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with his third album 'vin ploile' the bucharest, romania based producer, musician and dj petre in-spirescu captured a whole new audience in 2015 and reached out with minimal leftfield ambient sounds to music loving folks, that are not part of the world-wide dance music universe.
well known as one of the key figures of the romanian electronic dance music scene since his first ep 'tips' on luciano's label cadenza, inspirescu stepped away from club sounds that made him famous due to releases on labels like vinyl club, lick my deck or amphia.
also his two solo albums 'intr-o seara organica...' and 'gradina onirica', both released on (a:rpia:r), the record label he initiated with his buddies rhadoo and raresh in 2007, do not have much in common with the sound of 'vin ploile' - a mesmerizing deeply musical album that he only tuned in with some elements of piano, string and wind instruments as well as analogue electronics.
at the end of 2015 his nine slow swinging arrangements where celebrated in many polls and now, just a bit more than one year after the release of 'vin ploile' petre inspirescu delivers 'vîntul prin salcii' - another longplayer enlarged with seven, up to epic twelve minutes long arrangements, that continue where 'vin ploile' ceased.
they all listen to the name 'miroslav' and only differ numerically in their title. you can call them ambi-ent. you can call them minimal music in the sense of classic compositions by steve reich or terry riley. they groove - sometimes more, sometimes less. and they spread the sounds of flutes or saxophones, delicate piano figures, organic jazz drumming, arpeggiated analogue synth-lines, mesmerizing strings, choral singing, alienated looped vocals and spaced out new aged spheres.
what unites them all is the way, the melodies dance upon and in each single tune. their beautiful tex-tures ensnare and they are continuously engaged with experimentation. a mystical album full of evolu-tionary music to which each listener is able to paint his very own emotional picture. moody, dark and at the same time light-flooded shape-shifting compositions - made for those who love to surrender them-selves to a gentle dance between experimentation and attractiveness.
the cover artwork for petre inspirescu's album was made again by the illustrator and photographer julian vassallo, who's artistic works fascinate with a touching spirit of distance, that captures the truth in each single motif. just like petre inspirescu's music, only that his art grooves with notes that tell somehow: there is no truth. there is only perception.

The Label Owners Of Enough! Music Will Tell The Next Story With Their Music Project. The Following Releases Are Bind Together Witch Each Other Through The Same Story. Each Release Gets You Closer To The Whole Story. Enjoy Listening To The Invited Second Artist Digitaline (Cadenza, Get Physical, Raoul). Four Groovy, Glittering Tracks From Eveline Fink
and Digitaline are in the right direction in to your heart. The Secret Of The Whole EP Is The Concentrated Passion. Enjoy Our Second Journey !

repressed !

It was in 2014 when a mutual friend introduced me to Victor Ruiz while he was staying here in Berlin. I invited Victor to my studio where we had a fantastic session, playing our music to each other, listening to stuff we like and simply talkin and connecting. Since then, we became close friends as well as starting to work together. Victor has released two outstanding EPs on Electric Ballroom by now. This summer we met again and recorded three tracks. The result is our first joint EP, of which I am very proud.

" Modularz returns with a new release. the return of the limited project - Dead Architect Series " Portfolio Two
focusing the entire release on Historic Architectural marvels and attempting to release tracks fueled by how they have influenced each of the producers and redistributing the energy through the language of techno.

Lauf001 is a collaboration between Siggatunez and Oliver Bernstein. For -Funkplace One- and -Aliibumba- they visited eachother in their cities and worked together in the studio. The result are two head nodding tracks from hip-hop beat stuff to minimalistic house. A perfect bridge between Dessau & Berlin.

After the success of the first A-sides compilation in 2012, Adam Beyer has decided its time to release another. With Adam's stature steadily growing as one of the leading talents in the Techno scene and the rise of Drumcode, the standard of demo's that have been sent to Adam have been top notch. Adam has now decided to release two compilations with 10 tracks each, consisting of tracks that Adam has tried and tested.

There are also new artists that have been invited to release on Drumcode for this compilation and others who are a staple in Drumcode's core family. Combining both old and new talents Drumcode have come up with something unique and distinctive to make this two-part compilation something extra special.

After the success of the first A-sides compilation in 2012, Adam Beyer has decided its time to release another. With Adam's stature steadily growing as one of the leading talents in the Techno scene and the rise of Drumcode, the standard of demo's that have been sent to Adam have been top notch.

Adam has now decided to release two compilations with 10 tracks each, consisting of tracks that Adam has tried and tested. There are also new artists that have been invited to release on Drumcode for this compilation and others who are a staple in Drumcode's core family.

Combining both old and new talents Drumcode have come up with something unique and distinctive to make this two-part compilation something extra special.

The first taste from Joseph Capriati's 'Self Portrait' has landed, as Drumcode drop a double shot from techno's heir apparent hugely anticipated second album. The tracks 'Fratello' and 'Awake', have been highlights of Capriati's sets in recent months, punctuating performances at landmark gigs such as his main room closing set at the internationally respected Time Warp Festival in Germany and maiden coast-to-coast tour of the US.

'Awake' was born out of Joseph's longstanding love affair with Holland's famous Awakenings parties and is a homage to the fanatical fans who turn out en masse at each event. Tense, atmospheric and relentless, 'Awake' captures the feeling of a momentary release of energy that is such a part of the high-octane Awakenings experience.

'Fratello' has achieved anthem status since it debuted in Capriati's sets last September, such is the reaction it has garnered from fans. A work of rare beauty, this is techno at its most emotive, as hypnotic melody is laced with intricate key patterns, while the Italian's trademark shaking percussion propel the track forward.u

After several releases on labels like Bar25, Microtonal, Dantze and Etui Records End Of Tape finally hit the box with their Tape Jam EP.

These guys don´t talk with each other, they just do music and that´s the best. The result of this gone wrong musician friendship (but tight producer team at the same time) you can celebrate with this EP.

This is no snow from yesterday, it´s the musical climatic change of tomorrow - without any opportunity. Played & supported by Paco Osuna, Anderson Noise, Lexy, Electric Rescue, Beatamines, Gabriel Ananda, Piemont, Carlo Lio, Markus Kavka and many more.

Ayô Dele — which means "joy comes to me" in Yoruba — is neither a slogan nor a promised miracle. It is a breath of fresh air. That of an album born in the interstices, where the word find their way between shadow and light, between the disorder of the worldand the impulse to be .
At the heart of the project, Julien Gervaix and Damien Tesson, multi-instrumentalist beatmakers, share a groove language that is both dense and airy, where every detail breathes and finds its place.
With background in Afrobeat, Dub, Funk, Soul, Roots Reggae, and Electronic Music, they treat the studio to be their playground. Their music is a hybrid groove that speaks to the body: round or bouncing basslines, brass oscillating between melodic warmth and funk energy, textured guitars, arpeggios, enveloping Rhodes, clavinet that slides, presses, and embraces. Everything comes together with precision and flexibility, in an inventive and warm composition. The meeting of their experiences and sensibilities gives rise to open, generous music, made for dancing and vibration.
With Ayô Dele , Ireke is embarking on a new chapter: the duo is refining its style,allowing the voices to breathe. The groove remains the driving force but opens up to intimacy. This intimacy is carried by two unique female voices: Nayel Hoxo, a Beninese-Nigerian singer/rapper, and Agnès Hélène, who has already made a name for herself on Tropikadelic with "Petit a Petit". They don't sing side-by-side; they coexist, respond to each other, and sometimes intersect. But each follows her own path: Nayel, with the power of her words in Yoruba, offers songs of elevation, healing, and resistance — a light born in the cracks Agnès explores these cracks themselves: what wavers within us, what reinvents itself in bonds, glances, and gestures.
For one track, Olivya (Dowdelin) joins this dialogue in Martinican Creole. Her sunny soul sketches the contours of gentle resistance and celebrates rediscovered light.
Ayô Dele embodies a quiet yet radical determination: to smooth nothing over, to let plurality, contradictory emotions, and mixed heritage live. An album that moves forward through vibrations, that speaks of emancipation without slogans, love without clichés, anger without uproar.
Two women, two inner worlds: a sensitive complicity, a shared breath. Music that seeks not effect, but echo, weaving a living soundscape between reinvented traditions and contemporary textures. An alchemy faithful to the spirit of Underdog Records, where music unites and brings people together. Ayô Dele : "joy comes to me." A lucid joy, crossed by shadows, patiently regained. Music that welcomes, releases, gives, and in doing so, makes us feel good.
In a saturated world, Ayô Dele chooses nuance: transmission without emphasis, joy without naivety. An album that vibrates more than it demonstrates, that connects more than it imposes, and which, in its quiet clarity, resonates with a deep desire to be fully alive.

Outstanding monimal grooves! In Spanish, Salida means “exit”, but in this EP, it becomes a metaphor for emergence. Not a way out, but a way through. From beneath layered emotions and dormant states, a new force begins to pulse. Textures rise from the underlayer. Grooves fracture silence. Each track is a signal of rebirth, slow, deep, inevitable. The artwork reflects this moment. From cracks of vivid red, new life pushes forward in green. It’s not escape. It’s transformation. This is Salida, the first breath of something real.

Outstanding monimal grooves! In Spanish, Salida means “exit”, but in this EP, it becomes a metaphor for emergence. Not a way out, but a way through. From beneath layered emotions and dormant states, a new force begins to pulse. Textures rise from the underlayer. Grooves fracture silence. Each track is a signal of rebirth, slow, deep, inevitable. The artwork reflects this moment. From cracks of vivid red, new life pushes forward in green. It’s not escape. It’s transformation. This is Salida, the first breath of something real.

In 2021 September Jazzbois has released their second full length album "Jazzbois Goes Blunt II" - the album became the most listened album of the trio to this date

Jazzbois is a jazz-hiphop fusion trio from Budapest, Hungary. Their studio albums and live shows are all equally heavily rooted in improvisation and momentary self expression, each performance is absolutely unique and daring.
In the past 3 years Jazzbois has played SOLD OUT headline shows in: Melkweg Amsterdam NL, Jazz Café London UK, Village Underground London UK, Duc des Lombards Paris FR, La Hasard Ludique Paris FR, Gretchen Berlin DE, Knust Hamburg DE, Ekko Utrecht NL, Simplon Groningen NL x 2, Jassmine Warsaw PL x 2, AKvarium Budapest x 3
Played on festivals like: Montreal Jazz Festival CAN, Montreux Jazz Festival CH, SZIGET HU, X the Tracks London UK, Brick Lane Jazz festival UK, Jazz á Vienne FR, Istanbul Jazz Festival TR, Jazz Open Stuttgart DE, Blue Summer Festival PL, Jazz Around PL, Jazz in the Park RO, JAZZx RO…

Punctuality presents its ninth release, Night Time, a potent four-tracker from Irish born, Berlin based producer New Members. Positioned on the spriitzzier end of the label’s canon, the record is a refined exercise in restraint, channeling classic, deep leaning house through a starry eyed, nocturnal lens.

The arrangements are unrushed and uncrowded, with each track built from a small selection of elements deployed for maximum impact. Evoking the deep cuts of early Balance and Global Underground mixes, the EP deftly weaves golden era progressive influences with neoteric production aesthetics. The result is polished, punctual tech house for late nights that stretch seamlessly into the morning light.

Title track Night Time carries a closing track sensibility: cute, catchy vocals glide over bubbling synths, blossoming pad washes, and jazzy chord stabs, recalling the finest Canadian Riviera house releases of the late 2010s: Total eyes closed on the dancefloor energy. Whisper In the Dark comes in trackier and toolier, with a rolling bassline resplendent with attitude and key changes, while trance and euro referencing stabs add a subtle touch of euphoria to the late night feel of the track.

Wishing Well maintains the afterhours feel with subtle atmospherics, gentle pads, and dubbed out acid wiggles, while chopped vocals and a pulsing low end push the groove forward. Hovering between genres, the result is a sleek, highly playable track for savvy selectors. The EP rounds off with Jealousy, a moodier affair with a dub techno feel that maintains the restraint New Members demonstrates throughout the release. Echoed whispers, delayed stabs, and a barely audible sub meld with delicate pad work and beguiling FX to striking effect. The piece as a whole is a luscious meditation on the hours after dark before light arrives.

As the EP suggests, this is once again not to be slept on. More A grade material from Punctuality HQ.

Rave-o-lution - Teknology EP (HDK-3)is a manifesto disguised in project.

Forged in the raw energy of the underground, Rave-o-lution - Teknology EP explores the connection between machine, movement and collective consciousness. This is not nostalgia, it’s forward motion. Teknology as a tool, rave as a language, evolution as a necessity.

Across four different versions, the same core signal mutates and adapts, shifting pressure, tempo and density while staying locked to its original frequency. Each version is built for a different moment on the floor, from deep hypnosis to pure mechanical drive.

Sometimes a pad emerges in the break, a moment of suspension where emotion cuts through the structure. A brief opening. A breath inside the system. Proof that even the hardest teknology carries feeling beneath the steel.

HDK-3 is made for soundsystems at full power, bodies in sync, and minds ready to disconnect from the surface and dive deeper.

No compromise.
No decoration.
Just rave — evolved.

Niagara return to Discrepant with Buxtehude, a new work bending the legacy of Dietrich Buxtehude into their own fractured, electro-organic language.

Rather than a tribute, Buxtehude feels like an abstract dialogue with the Baroque composer’s sense of structure and flow—reimagined through Niagara’s raw synth work, off-grid rhythms and subtly warped melodic cycles. The trio let the music grow from the inside out: patterns expand and contract, harmonies tilt slightly off their axis, and small details accumulate until each piece reveals its own internal gravity.

There’s a clarity to Buxtehude that feels carved rather than composed. Tracks move with a quiet insistence, like mechanical organisms finding coherence through repetition and drift. Melodic fragments surface briefly, disappear, then return transformed, lending the album a strange balance between austerity and warmth.

With Buxtehude, Niagara continue to refine their unmistakable approach—playful yet rigorous, minimal yet full of life— remaining entirely their own.

A guitar stands alone in Wedding, that metropolitan biotope in the western center of Berlin, caught in constant transformation between idyll and abyss. It lets its gaze wander, unsettled, almost shy, until it encounters a trumpet, with which it begins a cautious, then ever more intimate pas de deux.
Welcome to the second studio album by the Berlin-based band Conic Rose.
The album title Wedding is no coincidence. The story of Conic Rose is closely intertwined with the Berlin neighborhood that gives the record its name. The band's studio is located here, and both studio albums were created in the immediate vicinity of the small river Panke. This place settles over the music like a warming patina. The album feels as though the musicians and the neighborhood have invited one another to get to know each other. Not least because Wedding also means marriage. These marriages between a band and an urban landscape, a fading past and an emerging future, fear and hope - unfold in every single song on Wedding.
For their second album, Conic Rose repositioned themselves completely. Not in terms of personnel, but in the question of how to move forward. Conic Rose still sound like Conic Rose; their distinctive blend of cinematic jazz, ambient textures and guitar-led contemporary music remains untouched. And yet Wedding is, in many ways, the conceptual counterpart to their debut album Heller Tag. Where the debut documented movement within an urban setting, Wedding describes a state of being. Behind every piece seems to hover a large question mark.The group opens up its palette, allowing more influences, becoming at once more subtle, more profound, more filigree. It is less about definition than about the spaces in between. The most immediately striking difference from the previous album is the strong presence of the guitar. In Bertram Burkert's playing, many voices seem to converge. His yearning openness forms an equal counterpoint to Döben's trumpet and flugelhorn. Blurred and layered sounds occasionally make the ground seem to slip away beneath one's feet, while Döben's gliding lines create both closeness and distance. Together, the band express in a deeply subtle way a sense of life that corresponds precisely to our time. Something lurks in the background, omnipresent yet still unnameable. Conic Rose need no words to convey this feeling of uncertainty with remarkable eloquence. Perhaps this has something to do with Wedding being a place of confrontational introspection, but Conic Rose confront the escape from escape itself. With the recording and release of Wedding, this process is far from complete. The seed only begins to grow in the listener's ear. With every listen and the echo it leaves behind in memory, the studio bud continues to bloom. The album is merely the point of departure. What ultimately matters is what it sets in motion within those who encounter it.

From Wisdom Teeth’s recent compilation nagoyaka na kaze / 和やかな風 (quiet wind)—which cast a spotlight on the Japanese city of Nagoya—emerges “2++”, a new label launched by abentis, who curated the compilation alongside Facta and K-LONE as a central figure in the scene. Conceived as a series introducing facets of Nagoya’s underground electronic music to the world on vinyl, its inaugural release is abentis’ debut album, Dim Grow.

Across the album, intricately designed electronic mallet sounds—created using Ableton Live’s physical-modeling synthesizer—take center stage. Fresh and percussive like marimba or kalimba, yet simultaneously carrying an otherworldly, unreal quality, these tones form the core of the record’s sonic identity. In moments of near-silence, a crystalline resonance poised between glass and metal shimmers with subtle shifts in temperature, giving the album its distinctive texture.

While resonating with the sonic sensibilities of fellow Wisdom Teeth affiliates such as K-LONE, Tristan Arp, and Salamanda, abentis’ uniquely strange palette can be traced back to one of his strongest influences: Haruomi Hosono. In particular, Hosono’s mid-’70s tropical-infused solo albums — Tropical Dandy (1975), Bon Voyage Co. (1976), and Paraiso (1978) — serve as a key reference point. Symbolically reflected in Hosono’s marimba and vocal performance at a 1976 live show in Yokohama Chinatown, the marimba functioned as a central instrument for constructing imagined exotic landscapes inspired by Martin Denny and Hawaiian music.

For abentis—who worked at a local jazz bar before becoming active as a hip-hop beatmaker—the language of “tension chords,” a harmonic vocabulary rooted in jazz and R&B that hovers ambiguously between brightness and darkness, forms a consistent grammar throughout Dim Grow.

Behind the album’s core theme of “mallets + tension chords” lies a broad musical lineage: the harmonic sensibility of Claude Debussy, who anticipated the tensions of jazz; the proto-minimalist spirit of Erik Satie; the marimba-centered structures of Steve Reich; their continuation in Japan through Mkwaju Ensemble (with Midori Takada and production by Joe Hisaishi); and the subsequent branches into post-rock, electronica, and ambient music.

Growing up in Nagoya—an industrial city where creative independence is deeply valued—and being rooted in punk and hip-hop counterculture scenes naturally fostered abentis’ affinity with these predecessors. His practice between genres, combined with an encounter with the highly cross-pollinated musical perspective cultivated around Wisdom Teeth, provided the framework through which his own musical language crystallized. Dim Grow stands as the natural culmination of that journey.