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We present an EP from two house masters Artem Stan & Matpri on Analog Concept records.

This record was born like in the classic 90s from jam sessions in the studio, when musicians caught the groove and connected their deep universes, showing true love for house music. Everything is combined here - the sound of drum machines 909 and not only, atmospheric acid impulses of 303, classic pads that paint these paintings bright and filled with deep meaning, as well as much more. Amazing two sides and four compositions, each with its own story.

The Midnight Seduction track opens the telling of these stories on side A. From the first seconds, immersing in the atmosphere of synthesizer temptation, the analog bass line combined with the default drum section and elements of bright metal claps quickly gain the necessary energy and immerse in the images of a closed nightclub with long corridors and hidden dance floors. The light plume of the classic M1 organ and the accentuating Acid lead maintain balance. Secret nocturnal seduction, light ecstasy and an atmosphere of love.

French Kiss - everything is great here, as soon as you listen to the harmony of accordion-like synthesizers and deeply addictive pads, you are instantly transported to the image of Parisian streets. Elements of bells, a rhythm section filled with unpredictable percussion, acid inclusions and an unexpected immersion into a broken beat in the middle of the composition, a real deep French kiss.

Matpri is known for its sophisticated approach to music and is rightfully the guru of micro and minimal house. Having created the maximum sound quality of the rhythm section and the deep bass that was addictive from the first seconds, mixing old-school vibe, while not losing touch with his minimalistic sound image, he filled the House Template track with the smallest details and percussion, which is confidently based on the B-side.

Four certainly high-quality compositions were created in the studio of Artem Stan in the mountains of Krasnaya Polyana and one of the tracks on the B-side - "Nasha Polyana" - is dedicated to this location, it conveys a certain playful atmosphere of a mountain village with a vibe of complete freedom and daily carefree. A complete release with decent house music.

2025 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

2026 Repress

Portuguese techno mainstay Dextro drops cultured EP 'Covil Dos Abutres' for his label debut on Mutual Rytm.

Dextro has been immersed in electronic music and DJing since the early 90s. In the decades since, he has become synonymous with a sound deeply rooted in simplicity and authenticity. Fuelled by a passion for his craft, his production process is guided by intuition and spans a diverse range of styles, from tunnelling grooves to more potent techno with deep and hypnotic layers. He has held several key residencies and released on top labels like CLR and Missile Records, and he adds to those with a first outing on SHDW's Mutual Rytm with 'Covil Dos Abutres'.

The five-track 12" and eight-track digital EP has a sleek, stripped-back style, with wide-spanning corners of the techno realm explored. 'Covil Dos Abutres' is a deep space transmission with journeying, frictionless beats and deft sci-fi motifs that recall classic touches synonymous with the genre's pioneers. 'Correct Incorrect' keeps the pressure on with more rubbery, dubbed-out groves beautifully decorated with delicate melodies. 'Vida E Morte' is another sublime and hypotonic minimal techno sound with funk in the kicks and a freaky late-night spirit. 'Element One' again combines perfectly reduced drum groves with atmospheric pads and curious samples that keep you intrigued, and 'Beautiful Day' closes out with sonar-like synth pulses over the most skeletal but captivating rhythms. Digital cuts 'Time Line', 'Savana Urbana', and 'Diferencas' further explore the intersection of minimalism with cosmic synth designs that take you off into distant astral worlds.

PAT LOK & MEGAN VICE make their vinyl debut with "SPECTRUM" on Brooklyn's T TOUCAN SOUNDS. Blending R&B, house, and hip-hop, the EP celebrates strength and self-expression, winning support FROM MARTIN GARRIX, JAMIE JONES, CLAPTONE, SAM DIVINE, and more.

Don't miss Lawrence revisiting familiar ground on Smallville with four timeless tracks, gently pushing his sound forward, restrained poetic and unmistakably his own.
Including a full Cover Artwork by Stefan Marx.

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

On this album the former "Chasing Clouds" have accumilated into the eponymous "Black Sky"; these drifting soundclouds have swallowed a bulk of Sepalot´s sunny nature; his trademark relaxed attitude gave way to instrumental melancholy and pugnacity. "Before I started recording I listened to lots of The Doors songs. I found the suicidal aspect in their music very exciting. I totally inhaled it." Sepalot reports. "The breakage, the grid, the dirt - that was my inspiration. I was thirsty for the energy of pureness." In order to capture this roughness Sepalots first production steps were drafting soundsketches - often more than 100 in a row. This is then is followed by a sorting procees with many drafts going immediately into the trashcan. The survivors create the first basic draft.
There is something waiting in the wings. Don´t fear the storm, come outside with us... "Black Sky" is here.
Clemens Brentano: "These sounds are a wonderfull living breath of darkness"

We Release JAZZ is very happy to announce the limited vinyl edition of Obad’s powerful new album Suspended, a vivid document of the Tehran ensemble’s endlessly evolving sonic universe — now available as a limited LP housed in a heavyweight sleeve with an Obi strip and featuring original artwork by Iranian painter Sadra Baniasadi.
Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran’s pulse, Obad’s music is kinetic and intuitive — an ever-morphing dialogue between rhythm and texture, emotion and message.
With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another.
Sadra Baniasadi’s striking cover painting mirrors the album’s energy — bold, dreamlike, charged with movement, and extending Obad’s world into the visual realm.
Suspended stands as a major statement from one of Iran’s most compelling contemporary ensembles, marking Obad’s first release on We Release JAZZ and continuing the label’s commitment to boundary-pushing music born from profound listening, place, and collective intuition.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

illo.trio are representatives of the contemporary jazz scene who have already made their mark on numerous stages through other the world. Seamlessly blending elements of different styles, the musicians reinterpret familiar forms in fresh ways, filling them with unconventional meanings and stepping beyond the boundaries of expectation.

The new album is titled Wandering. It brings together 10 compositions that invite each listener to embark on a search for meaning and answers to essential questions.

This is a multifaceted journey where dramatic episodes coexist with retro-wave vibes, intimate chamber lyricism shifts into psychedelic phantasmagorias, and the trio's concise acoustic sound is interwoven with rich electronic textures and experimental effects.

RENEGADE METHODZ presents ENACT

5 YEARS RM - MUSIC WITH THE FORCE OF FUTURE

Celebrating five years deep in the trenches of techno resistance, the Greek label presents ENACT, a Various Artists compilation that captures the ethos of Renegade Methodz in its purest form and collects together a carefully selected group of music that embodies the Renegade Methodz philosophy.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.

French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.

Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.

Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.

Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.

Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.

SuckaSide know how to drop red-hot edits that perfectly balance club-ready grooves with catchy samples from contemporary chart greats from across a range of styles. This time they bring some fresh amapiano and Afrohouse versions on their latest 45rpm. 'Pink + White' (remix) is first and has a mid-tempo sway with heartfelt and tender piano chords and a vulnerable vocal, all serving to get you in a smoochy mood. On the flip are more bubbly beats and jazzy chords, lounge vibes and Percy r&b vocal samples courtesy of 'What Do You Say' (remix). It's an intimate sound for low-lit clubs when the air is thick with romantic tension.

Renowned party DJ, producer and collector The Gaff deals in all sorts of global grooves and here links up with Caleb Hart, who was born in Tobago and is now based on the west coast of Canada. They collide their vast inspirations into a global bass banger inspired by years of crate digging. 'Let's Build' is a big sound with big drums, dark synth grooves and hooky future soul as well as a sleazy vocal. Calypso, bass house and a dark piano all collide in HD colour. The instrumental is no slouch either, and both of these are sure to bring the heat this winter and beyond.

NUTRIA Sounds proudly welcomes Leo Kal to the family with his debut EP, The Roots EP (NUTRIA 004). Across five tracks, Leo Kal delivers a deeply musical statement—grounded, expressive, and rich with intention—perfectly aligning with what NUTRIA Sounds continues to cultivate: organic sound, essential rhythm, and soulful movement.

The Roots EP showcases Leo Kal’s true musicianship, blending groove, harmony, and texture into a body of work that feels both timeless and forward-thinking. Each track is driven by feel and craft, emphasizing connection over excess and allowing the music to breathe naturally on the dancefloor and beyond.
Celba opens the EP with an uplifting, bouncy groove—light on its feet yet firmly rooted, setting a joyful and inviting tone.

Station Verlaine soars effortlessly, carried by smooth, flowing keys that glide across a warm, rhythmic foundation. Roots, the EP’s title track, shines with warm piano lines and earthy percussion, embodying the spirit and intention behind the project.

Round 50 delivers the EP’s most club-friendly moment, channeling a spacey, late-’90s feel with a modern, refined touch.

Second Eyes closes the EP on a downtempo, junglesque note, wrapping the listener in texture and atmosphere while leaving them wanting more.

With this release, NUTRIA Sounds continues its mission to highlight nutrient sounds for the soul and the feet—music that is honest, rooted, and deeply connected. Leo Kal’s debut stands as a confident and inspired entry into the catalog, reinforcing the label’s commitment to artistry, balance, and musical integrity.

Detroit mixmaster Omar S serves new techno from out of leftfield with 'I Like You', a fresh 12" from the self-professed "best dance music producer and track mixer using faders (not a mouse)" in the city. Omar's all-analogue focus shines through here, professing his amourance for the listener in a short three-track spate. The mix job varies from crunchy to subdued to dynamic; 'I Like You' is the freakiest and roughest, a proper nerve shredder with fizzling hi-hats, 'Sad Techno' falls in the latter camp, sounding less melancholic than alien, a central acid burble glugging away against skeletal kicks. The closing track, meanwhile, 'Before Romance' bumps along with a funk feel that's so low slung it's on the verge of lewdness. Needless to say, we like it a lot.

Unreleased Records is the label founded by Arodes, recognized for its afro-house, melodic, and club-oriented sound within the international electronic music landscape. Through a combination of high-quality productions, a strong and carefully developed artist roster, and an expanding live platform, Unreleased Records positions itself as a forward-thinking imprint that bridges underground credibility with international audience reach, and are now, after much demand, debuting on vinyl, with this standout 4 tracker EP with 3 tried and tested club bangers, and 1 unreleased gem.


So far, “Gwele,” “Don’t Mind,” and “Nothing’s Changed” have already been supported by heavyweights of the scene, including, Ante Perry, Black Coffee, Bluckther, Camilo Franco, Carl Bee, Chus & Ceballos (Ceballos), Cincity, Deer Jade, Djuma Soundsystem, Enoo Napa, Facundo Mohrr, Hyenah, Jonathan Kaspar, Joseph Capriati, Mauricio Brigante, Moeaike, Nicolas Masseyeff, Queen Rami, Sasha Carassi, Simone Vitullo, THEMBA, and Xinobi.

As it often happens, while Richie Weeks and Jerome Derradji were working on Volume 3 of the Love Magician Archives, Richie uncovered a couple more unreleased Jammers tracks that never saw release on Salsoul. He believes these songs were intended for a second Jammers album that, sadly, never materialized.

So here you go—two absolute stormers of NYC Boogie and post-disco madness. All the usual suspects are on the tracks, delivering that signature sound. What can we say but: thank you, Richie, for giving us even more heat to play out!

Early Dj plays from Louie Vega, Dj Sneak & Carl Cox!

Brand new vinyl-exclusive music for 2026 from 4 legends of electronic music.

Teachers is a new series from Only Cuts showing love and respect to the architects of our sound.

5th release from the Only Cuts label run by Sydney maestros, Mo’funk & Encee

All new music from these Teachers, Dj Sneak returns with one of his best works in a long time with ‘Hear The Music’ Todd Terry appears under his ‘House of Gypsies’ alias with a horn driven percussive groover. Junior Sanchez with a brilliantly produced Wham flip & The Stanton Warriors come at it with an anthem used in their live sets, appearing for the 1st time on vinyl!

uper Deception dives into the uncanny beauty within the everyday, drawing inspiration from M.C. Escher’s idea of “super deception”: the art of creating the impossible without illusion. Nelson of the East translates that concept into sound: deep, tactile basslines and intricate percussion twist familiar rhythms into hypnotic new forms. Textures and samples are lifted from their origins and reimagined, creating tracks that feel both ancient and futuristic, physical and dreamlike. The result is an electronic landscape where sound folds in on itself: a timeless, shape-shifting exploration of rhythm, resonance and perception.

Nelson of the East is a Berlin-based sound artist, producer and educator. He operates at the intersection of experimental composition and club culture, shaping his craft both as a music teacher and behind the scenes as an experienced ghost producer.

Artwork & Layout by Alicia Carrera

Adult Sonics - Shuffle Master EP (SRR004)

BODJ & ROKSI in true magician style, wear their top hats & capes as they come together once more under their Adult Sonics alias, this time shuffling the deck for the inaugural vinyl release of London based record label, Stay Restless.

An original 3-track EP with the signature ADS sound - trippy and dark yet playful, created having big sound systems in mind, it’s already been in rotation from Sunwaves festival to SASH in Sydney and back.

London-based producer IZCO is set to release his latest single, “Guiding Star (feat. Reek0)”, blending soulful nostalgia with the raw energy of the capital’s underground sound.

Drawing from influences that span UK dance music, hip hop, and soul, IZCO’s music captures both the energy of the dancefloor and the emotion of lived experience. Over the years, IZCO has become a key figure in London’s cross-genre underground scene, collaborating with artists like Reek0, Greentea Peng, Sam Wise, Liam Bailey, and Novelist, and performing at iconic venues and festivals across the UK and Europe.

His previous releases, including tracks like soulboy - IZCO Remix, Beauty Inside, and OBiNRin - IZCO Remix, showcase his knack for crafting warm, sample-rich productions that balance classic influences with a distinctly modern edge. Whether behind the decks or in the studio, IZCO continues to push boundaries, creating music that feels timeless, authentic, and deeply rooted in community.

“Guiding Star” is no different. It pairs warm, vintage soul textures with the sharp percussion and bass-driven pulse that have defined IZCO’s sound across his discography. Featuring long-time collaborator Reek0, the single bridges eras and styles; a homage to the past while firmly rooted in the energy of today’s London.

Speaking on this release, IZCO says:
“Guiding Star. That classic shit, Combining the soulful sample with the London grit, real London track. Inspired by a mixture of 70s soul, US hip hop and UK grime.

Made this track without thinking much, the sample spoke for itself.
Reek0’s vocal was from one of the first sessions we ever did years ago, and it had never been released but it sounded perfect on this track. A taste of nostalgia, this track reminds me of good memories and friendships. Simple but meaningful. And an honour to use such a beautiful sample”

Later this year, fans will be able to own an exclusive 7-inch vinyl edition of Guiding Star, featuring both the original and instrumental versions - a collector’s piece for crate diggers and fans alike. Out on the 5th December.

With “Guiding Star (feat. Reek0)”, IZCO continues to carve out his place as one of the most versatile and soulful producers in UK production, grounding every beat in authenticity, emotion, and connection

Electro as its best! SS001 marks the first transmission from Serpiente Sounds, a debut 12" split that keeps it lean, direct, and floor-focused. Viewtiful Joe handles the A-side with two cuts that balance Electro snap and Detroit discipline: clean drum architecture, crisp low-end, and synth lines that feel both futuristic and functional. On the flip, Subversive brings two late-night weapons with a colder edge and a deeper swing. SS001 is a debut statement with zero filler, a compact toolkit of Electro/Detroit tools for the booth.

Y-3, the pioneering sports-fashion collaboration between adidas and Yohji Yamamoto, has for three decades dwelled calmly within the ''tensions of existence''. In conceiving the brand's long-awaited return to runway format at Paris Fashion Week, these codes laid the groundwork leading up to the Spring/Summer 2025 season. Whilst the focus for runway is traditionally placed on garments, models, styling, environment, and the pageantry in between, it was crucial that music play an integral role in the conversation. Three seasons later, sound has informed creative direction from the very earliest phases of ideation. Commissioning all-original compositions has become a natural part of this ideology. The return to runway has invited the opportunity to define a new sonic palette for the brand, and beyond that, to usher in a new era of sound for Y-3 that echoes across music & culture. Following this ethos, and with a mandate to support obscure talent, Montreal duo Solitary Dancer have emerged as the first collaborators in shaping the intimate brand architecture of noise & feeling. With a body of work now spanning over a trilogy of seasons, the genre-defying Y-3000 imprint provides an outlet to disseminate & recontexualize the original compositions beyond the traditional runway. The label embodies Y-3's enduring commitment to explore innovation within opposing cultural forces. The works, originally released on Y-3000 as a series of white labels, are now being featured as a 6x 12'' vinyl compilation. Designed by Trevor Jackson and limited to just 99 examples, the recordings will also be made available both digitally and on streaming services for the very first time.

In a Secret Room is a retrospective that reopens the sonic and visual archive of KKD, bringing back to light a trajectory that long remained underground within the history of Italian new wave. The tracks, recorded between 1979 and 1986, reflect a constantly evolving process shaped by experimentation, improvisation, and a drive toward new languages. The project takes shape inside a former hotel in Italy’s Po Valley, transformed into a studio, rehearsal space, and visual lab.

Here, among analog synthesizers, homemade electronics, and multitrack recorders, Kriminal Killer Division experimented with and pushed their available technology to its limits, developing a hybrid language: sounds captured from radio and the street, synthetic voices, guitars, and electronic sequences intertwine in compositions that move between art rock, minimal wave, and more industrial directions. This collection aims precisely to reactivate that imaginary. The vinyl is accompanied by a risograph fanzine that restores the project’s visual dimension: collages, photographs, and graphic materials reflecting the same experimental attitude found in the recordings. Sound and image move together, as parts of a single expressive device. In a Secret Room offers access to a hidden space where interference, noise, and intuition take form without mediation. Not a nostalgic operation, but a re-emergence: a living archive that continues to generate meaning in the present.

Are You Alien's first vinyl missive, a compilation style affair showcasing the work of four label affiliated artists, is genuinely packed to the rafters with cuts designed to be played loud on "deep dancefloors and late-night transmissions". HearThuG kicks things off with 'Relax', a post-punk/dark disco inspired slab of early morning hedonism inspired by DFX's 'Relax Your Body' (which itself borrowed heavily from the KLF's 'What Time Is Love'), before Light Blue File charges towards darkened warehouses on the tactile tech-house/stab-happy rave fusion of 'Guante El En Mic'. Over on side B, Briki opts for squelchy acid bass, trippy vocal snippets and spacey sounds on 'Droppin The Pressure', before Ahmet Mecnun adds spoken word vocals and French Touch flourishes to a deep tech-house groove.

An inspired link up between UK and continental producers - yeah, in your face, Brexiteers - as Brit talent and Crayon boss Mark Ambrose joins forces with Spanish duo Serious Cut aka Raul Zapata and Ivan Martinez, across four irresistible cuts. 'Remedy' nods its head subtly to the Diana Ross (and then Associates) classic 'Love Hangover' while enchanted, spacious and spacey grooves do their thing, while the cherry on top of 'Deep Track' proves to be some neat sci-fi spoken word, not to mention the kind of soft, jazzy chords that Global Communication's house productions used to revel in. Flip it over for the more electroid 'Talk Box' and the unashamedly Windy City-referencing 'Auto Level. Four sides of a classic sound, three great producers, two sides of top vinyl and one must buy bit of vinyl.

Consistent funk operator Ralo is back with a brace of tunes that will shake your bones loose. First up is 'Broken Way', a magnificently jumbled rhythm made from languid bass and kicks, peppered with organic percussion and heated through with soft synths. It's atmospheric and real, like the overheard soundtrack to a party happening in your kitchen. 'Djembe' then brings out some brassy horns to take things to the next level. They jump out of the low-slung drums and add jazz, soul and colour that cannot be ignored. Gledd and Monsieur Van Pratt step up on the flip with cultured reworks that turn things up to 11.

A decade into life, Secret Society marks this notable milestone year with a release that stays true to its ethos of depth and groove. Ewan Jansen started producing in the early 90s in Perth, often with the same hardware he used in his live shows. He's back on the label with two driving cuts built squarely for the dancefloor: 'Hydroid' is bright mid-tempo techno with pixelated synth charm, and 'Bodywash' is a deeper, more syrupy sound for late-night cruising. Alongside them sits a more introspective collaboration with Italian producer Luca that trades peak-time punch for texture and restraint. On remix duties, John Dimas adds his trademark crisp momentum and understated flair, a fitting choice given his long-standing connection to the camp.

East London's Jeigo works alongside North London perfume house Nosu on this quietly inventive release from Fleurella Records that extends beyond the usual club framework and intertwines scent and sound. Opener 'Placid Shimmers' drifts between organic house, lo-fi ambient and introspective worlds with swung rhythms and soft focus synths, while 'SPF 50' leans into melancholic breaks and 90s IDM echoes. It feels delicate but still moves you and is where texture and mood carry the groove into something subtly uplifting and tactile. A beatless version of the opener is included for pure dreamy escape.

The Scythe is a collective of rappers united around commonality in sound and skills as MCs, headed by ringleader Denzel Curry and including familiar collaborators A$AP Ferg, Tia Corine, Bktherula, & Key Nyata. Comprised of its five members and rooted within a budding scene of modern and cross generational hip-hop, The Scythe picks up the banded spirit of Denzel's foundational Raider Klan days while continuing his futuristic takes on old school regional rap (Memphis, Houston, Miami), heard most recently on King of the Mischievous South. Combining Denzel's energetic style with classically gritty, southern sounds, the project centers hip-hop's core across eras, paying homage yet ushering in a rising new guard.



a 1. THE SCYTHE | Denzel Curry Feat. TiaCorine, FERG (II)
b 2. LIT EFFECT | Denzel Curry Feat. Bktherula, LAZER DIM 700
c 3. PHONY | Denzel Curry Feat. Juicy J, Key Nyata, FERG (II)
d 4. MUTT THAT BIH | Denzel Curry Feat. 1900Rugrat, Key Nyata
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

Hey ! Uzi specialist start the record with his Tribe du sud killa !
Dismatik, phase neuralizer pure jus teknoidal.
John start the B side with an original ragga bomba, fire !
Trizia Close, a very good mental sound from another time, the file is closed
TRIBE DU SUD !
Poster & sticker

After a short break, Vibes and Grooves is back with Collab Grooves Part 2. Following the success of our initial collaborative venture, we continue our mission of uniting visionary producers under a single sonic umbrella. This time Jemaho, Shaka and DFRA come together for another deep collaboration.
With “Joudia’s Groove (Drifting Away – The DAT Version)” on the A side, we are delighted to have Jemaho on board. He delivers an outstanding, warm and soulful vocal house cut driven by a smooth, uplifting groove and rich musical depth. With its unique tape sound aesthetic, a true masterpiece. Certainly a future club classic.
The B side opens with „Sparkling Soul“ from label resident Shaka. A jazzy house affair that blends vibrant piano melodies, a hypnotic lead synth line, and a tight bassline. It radiates warmth, sophistication, and an ever-present sense of romance.
The second track comes from DFRA, the man from Buenos Aires, who is already well known on the label for his outstanding tracks from the latest Collab Grooves. With “New York Style”, DFRA delivers a deep house tune shaped by warmth, restraint, and a steady underground groove. Subtle textures and raw rhythms create a smooth, flowing atmosphere that feels natural and unforced.
Timeless in feel and refined in production, Collab Grooves Part 2 captures an effortless flow that speaks directly to both the heart and the dancefloor.

Arriving twenty-six years after his debut Cell, Particle further sharpens the fractured electronics and muted melodic language explored on 2021’s From Stasis, presenting a crisper, more immediate set of compositions.

Cadoo, also widely known as a founding member of pioneering electronic project Gridlock, has used Dryft as a consistent outlet for his electronic work across decades, bridging early post-industrial IDM with more contemporary, restrained forms.

Long recognized for beat structures that feel precarious, rhythms that seem to strain, erode, and reassemble in real time, he approached Particle with a renewed focus on allowing these patterns to fully resolve. Melodic elements are given a more direct role, actively driving momentum rather than hovering in the margins.

Emphasizing clarity and immediacy, Particle favors tactile sound design and forward-pushing arrangements over density or abstraction. The result is a notably focused Dryft release that functions as an all-encompassing signpost for Cadoo’s electronic output to date, informed by decades of exploration while remaining resolutely forward-looking

For almost two decades, Igor Škafar has honed a own unique sound. Warm and nostalgic, the Slovenian artist melts unctuous analogue tones with subtle percussive patterns. This palette is at the heart of Ichisan’s fifth appearance on Bordello A Parigi. An undulating and understated introduction ushers in “Erotika,” the cosmic gazing sounds of the 1970s and the turquoise waters of Balearic flowing as one. Swirling space synthlines are countered by punchy beats, fudgy basslines balanced by the gently rippling melody. The break offers new directions, drum patterns scatter before regrouping around those sunkissed scaling chords care of Škafar’s impeccable craftsmanship. The beats take on a disco snap for “Midnight House,” a smouldering snaking synthline unfurling itself to glorious heights. Bongos and toms support the sci-fi dipped keys of this seven-minute journey into the musical mind of Ichisan. Two tracks that offer a deep dive into the sounds of a truly singular artist.

Diffuse Reality presents TOBAS 005. We welcome Kushkusshhh with Hollowed Memories. A deep, hypnotic and powerful LP. Stellar sounds that awaken all your senses, a constant hypnosis, immersive from the very first track, with textures and atmospheres that take you on a rewarding journey into your most inner self. Available on 12" vinyl and digital. Prepare yourself, we're in this journey together.

A reissue of Volumes 1 and 2, originally released on the Rephlex label in 2007. This time, both volumes are brought together in a superb gatefold sleeve 4LP, taking you on a journey through the very best of Andy Jenkinson's work: Cool music, a blend of such quintessentially British culture that swings from gabba to IDM, from rough techno to electro to acid and analogue sounds - all packed into over two hours of madness. Here we go again!

There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.

FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.

For the first time in more than a decade, Paul St. Hilaire (AKA Tikiman) presents a solo album – 100% Tiki.

Over his 30-plus year career, St. Hilaire has become one of dance music’s quietly legendary figures. Born and raised in Dominica, he moved to Berlin in 1994 and has lent both his voice and his musicianship to some of the most iconic electronic music from the German capital – and beyond. Renowned for his collaborations with Moritz von Oswald and Mark Ernestus (AKA Rhythm & Sound), he has also appeared on records with Deadbeat, Rhauder, Larry Heard aka Mr. Fingers and Stereotyp (G-Stone Recordings), amongst others.

However, few know the extent of St. Hilaire’s compositional and technical mastery. From his home studio in Kreuzberg, which includes an extensive collection of vintage hardware, self-built instruments and notebooks scribbled with endless lyrics, he has created a vast archive of material spanning ambient dub, avant-jazz, lush techno and lovers rock.

Tikiman Vol. 1 is a heady, downtempo tour de force of patois metaphors on education, displacement and personal vs. global histories, as is evident on slippy album opener “Bedroom in My Bag”: Mister, mister / Where are you going? / I’m heading for a faraway land / What are you having in the bag in your hand? / Help us to understand / He said, I’ve got my bedroom in my bag.

Overall, the album’s lyrics reflect on life between Berlin and Dominica, specifically St. Hilaire’s hometown of Grand Bay, where he has worked with various musicians famous for the island’s different genres of carnival music. St. Hilaire himself always favoured the island’s more “discrete” music, developing a sonic synergy between two different geographical strains of groove and minimalism, and combining them with foundational Caribbean mixing techniques, which provide the basis for his songwriting and distinct
baritone.

Tikiman Vol.1 offers a rare insight into St. Hilaire’s complex artistry, from the eyes-down grooves of “Little Way” and the guitar-heavy digi dancehall experiment “Keep Safe,” to the subtle hypnosis of “Ten to One” and the softly crashing synth waves of closer “Three And A Half”, evoking not only beaches but also coasts and borders. It’s a fitting expression of both the breadth of St. Hilaire’s work, as well as his history as one of the few black, Berlin-based artists who, despite remaining largely overlooked, has influenced the city’s electronic music culture since its beginnings.


Credits
Written & Produced by Paul St. Hilaire
Mastered by Stefan Betke
Artwork by Grant Gibson

Kynant Records was founded in 2015 by Richard Akingbehin, a British-Nigerian radio programmer (Refuge Worldwide), music writer and DJ. Originally specialising in deep techno and featuring artists such as Cio D’Or, Terrence Dixon and Donato Dozzy, Kynant has since launched a sub-label Kynant EX which focuses on ambient, dub and experimental electronics.

2026 Repress

Creating music, sharing your sound, and performing — all from a small village on an island — is no easy feat.
Dear artist, do you find yourself in a similar situation? Then this record is dedicated to you.
Never forget your roots — and don’t forget to save your atoll!

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

After launching its label in 2020, Mother's Finest comes back with fresh tracks courtesy of Nasty King Kurl. Following a strong start with a compilation curated by Hodge and Franklin De Costa, Hekate showcases the mysterious and fun producer honing the magic of his craft. The EP features five deadly and frantic pieces, sometimes otherworldly vocals collide with sounds seemingly coming from all directions. The formerly Berlin based producer relocated recently with a cute dog to Poland. He has released since 2017 on various imprints such as Serious Trouble or 777 Recordings. His background is firmly rooted in modern hip hop, he performs mostly live which explains maybe why his productions contain this certain quality, this bit of craziness: a high that can happen anytime, anyhow, anywhere. Life is never boring in the Nasty Kingdom.

New album by SABA ALIZADEH, a groundbreaking voice in contemporary Iranian music who blends classical Persian traditions with avantgarde experimentation.

Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music, blending classical Persian traditions with avantgarde experimentation. His music, praised by THE WIRE as "a bridge between the ancient and the contemporary", turns sound and image into powerful narratives of memory and resistance. Over the past years, ALIZADEH (who relocated to the Netherlands a few years ago) has appeared at key festivals and venues such as Reeperbahn Festival, CTM, Flow Festival, Philharmonie Berlin, Kölner Philharmonie, solidifying his reputation as a singular live performer.
After the critically acclaimed releases "Scattered Memories" (his international debut, released on Karlrecords in 2019), "I May Never See You Again" (2021) and last year's "Temple of Hope", his new album fascinates again with a unique artistic voice, weaving together centuries-old sonic heritage and the urgency of the present through deeply immersive, meditative landscapes in two epic pieces. "Rituals Of The Last Dawn" may feel like a sad or resigned title (compared to the positively fierce "Temple Of Hope"), but at the same time the highly meditative music provides a good lot of contemplative strength. Appealing to an open-minded "world music" audience as well as fans of current streams of ambient or drone in its most subtle forms, ALIZADEH's latest work is a strongly needed soul food in bitter times. Created on the spot with his musical partners PIETRO CARAMELLI (guitar and electronics on "First Ritual") and LIEW NIYOMKARN (lap steel and electronics on "Last Ritual"), "Rituals Of The Last Dawn" is a pure, unfiltered emotional expression from one of contemporary Iranian music's leading artists.

Mit Robot feiert Caravan Palace den zehnten Geburtstag eines Albums, das den Electro-Swing neu definiert hat. Der Pariser Ausnahmeact vereint auf beeindruckende Weise energiegeladene Club-Beats, cineastische Retro-Ästhetik und eine unwiderstehliche Jazz-Sensibilität. Zum Jubiläum erscheint das Werk nun als exklusive Doppel-LP mit vier bislang unveröffentlichten Remixen - ein Geschenk für alle Fans, Sammlerinnen und Vinyl-Liebhaberinnen. Die Edition umfasst die ikonischen Singles "Lone Digger", "Aftermath", "Wonderland" und "Comics", die den Sound von Caravan Palace weltweit geprägt haben. Mit ihrem Mix aus Future Swing, Electro, Funk und pulsierenden Streicher-Hooks schaffen sie eine Klangwelt, die gleichermaßen nostalgisch wie futuristisch wirkt. Robot bleibt ein Meilenstein der modernen elektronischen Musik und zeigt auch zehn Jahre später, wie innovativ und zeitlos diese Band klingt. Die Jubiläums-Edition ist die definitive Art, das Album neu zu erleben - kraftvoll, tanzbar und voller musikalischer Liebe zum Detail.

Catapult yourself back to the early-'90s raves with this limited edition vinyl of Human Resource's 'Dominator'. Including legacy-championing renditions from Klubbheads, Frank De Wulf and Rebuke alongside the UK-charting original mix, this multi-track pressing represents the sound that's proven to be rougher and tougher than any other.

Long considered a "Holy Grail" of Latin vinyl, The Booga Mambo Beat (1967) by Steve Hernández y Su Orquesta Latinoamericana returns.

This LP has puzzled collectors for decades: who was Steve Hernández, the shadowy figure behind this powerful orchestra including top Puerto Rican and New York musicians?

Arranged by Ray Santos and featuring vocalist Vitín Avilés, the album delivers a unique mix of mambo, boogaloo, descarga, proto-salsa and 1950s big-band swing. A rare bridge between the Palladium sound and the emerging salsa era. Originally self-released and barely promoted, the record became a cult favorite among DJs and collectors.

Sourced directly from the original master tapes, discovered in outstanding condition, this edition is pressed on 180-gram vinyl and includes extensive liner notes by Pablo E. Yglesias (DJ Bongohead).and a digital download code.


A must-have archival release for collectors, DJs, and anyone fascinated by the hidden corners of Latin music history.

2024 repress

Lars Huismann makes a quick return to SHDW & Obscure Shape's newly minted Mutual Rytm imprint as he delivers a medley of classic, groove-driven techno productions via his "Sounds From The Past I" EP.

With recent releases via labels such as Slam's iconic Soma, Berlin-based DJ and producer Lars Huismann is quickly growing to become a familiar name of note within today's modern techno landscape. Having featured as one of the artists on the label's debut V/A release in February, with the German set to feature as a regular across the imprint in coming months, he unveils fresh shades to his sound palette on his return to Mutual Rytm with a combination of six slick techno cuts across his "Sounds From The Past I" EP.

The powerful, rolling dynamics of "Surge" open proceedings as Huismann quickly sets his stall, while "Collison" veers into slick, looping territories as the energy and tension are kept tight and high. Next, "Echo" ups the pace as tough kicks meet zipping melodies, filtered chords and looping vocal interjections amongst a medley of flurrying percussion licks, before "Funk Shed" takes cues from its title and showcases a classy blend of classic Detroit-influenced sonics guided by sweeping synths. Title cut "Sounds From The Past I" brings with it flashes of serenity and peace, before erupting and spiralling effortlessly into infectious and captivating drum grooves, before closing the show via the rich yet muscular tones of final offering and digital bonus track "Jackin".

Lars Huismann "Sounds From The Past I" EP drops via Mutual Rytm in March 2022.

2026 Repress

Sicily's SLV is able to merge technical mastery with emotional resonance. His potent techno sounds have come via the likes of SHWD's Mutual Rytm and Slam's Soma, and unite timeless yet forward-thinking sonics.
On 'Fleeting Dreams', he continues to refine his signature sound while channelling introspection and intensity into a collection of meticulously crafted cuts that balance precision and feeling, energy and space. Each track reveals a different side of his sonic identity: hypnotic rhythms intertwine with evolving soundscapes, while layers of distortion and melody merge into a dreamlike tension between the mechanical and the organic.

'Fading Moments' kicks off with a sleek blend of driving, supple kicks and warm synth ripples, while a euphoric vocal cry is buried deep to amp up the emotion. 'Scenario' then brings icy hi-hats and sinewy synths bring a futuristic feel to the unrelenting, high-pressure drums down low. 'Daruma' has a darker energy with menacing textures and paranoid FX bringing the rolling drums to life, while 'Bass Grit' has a hunched up rhythm, with groaning pads and fizzing static electricity that charge up the party. To close, 'Shimmer' sinks down into a muscular and deep rhythm that's marbled with restless synths and ever-rising tension.

In addition, digital bonus cuts 'Trust' and '1990' offer different perspectives with slamming drums, seductive vocals and feisty synth loops making for two more bold, immersive techno weapons.

Fresh for 2026, Something System Records returns with its second four-track EP, showcasing a carefully curated selection of forward-thinking underground sounds from across the DnB and jungle spectrum.

A1 – Creativity
Oxford-based producer SR makes his label debut with Creativity. Having already built a strong reputation through multiple vinyl releases and production collaborations with JEMONE on Metalheadz, SR delivers a powerful opener defined by tense atmospheres, razor-sharp drum programming, and weighty sub-bass. Designed to move both dancefloors and minds, this is a standout introduction.

A2 – 3 Times Around The Sun
Duburban & Peeb return to Something System Records for their second appearance following a prolific period of releases on some of the scene’s most respected labels. This track channels lush, uplifting pads reminiscent of the golden era of Good Looking Records, underpinned by warm sub frequencies and expertly edited drumfunk breaks that evolve beautifully throughout. A deeply musical and rewarding listen.

B1 – Fresh Outlook
Bristol-based producer Loma returns to the imprint with Fresh Outlook, a finely crafted 140 BPM jungle roller. Featuring intricately layered breaks, precisely placed subs, and an immersive atmospheric backdrop, the track takes the listener on a dynamic journey. With previous releases on John B’s BETA Recordings, Loma continues to demonstrate a bright and promising trajectory.

B2 – Tell Em Purdie
Closing the EP, Something System Records proudly welcomes Pixl to the label for the first time, collaborating alongside Duburban & Peeb. A seasoned producer with releases on numerous highly respected DnB labels and founder of Loop Progression Records, Pixl brings depth and experience to this jazz-infused finale. Smoky club atmospheres, textured breaks, deep subs, saxophone lines, and a spoken-word sample referencing a legendary drummer combine to deliver a rich, soulful conclusion to the EP.

This is another big moment for us, and if you have read the story on how the Psychology EP came to be, you will know that we spent a long time trying to track Dimension with the Fozbee & Cooz brothers.

This is my era of music, these are the tunes that I was raving to once I first got my driving license in 90/91. Its a style of music that has influenced pretty much my whole musical career. I find it fascinating that this music was basically by hip hop heads who only a year or two before would of discovered rave. A truly unique musical style and culture that could of only come out of the UK.

Check the soundfiles below and take yourself back to an illegal rave in a secret woodland in Wiltshire in 1991 where ravers, b-boys, hippies and new age travellers all partied together.

At the core of the creative process behind “HPC” and “Bor3d” lies meta-irony, a quality that permeates much of today’s digital content landscape.

Both tracks are a deliberate attempt to push the sound toward a barely perceptible absurdity and ironic unseriousness in their interpretation of well-familiar styles of dance club music. It is a play with form, expectation, and recognizability — balancing sincerity with sarcastic exaggeration.

Okay
Okay is built around interruption. Voices, fragments of dialogue, yawns, irritation — people seem to step inside the track uninvited. Someone is bored, someone is annoyed, someone tries to stop the flow entirely. Just like in real life, the process is constantly disrupted. The track reflects the experience of being surrounded by opinions, noise, and skepticism — especially the kind that will never be convinced, no matter what you do. “Okay” becomes a quiet, ironic response to this pressure: not agreement, not approval, but endurance. The track continues anyway.

Tripatura
Tripatura is a fictional creature — a warped echo of cryptid mythology. In this narrative, Tripatura doesn’t simply exist, it hunts. Once it finds you, it drags you into an endless trip with no exit point. Time stretches, perception blurs, and the track itself becomes the trap. Its prolonged, unresolved ending mirrors the experience of being stuck inside a loop that refuses closure. Tripatura doesn’t rush. It lingers, slowly pulling you deeper, until the trip no longer feels temporary.

Step into the spirit of the early rave years with “Parade006”, a high-energy EP rooted in the uncompromising sound of classic breakbeat. Drawing inspiration from the 90s, this release channels the raw pulse of a time when warehouse walls shook, kicks hit hard, breaks were chopped to the bone, and basslines pushed systems to their limits.

Right from the first track, the EP pulls you into a fierce rush of rough-edged samples, piercing rave stabs, and nonstop drive. Each cut blends heavy nostalgia with modern punch, fusing old-school hardcore attitude with contemporary production power.

Brace yourself for pure dancefloor pressure. Arms up. No restraint. The rave is back.



>>> comes in different marbled colored 12 “ Vinyl and ONLY on Vinyl <<<

2026 Repress

since his first ep tips' on luciano's label cadenza in 2007 producer and dj petre inspirescu emerged into one of the key figures of the romanian electronic music scene.

so far he released music on labels such as vinyl club, lick my deck or amphia. together with his buddies rhadoo and raresh he also launched in 2007 the label (a:rpia:r) -  a platform where he, his two friends and many producers from romania and abroad released detailed grooving house and techno, that stands out with delicate structures and one-of-a-kind grooves.

both of his more dance floor oriented solo albums intr-o seara organica...' and gradina onirica for (a:rpia:r) are enlarged with melodies, sounds and harmonies that go beyond the usual characteristics of a dance album.

furthermore his love for classic musicians like mily alexejewitsch balakirev, alexander porfiryevich borodin or or nicolai andrejewitsch rimsky-korsakow can be felt in the album padurea de aur (opus 2 in re major) and two more eps that he released under the alias pensemble on the romanian label yojik concon in order to unite classical spheres with analogue electronic music production.

in february 2013 he also released his highly acclaimed fabric mix cd that only features dance floor leaning music produced by himself. with talking waters' he published in late 2014 his first 12inch on mule musiq that is now followed by the full-length album vin ploile' which he produced without the intention to entertain with easy to hook up rhythms, melodies and harmonies.

even tough he established himself as a internationally playing house dj that regularly performs at all major clubs, festivals and other party destinations around the globe: as a musician petre inspirescu always tries to enter new territories to explore with a heartfelt human touch the infinite space of sound.

for his latest album the man that originally comes from the eastern romanian town braila stepped away from his former experiments of melting classical spheres with electronic music. instead the 36-years old man from bucharest only used some piano, string and wind instrument elements and analogue electronics to arrange a gracefully deep ocean of sound.

all slow grooving tracks spread the atmosphere of live improvised sessions that are edited, tweaked and mixed to perfection. in-the-moment moods of strange and unusual analogue synth sounds groove in a fluid quality with subliminal bass shapes, latinate percussions, jazz rhythms and acoustic melodies.

together they create a gaseous kinetic atmosphere full of tangible rhythm patterns, delicate chords and ghostly modular synth pads - all mixed subtle to create space for the tones between the tones.

you can call it a hypnotic after hour album for after hours that are dedicated to a deep listening experience. you can tag his arrangements as brilliantly textured and musically super-charged ambient, which goes beyond the usual definition of the genre.

all nine suspenseful compositions seduce with a deep melodic sensibility, harmonic adventures and an overall rhythmic ambiance of freshness and laidback enthusiasm. together they represent a challenging auditory experience that will resonate in your mind long after the music has finished. 

COLLECTING ORDERS FOR REPRESS

With a name that evokes experimentation and defiance of the mainstream, Laboratoire Obsolète is more than just a record label it´s a creative laboratory where sounds alchemist can craft groundbreaking compositions, redefining the very essence of music.

Repress.

Convextion steps up under his “Event Related Potential(E.R.P.)” alias and delivers 4 special cuts for OM:NIA that push his sound into new realms.

Silat Beksi is back on RAWAX!
We are very happy to present you his almost 3rd release which
couldn't sound better! "Vertigo" is another high qualiyt record for the dancefloor.
Not to be missed!

Peach Discs continues into 2026 with a deeply jacking record from the king of the live house jam Demuja. If you've seen him on the 'gram you'll know just how incredibly prolific he is – the tracks that make up this EP were whittled down, tweaked and finessed from close to 100 demos, and we're thrilled with what we've put together, together. In his own words, the EP is "a little love letter to the dancefloor that lives within the idea of a long, sweaty night out. All the tracks were made at very different stages – some produced a while ago, others more recently – and I hope that’s part of what makes the EP interesting as well."

The "title.txt" EP embodies a pure distillation of Demuja's sound– rooted in classic house techniques with a dubbed-out sensibility and, the record's five tracks all stem from live-jams bashed out with focused intention in his Austrian studio on a plethora of drum machines, synths and effects units.

Things kick off with probably the wiggliest of the lot, as "Stop Asking Me" worms a long-range bassline around snappy, stripped-back drums before leaning towards techno (can you hear a snare on the 2 and the 4 cos i can't) on "Oldhead," as its dusty samples drag it back towards house, with a sprinkling of dubstep flavour tucked away in the breakdown. The A-side wraps up in a dubbed-out mode with "Say No More's" deep, modulating textures wrapping themselves around skippy, insistent percussion.

Those dub sounds carry over onto the B-side's "Tool 6," as classically filtered chords peek through the mix (though that bassline is definitely talking tech-house), and Pulse brings it home with strutting drums, disembodied vox and arcing synthlines.

We've also thrown in two bonus tracks you won't find on the 12" but will be available to those that pick up a copy of the record through the Peach Discs Bandcamp. Tasked with picking one fave each, Gramrcy went for "Almost Cherry," a barreling ride across an insistent Reese bassline reminiscent of Samuel L Sessions' best bombs, while Shanti chose the wiggling, diva-wailing "Art of Failing."

Vita Noctis is a curious Belgian formation that, in a more experimental vein, recorded two cassette tapes featuring a dark and distorted sound blending industrial with minimal, darkwave, and synthpop. Active during the 1980s, they remained inactive for many years until Dark Entries Records revived their work in 2011, releasing recordings created between 1984 and 1986. This encouraged Kris and Martine, the current members of the band, to continue the legacy of Vita Noctis by creating new music.

This EP is a selection of tracks created by Vita Noctis from the 2000s onwards. It includes songs that have never been released before, such as “Betrail,” an extended version of the song “Engaged,” along with other tracks that will appear on vinyl for the first time, marking the first release of Casual Strippers Rubicon Records. Also the EP comes with an insert featuring an image of Vita Noctis printed on yellow paper.

Hope you enjoy!

Gregor Tresher is finally back on his own imprint with a track that once more showcases his impeccable songwriting skills and even though he manages to deliver a song that fans will recognize as a Tresher production, it's not a repetition of his earlier works in any way, but another step forward in his ever evolving sound.. "Sleeping Giants" has been a secret weapon in Gregor´s DJ-sets, often dropped as the closing track if the night was really a special one. It's a journey driven by arpeggios and layered drumming that culminates just before a mysterious vocal sets the tone for the second coming. Gregor is obviously back on top of his game. And well, then there´s the B-Side: A world renowned DJ and producer, and a dear friend of Gregor and the BNS family delivered a remix that can only be described as pure perfection. It forces the original track on to the most massive warehouse floor you can imagine. Mr. Enrico Sangiuliano invites you to witness a true masterclass in remixing by delivering nothing short of an absolute peaktime monster, while keeping the vibe of the original respectfully intact. Ladies and Gentlemen, we give to you: Sleeping Giants!

A fresh breeze of color, groove, and charm marks the first outing of OKAY OKAY, a new label from Germany that celebrates playful, soulful, and dance-ready sounds beyond genre borders.
With Marmelade Dew EP, Gelée serves up a vibrant debut full of disco shimmer, Italo-house warmth, and a sweet dose of pop sensitivity. It’s a record that feels both nostalgic and daring, sun-kissed melodies meet tight rhythm work and carefree emotional drive.
From early-morning club sets to slow-burn afterhours, Marmelade Dew EP is an invitation to smile, move, and surrender to simple pleasure. A lovingly crafted 12″ for those who like their house music playful, tactile, and just a little bit sticky.

Rock 'n Roll With The Modern Lovers is the second album released by The Modern Lovers.

The band was formed in 1970 by singer, songwriter, and guitarist Jonathan Richman, with Jerry Harrison (keyboards - later went on to join Talking Heads), Ernie Brooks (bass), and David Robinson (drums). Richman's friend John Felice joined them occasionally. Their sound almost totally focuses on the sound from the Fifties. The lo-fi record breathes folky roots music and rock ‘n roll as it would sound ages ago. The albums features the popular tracks "Ice Cream Man", "Roller Coaster By The Sea", and "Egyptian Reggae". The latter was a cover version of Earl Zero "None Shall Escape The Judgement" and became a UK Top 5 hit.

Rock 'n Roll With The Modern Lovers is available as a limited edition of 750 individually numbered copies on silver vinyl.

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.

'The Endless Dance' is the first collaborative album from Northern Irish producer and composer Hannah Peel and Chinese percussionist Beibei Wang. The record is grounded in the strength of ancient concepts, but comes alive with the joy and freedom of play as together, Peel and Wang travel through the 24 solar terms of the Chinese calendar with a cornucopia of sound in tow – synths and prepared piano alongside traditional and unconventional percussion.

The album is collaged together from recordings made over five days at legendary rural studio Real World, a setting which aligned with the duo’s inspiration from the natural world creating a permanent record of their shared musical landscape, informed by the flora and fauna that emerge and retreat through the seasons.

Both genre-defying, storied artists in their own right, Peel and Wang met while working on Manchester Collective’s 2023 album NEON and 'The Endless Dance' certainly represents a step-change from the duo’s shared classical backgrounds – but their knowledge and training is also the foundation of its freewheeling audacity, giving them the confidence to trust their instincts.

The album is produced by Mike Lindsay LUMP, Tunng, Guy Garvey, Jon Hopkins who, with free rein, brings added energy and creativity to the album, whilst Peel & Wang are also joined by Hyelim Kim on Daegeum, a Korean flute with “colourful overtones on every note”.

Track to track, 'The Endless Dance' is unpredictable and unexpected, which is in part due to the genuine curiosity and outside perspectives that each player brought to the sessions. “I am so familiar with Chinese heritage, but I don't see how it can present in electronics, for instance,” says Wang. “Hannah comes in with that direction, to imagine what the sounds could be together.” The characterful richness of the album stems from the commonalities they found in the sessions. “We both come from cultures where story is really important,” explains Peel. “The attention to detail comes from telling a story, and one note can set that off in a different direction.”

'The Endless Dance' is a major work from two accomplished, singular artists - but it’s also the sound of mutual curiosity and shared fun, or as Wang puts it: “Two women talking in totally different language that had a wonderful chat.”

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Big Crown freut sich, das zweite Album von Thee Marloes, ,Di Hotel Malibu", zu präsentieren. Es erweitert den Rahmen - ein selbstbewusster Schritt weg von den Grenzen, die ihren Sound einst klar definierten, hin zu etwas Durchlässigerem, Gesprächigerem und zutiefst Indonesischem. Zwei Jahre sind vergangen, seit ,Perak", das Debütalbum des Trios aus Surabaya bei Big Crown Records, ihren einzigartigen Sound vorstellte. Dieses neue Album bricht nicht mit dieser Tradition, sondern erweitert sie und zeigt, wie sehr sie als Band seit der Veröffentlichung ihres Debüts und all den damit verbundenen Erfahrungen gewachsen sind. Bestehend aus der Sängerin und Keyboarderin Natassya Sianturi, dem Gitarristen und Produzenten Sinatrya Dharaka und dem Schlagzeuger Tommy Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von Satwick, haben Thee Marloes stets als Einheit gearbeitet, wobei ihre Songs von gemeinsamen Referenzpunkten und einem ausgeprägten Sinn für Groove geprägt sind.

Auf diesem Album erweitert sich diese gemeinsame Sprache. Die Arrangements bewegen sich über ein breiteres Spektrum, mit neuen instrumentalen Farben, unerwarteten rhythmischen Wendungen und einem lockereren Ansatz in Bezug auf die Struktur. Die Band beschreibt es als eine Reaktion auf die letzten zwei Jahre ihres Lebens: soziale Realitäten, Liebesleben in Der Album-Opener ,Under the Silver Moon" ist ein kühler Two-Stepper, der die bitteren und süßen Seiten von Fernbeziehungen vor einem luftigen musikalischen Hintergrund thematisiert. ,Six Years" ist eine Seite aus dem Leben der Sängerin Natassya Sianturi und ihrem Kampf, den Schritt zu wagen, einen bequemen und sicheren Tagesjob aufzugeben, um ihrem Traum von einem erfüllten Leben zu folgen.

Sunday in the Park with George presents the music from the original 1984 Broadway production of Stephen Sondheim and James Lapine’s acclaimed musical. Recorded shortly after the show’s premiere, the album features the original cast performing Sondheim’s layered score, inspired by Georges Seurat’s painting "A Sunday Afternoon on the Island of La Grande Jatte".

The cast of the musical is led by Mandy Patinkin and Bernadette Peters, whose performances tell a story about art, love, and artistic legacy across two time periods. The recording includes notable songs such as “Sunday,” “Finishing the Hat,” and “Move On.” Winner of the Pulitzer Prize for Drama, Sunday in the Park with George is widely regarded as one of Sondheim’s most distinctive works. Produced by Thomas Z. Shepard, the recording won the 1984 Grammy Award for Best Cast Show Album.

The soundtrack of Sunday in the Park with George is available as a limited edition on blue vinyl and includes a 4-page booklet. The 2LP is packaged in a deluxe sleeve with linen laminate finish.

Bright Opaque Orange Vinyl, Opaque Turquoise Vinyl & Semi-Opaque Natural Vinyl. ,Images of Life" ist ein die gesamte Karriere umfassendes 3xLP-Retrospektive-Boxset, das die beeindruckende Bandbreite und Tiefe von Detroits unbekanntem Songwriting-Genie Ted Lucas beleuchtet. Die erste Platte ,Strange Mysterious Sounds (1965-1970)" zeigt Teds Annäherung an die psychedelische Major-Label-Szene durch seine Bands The Spike Drivers, The Misty Wizards und The Horny Toads. ,Rainy Days (1970-1974)" präsentiert die akustische Wärme und den Charme seiner Solokarriere, die denjenigen am besten bekannt sind, die bereits mit Teds selbstbetiteltem ,OM"-Album von 1975 kennen. ,Impossible Love (1979)", das verschollene zweite Album, präsentiert Ted sanft und fast schon im ,Yacht-Rock"-Stil, ohne dabei jemals die wahre Kunstfertigkeit und das handwerkliche Können des einmaligen Talents Ted Lucas zu verraten.


































[xh] 11IMPOSSIBLE LOVE [ACOUSTIC]

Brussels-based Maloca presents Paradise Mountain, the new EP from Katatonic Silentio, DJ and production moniker of Italian sound artist Mariachiara Troianiello. Positioned in counterpoint to her darker,
more visceral work, the record delicately folds Detroit electro and techno drum structures into a softened New Age glow, generating environments that breathe, shimmer, and slowly coalesce.

Across the EP, tracks unfold gently, rife with wet modular tones, chromatic arpeggiations, and light-touch percussion which drifts in and out of focus, blurring the line between dancefloor function and inward-facing sound art. Paradise Mountain ultimately traces a slow ascent through luminous, carefully crafted terrain - quietly joyful and deeply hypnotic in its approach.

Amateur forever? Oh yeah! “Amateur Hour” celebrates 15 years of Frank Music - still running on pure DIY energy, with Johannes Albert happily admitting he’s got no master plan, just a deep feel for House Music. And somehow, nearly 80 releases later, that instinct still hits. Volume II dives into the digital archives - bringing these cuts to wax for the very first time. Tom drops the vocal house bomb “Watch Me”; New Zealand's Eden Burns flips “Sounds” into something seriously special, and Claus Casper brings the sunshine with “Piano Italiano” (exactly what you think it is). And then there’s Amount’s “Feel You” - the one that’s been moving bodies since Fusion Festival 2023 and hasn’t really stopped since.
Let's be frank. Once again.

For its 30th anniversary, Kruder & Dorfmeister’s DJ-Kicks is available for the first time in mixed form on 3LP, remastered by Bernie Grundman and packaged in a special box set including original imagery. Kruder & Dorfmeister's rendition of the series created an era defining moment, which tied together a glowing array of musical registers. The Viennese downtempo royalty blended a fusion of slowed down moments across many genres with rolling Drum and Bass from the likes of Aquasky, the melting acid lines of deep Hardfloor and the 90s boom bap sampling, smoked out atmospherics of Thievery Corporation amongst many more.

These masters of mood channeled the sound of a moment with their DJ-Kicks, which still retains a certified cinematic sheen, the patina of the real – curation and mixing at its most playful and refined. It remains to this day one of the most recognizable DJ-Kicks and mixes of all time. Containing two certified cuts from K&D themselves; the wooze is strong on “High Noon” with Dorfmeister's intoxicating jazz flute licks and a trembling harmonica atop a mirage of breaks. Their DJ-Kicks original and legendary tune “Black Baby” closes the mix providing a piece of grandeur, riding off into the distance deep to the vanishing point.

When the mix dropped in 1996, the slo-beat pioneers were among the hottest producers in the dance universe. Even though they only produced two unreleased maxis, names like Count Basie, Bomb The Bass, Alex Reece or United Future Organization had some of their tracks remixed by these exceptional producers. Rumour has it during the work for DJ-Kicks and their debut album they refused doing remixes for U2, Grace Jones, Elvis Costello and the Fantastic Four! ‘DJ-Kicks: Kruder & Dorfmeister’ took its place in the pantheon a long while back, effortless in its ability to traverse sounds, styles and tempos while retaining a selection which remains timelessly recognisable as: Kruder & Dorfmeister.

‘Sings Again’ is the fifth album from British electronic musician Will Samson. After starting the decade with a pair of largely instrumental albums, Samson… sings again.

The familiar collection of old tape machines that have characterised much of Samson’s sound remain (with a 1971 Seinnheiser microphone for the vocals), firmly rooting ‘Sings Again’ in an organic sonic landscape of electronic and acoustic influences.

Taking inspiration from the early works of Bjork, Four Tet and Efterklang, much of the album was built upon recording and then sampling organic sounds such as twigs, rocks and paintbrushes to create percussion. An empty glass bottle was transformed into the otherworldly organ on raw opener ‘0333AM, and his own voice became the moody synth sound on the sparse electronica of ‘Darabuka.’ Elsewhere, the hypnotic, emotionally resonant ‘Time Used To Feel Like’ and grandiose album finale ‘Julian’s Rocks’ offer a raw and direct insight into the most vulnerable parts of himself – a long-established artist beginning again.

Australian composer-performers Judith Hamann and James Rushford have worked together in countless projects for two decades, perhaps most notably in Golden Fur, their trio with Sam Dunscombe. Black Truffle is pleased to announce Midmeste, their first work as a duo. Its title is Middle English for ‘the middlemost point’, alluding to how the piece builds on the points of overlap between the highly personalised musical languages Hamann and Rushford have developed in recent years. Performed on cello and a variety of pipe organs, Midmeste is a spacious, sometimes unsettling exploration of their shared interest in alternative tunings, psychoacoustic phenomena, the physical properties of their instruments, and the usually peripheral sounds generated by the performing body.

Beginning with a sequence of austerely vibrato-less harmonics from Hamann's cello, trailed by Rushford's whistling portative organ tones, the music soon expands into a slow-moving melodic wander, pausing at times to linger over an uncomfortable harmony or particularly resonant cello tone. Hamann and Rushford have long histories of engagement with pre-Classical European musical traditions, having in past projects performed and radically extended the work of Solage, Louis Couperin, Johann Conrad Beissell and other composers. Here they use a 15th century song by John Dunstaple, ‘O rosa bella’, which returns throughout the piece, distorted, aerated and splayed into new forms.

Developed while the two shared residencies at Akademie Schloss Solitude, Stuttgart in 2020 and La Becque on Lake Geneva in 2023, Midmeste integrates recordings made (at at the invitation of the Biennale Son) on the organ of the Basilica St Valere in Sion, Switzerland—the world’s oldest playable organ, built in the early 15th century. Played by both Rushford and Hamann, the instrument’s idiosyncratic features, including bellows pumped manually using massive wooden beams, are integrated into the music through amplification. Creaks and thumps locate the music physically both in the performers’ bodies and the specific site of its making. Moving through a series of distinct episodes across its forty-minute span, Midmeste makes space for near-silent duets of high harmonics and hissing air, moments where twittering high tones and rumbling sub-bass could be electronic, and static fields that unexpectedly blossom into almost Romantic harmonies.

Listeners familiar with Hamann and Rushford’s work will find many familiar features here: the stunningly rich cello tones, their patient sustain allowing heightened awareness of the inner life of sound and its interactions with the environment; the care with which acoustic space is activated, becoming at times a third instrumental voice; the attention to fragile, unstable sonorities that sometimes have a comic edge. A major work from two key figures in contemporary experimental music, Midmeste synthesises rigorous exploration of fundamental questions of sound and performance with an unapologetic embrace of beauty.

Focus 21 is back with a second sizzling disco drop, this time in the form of 'Boogie Magic Vol 1', which has its feet firmly rooted in the 80s and the iconic machine sounds of that era. All four cuts are super tight and super funky from Gateway Jones, starting with 'Transmission', which is turbocharged with razzle-dazzle. 'Contact Zone' is slightly deeper and more sensuous with its playful synths and wriggling baseline. 'Non - Physical Boogie' is a taught stepper with loose claps and funky licks, then 'Midnight Call' closes with more of the same - feel good, uplifting but classy and sophisticated disco-boogie brilliance. A vital EP full of craft.

The borderless, tropical band “of Tropique,” whose core sound blends funk and rock-infused exotica, releases a 12-track full-length album on vinyl LP!!
This work maximizes their core lineup as a guitar-less trio, featuring a diverse array of 14 guest musicians to construct a rich sonic landscape.
This landmark release in the history of domestic exotica and tropical music features Mutsumi Kobayashi of the Minyo Crusaders, Rockin' Enocky of Jackie
& The Cedrics, to global talents like Joshua Camp of CHICHA LIBRE and MIRAMAR, the standard-bearer of US new wave Latin bands, and more!
It's a masterpiece that delivers the full thrill, excitement, and pleasure of encountering unknown music.

Ten years ago, in a sharehouse on Chapel Street, four 20-year-olds with zero expectations wrote and recorded an EP in a single afternoon. Those six blistering minutes of music became Giddy Up. An hour later, Amyl and The Sniffers had a name, a Bandcamp upload, and the beginnings of a legacy.
Following a year of backyard gigs, playing for friends and partying across Melbourne's sticky carpet music scene, the band released their iconic second EP Big Attraction in 2017.
Now, to celebrate a decade of raw power and reckless spirit, Giddy Up/Big Attraction returns in a definitive 10th anniversary 12-inch vinyl edition — fully remastered for maximum punch.
Featuring early classics like “I’m Not A Loser” and “Stole My Pushbike,” plus enduring live favourites “Balaclava Lover Boogie” and “Westgate,” this is the sound of Amyl and The Sniffers before the world caught up — feral, funny, and unstoppable.
The LP is housed in a gatefold sleeve showcasing Chris Sutherland’s iconic 2017 band photo, alongside an exclusive new essay from Amy Taylor and a heap of never-before-seen behind-the-scenes shots from the band’s earliest days by Jamie Wdziekonski. As Amy recalls: “We recorded and wrote over the afternoon… we’d never played together before that day… it’s spontaneous, and fun and achievable in that time because to us it sounded more than good and we weren’t perfectionists and it didn’t matter.”
From DIY house shows in Melbourne to international stages, it all started here.

House and techno mainstay Steve Bug returns to Nu Groove with four-track EP ‘Let’s Work’, showcasing the sound of a true electronic pioneer on vinyl. Up first is title track ‘Let’s Work’, a bouncy club record with a cool, metropolitan feel. What follows are ‘Mr Wonders’ and ‘Not The First Time’, two tracks that highlight Steve Bug’s rhythmic expertise and mastery of tension. Closing out this vinyl collection of fresh house music is a collaboration with Los Angeles native and dance culture expert Juliet Mendoza; ‘Whispers In The Dark’ features Juliet’s magnetic spoken word over Steve’s brooding electronic groove.

At the time, Mikio Masuda was frequently mentioned as a Japanese jazz musician on par with the soft-and-mellow crossover sound of artists like Bob James and Ramsey Lewis. With a supple sensibility that moves effortlessly between jazz and rock, he stands as one of the defining figures of the 1970s. Now, one of his essential masterpieces, "Moon Stone", has been confirmed for reissue as the fifth installment from SPIN THIS NOW!

Electric Piano, Organ, Clavinet, Synthesizer - Mikio Masuda
Drums - Hideo Yamaki
Electric Bass - Motohiko Hamase
Electric Guitar - Kazumi Watanabe
Electric Guitar, Vocals - Kazumasa Akiyama

Ein authentischer Geschichtenerzähler der heutigen Indie-Rock-Szene ist der in Tampa geborene und in New Orleans lebende Singer/Songwriter Thomas Dollbaum, und ,Birds of Paradise" ist sein bisher kraftvollstes und dynamischstes Werk. Nach seinen von Kritikern hochgelobten Alben "Wellswood" (Big Legal Mess, 2022) und "Drive All Night EP" (Dear Life Records, 2025) ist "Birds of Paradise" ein Abschiedsbrief an verlorene Liebste und sein früheres Ich. In diesen Songs sucht Dollbaum nach Akzeptanz an vergänglichen Zwischenorten: in den Kiefernwäldern Floridas, auf Nebenstraßen, die zur 1-95 führen, wo Vögel über das Wasser fliegen. Und obwohl die Geister seiner Alt-Country-Vorgänger Townes und Molina definitiv präsent sind, tritt Dollbaum auf Birds of Paradise aus ihrem Schatten heraus - er winkt der Vergangenheit zu und klingt dabei umso mehr wie er selbst. Dieser Moment - dieses Album - ist längst überfällig. Die Aufnahmen zu Dollbaums beiden vorherigen Veröffentlichungen hatten aufgrund von Umständen, die außerhalb seiner Kontrolle lagen, viel zu lange gedauert, was ihn frustriert zurückließ. Nachdem er acht Jahre lang von zu Hause weg war, war der Ort, den er verlassen hatte, nicht mehr der Ort, an den er sich erinnerte, und die Unveränderlichkeit der Natur fühlte sich wie eine Konstante an, über die er schreiben wollte. Mit einem Gefühl der Unmittelbarkeit schrieb er ,Birds of Paradise" in drei Monaten. Er rief die Musiker an, denen er am meisten vertraute und die er am meisten bewunderte - Nick Corson, Josh Halper und Jake Lenderman - und bat sie, sich mit ihm bei Dial Back Sound in Water Valley, Mississippi, mit dem Produzenten/Toningenieur Clay Jones zu treffen. Sie lernten das Album in vier Tagen ein und nahmen es auf, wobei sie einen Blitz in einer Flasche einfingen, eine klangliche Offenbarung, auf die Dollbaums Songwriting schon immer gewartet hatte. Mit der Hilfe von Lenderman, Halper, Corson und Jones ist ,Birds of Paradise" Dollbaums hart erkämpfter Durchbruch. Lebendig und nachhallend wie Gedichte und Kurzgeschichten, die man nicht vergessen kann: Kojoten heulen, Vögel fliegen nach Süden, Kinder jagen Kaninchen durch das Zuckerrohr und Zigaretten kosten vier Dollar pro Packung. Birds of Paradise erinnert uns daran, woher wir kommen - an die Dinge in uns, die wir vergessen haben - wir brauchten nur Dollbaum, um uns das zu zeigen. So blickt man ohne Angst oder Scham zurück. So sieht Authentizität aus.

DOGMA marks a new beginning for Coloray. As the name suggests, the project explores the endless search for meaning in a world that does not always offer one. Across 11 tracks, the artist reflects on queer romance, grief, youthful hope, and melancholic joy. Emotional, chaotic, and imperfect, DOGMA mirrors both the artist and the messy reality of a life unfolding. Rather than forcing rigid structures, the album embraces looseness and human presence. Live recordings and improvised songwriting take center stage- every lyric was written in the moment, and the tracks remain intentionally raw to preserve their imperfections.

In this way, the album is both personal and political. It calls for belief in keeping humanity alive and for dismantling the societal dogmas that push artists away from the core of their creative identity. DOGMA is an honest journey of self-authorship, unfolding through the sounds of new wave, disco-punk, electro, and ambient music.

Step into a candy box of sound: sweet Italo-infused house and tangy, bass-heavy breaks. Some tracks hit like hard candy, daring you to bite, while others are sticky and irresistible, gluing you to the dancefloor. B.Visible tasted all the sweet treats without losing a tooth, but the synths took a proper beating. On this DJ tool, you'll find a track for every part of your set, with a package that nods to '90s electronic music without losing its timeless charm.

B.Visible is a Vienna-based DJ and producer. His sets blend danceable beats with a strong musical vision - ranging from disco and house to breaks and experimental electronics, complemented by rare vinyl discoveries. Each selection is surprising, versatile, and curated with great attention to detail. His productions are just as multifaceted as his DJ sets: warm drums and organic textures meet carefully crafted electronic elements designed with the dancefloor in mind. The result is a distinctive signature style - accessible, diverse, and independent. His music is regularly featured on Austrian radio stations such as FM4 and receives international
support from BBC DJs including Gilles Peterson, Tom Ravenscroft, and Don Letts. B.Visible's music thrives on surprise and depth - whether in the studio or on stage, it always unfolds with a unique dynamic, drawing audiences in from the very first moment.

Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.

Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.

These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.