered, the real action is happening beyond the surface.” Acid Pauli: "This is really special. Like it a lot." Kalabrese: "Wonderful collaboration between two outstanding artists. Fresh sounds, deeper rauschen, beautiful vocals, hypnotic tribe. a bliss!” Vladimir Ivcovic: "Das ist so gut, aufrichtig, rein und kommt zum richtigen Zeitpunkt. Die Abwesenheit von Hysterie. Ich liebe es. Downcast Euphoria of the highest order und gerade. In der Tat wunderschön. Besonders Clouds Mix, gerade."