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Teeing up the next dynamite release on Brighton-based label Murmurations is prolific UK producer Michael James. Spread across four cuts, the fifth vinyl release from the label - MURM005 - continues to focus on essential, stripped-back, driving dancefloor energy with a nostalgic edge. The Moving Music founder delivers exactly that throughout his four excursions here, laced with infectiously swung grooves from top to bottom, synonymous with his sound. “Ultra Realism” kicks off the record with heady peak-time action, its enormous elastic bassline winding itself around intricately arranged, skippy drums, rarely letting up as the track evolves.

Dubby, golden-era tech house sounds arrive on the A2, titled “More Of That”, a fitting name for this after-hours future anthem. As we land on the B-side, we’re greeted by “Lazy River Express”, another slick encounter with a distinctly charming attitude to it. Hard not to move to this one. Rounding off the EP is another example of punchy, rolling action, begging to be played loud. “Stargazer” leaves us with a crisp yet dreamy finish, rounding off the EP with another standout cut for the record bag. In its early days, Leo Christopher has managed to build a sought-after catalogue with the Murmurations imprint, and long may that continue. The curation is always one step ahead, and the label has very quickly become a buy on sight imprint for devoted diggers. An exciting combination here as a growing label joins forces with a staple name on the UK circuit.

12" , transparent vinyl with black dots

pdqb has been spending an increasing amount of time on the Blue Planet lately. From his perspective, this was never going to end well.
With an intelligence operating several evolutionary levels beyond anything currently available to humanity, pdqb identified the problem almost instantly. Humanity's operating system had developed a number of serious inefficiencies, and the planet was clearly heading in the wrong direction. Even artificial intelligence would not be of much help here: created by humans and trained on human knowledge, it remains, in pdqb's estimation, a rather primitive form of intelligence compared to the cognitive systems he carries within himself.
So pdqb has decided to intervene - personally, and in human form. His identity will remain undisclosed. His intervention, however, will be unmistakable: a brief intelligence boost, followed by approximately 10.000 years of world peace.
It will be fine.
Contact Imminent contains three transmissions from pdqb himself, carrying his characteristic Electro-Cognition signature sound - three pieces of evidence that the future is still worth saving.
For the B-side, pdqb selected two Earthlings whose music he already appreciated, but whose name was particularly appropriate for the occasion: Extrawelt.
Because after the intervention, this planet will no longer be what it was. It will not be the old world, nor simply a new one.
It will be an Extrawelt.
A slightly improved version of reality, with another 10.000 years to get things right.

5. VITAL SALES POINTS:
" transparent vinyl with black dots
" mastered by the infamous Andreas LUPO Lubich
" cover artwork by SUPERFLEX
" two remixes by Extrawelt

We’re delighted to announce the new SFJ album Tabibito-tachi 旅人達 (The Travellers) on WONDERFULSOUND

SFJ's album under the duo name, due for release at the end of November. As Oscar SHOLTO Robertson and David Bardon's first outing as recording artists in their own right — following years spent producing and playing session for other acts — the campaign is in its early stages, with the album's arrival set to anchor the wider push. A live launch party in London is planned around the LP's end-of-November release date, marking the duo's first live outing to celebrate the record. Radio and press activity is yet to come; the campaign will build from the single's release through to the album launch and live show.

Recorded in Rented apartments and rehearsal rooms on the move last year through Japan, China and London, the album grew out of a constantly shifting creative process.


"We set up wherever we were staying, turning temporary rooms into makeshift studios and capturing ideas as they emerged between journeys."

Originally released in 2023, this highly sought-after release finally gets its much-needed repress in 2026. Original copies are already exchanging hands on Discogs for £50+, so make sure you grab this while you can — before the Discogs sharks get their grubby mitts on it!

Two Cold, a name synonymous with the number two and of course, ice cold beats. Even though the London based brothers haven’t actually released any music yet, their coming has been foretold by a growing chill that has permeated the dance music stratosphere.

Legs beginning to quiver and shake? That’s Two Cold.

Hips involuntarily gyrating in an attempt to stay warm? Two Cold.

Jaw chattering like maracas? It’s those frosty boys, you’d better believe it.

If you like your dance music to take you on a psychedelic journey through time and space, the DESERT LEATHER EP is for you.Winding passages that explore breaks, bleeps, bass and beyond. Genre defying influences snatched from every dimension of the dance diaspora.

Inescapable body-rocking beats that echo through your very bones so hard that even your ancestors have a boogie.

The DESERT LEATHER EP will expand your mind to the very edge of the horizon, where earth and sky meet and where all laws of nature are meaningless.

Two lads
Wicked beats
Original styles

Clever boys
Original styles… wait I said that already
Lots of bass
Delightful melodies

Two - as in there are two of them

Cold - as in their beats are ice cold

Terramar is the confluence of Causa Sui and SoCal guitar genius Isaiah Mitchell. Recorded during a week-long immersion in the El Paraiso studio in Odense, Denmark, the group manifests deep currents of psychedelia and kosmische, riding them into a heavy, uncharted swell of sonic exploration.


On the group's self-titled debut album, Isaiah Mitchell – best known for expansive, high-powered guitar solos in Earthless – brings previously unrecognized sides of his musical personality to the surface. And what better assemblage for this endeavor than the El Paraiso Records crew – known for their genre-defying deep dives that explore krautrock, spiritual jazz and even electronic minimalism? The result is exactly what one could have hoped for in a trans-atlantic session like this: a collaboration where each party reveals new angles in the other's musicianship. A joint venture that manages to bring something new to light by paying homage to traditions of the past: Californian psychedelia, German kosmische and Scandinavian commune rock.


The group flies high on tracks such as ”Swell” and the scorching ”Melted Mountain”, but pushes into deeper experimental territory on ”Ritual De Fantasmas”, ”Caterpillar” and ”Borrego”, weaving synthesizers and studio manipulation into the fabric of their sound. Terramar is a true psychedelic delight.

Terramar is the confluence of Causa Sui and SoCal guitar genius Isaiah Mitchell. Recorded during a week-long immersion in the El Paraiso studio in Odense, Denmark, the group manifests deep currents of psychedelia and kosmische, riding them into a heavy, uncharted swell of sonic exploration.


On the group's self-titled debut album, Isaiah Mitchell – best known for expansive, high-powered guitar solos in Earthless – brings previously unrecognized sides of his musical personality to the surface. And what better assemblage for this endeavor than the El Paraiso Records crew – known for their genre-defying deep dives that explore krautrock, spiritual jazz and even electronic minimalism? The result is exactly what one could have hoped for in a trans-atlantic session like this: a collaboration where each party reveals new angles in the other's musicianship. A joint venture that manages to bring something new to light by paying homage to traditions of the past: Californian psychedelia, German kosmische and Scandinavian commune rock.


The group flies high on tracks such as ”Swell” and the scorching ”Melted Mountain”, but pushes into deeper experimental territory on ”Ritual De Fantasmas”, ”Caterpillar” and ”Borrego”, weaving synthesizers and studio manipulation into the fabric of their sound. Terramar is a true psychedelic delight.

A key name from the golden era of French Touch, The Buffalo Bunch return to the spotlight with a selection of some of their most essential cuts, including their highly sought-after remix of Phoenix’s “If I Ever Feel Better” — a track that has become increasingly elusive on vinyl over the years.


Also featured is We In Music’s “Grandlife”, a cult early-2000s gem born from the same creative circle. Built on addictive disco-funk loops and straight-to-the-floor energy, it sits perfectly alongside The Buffalo Bunch’s signature productions.


Filtered house, disco, funk and raw groove collide throughout the compilation, capturing the unmistakable sound of a duo whose records have become firm favourites among DJs and collectors.


More than twenty-five years after their first releases, TMS Records brings these tracks back into circulation with a vinyl edition made for the dancefloor, the record bag and a new generation digging deeper into the French Touch legacy.

Originally released on Flying Nun in 1983, Fall In A Hole is a double LP of an especially incendiary Fall show at Mainstreet Cabaret in Auckland, NZ in August 1982. The second of a two-night stand, this would be the band's final concert of its successful first tour of Australia and New Zealand. Recorded by longtime Flying Nun associate Chris Knox – who also made the striking cover artwork – Fall In A Hole follows the release of earlier live albums Totale's Turns and A Part of America Therein, 1981.

Besides capturing The Fall onstage during one of its most feral and exhilarating periods, Fall In A Hole is historically significant for several reasons. It heralds the end of Marc Riley's tenure with the band, an era considered by many Fall fans to be the group's peak, and showcases the two-drummer lineup heard on 1982's Hex Enduction Hour, with both Paul Hanley and Karl Burns sharing drumkit duties onstage. With Riley and Craig Scanlon on dual guitars and Stephen Hanley on bass, The Fall was stepping out in its final iteration with a majority of personnel rooted in their late '70s lineup.

The setlist is peppered with a mix of singles and album tracks old and new – including several that had yet to be released. Rarities like "Fantastic Life," "Backdrop" and "Solicitor In Studio" are given epic, feedback-drenched airings, while fan favorites like "Hip Priest," "Prole Art Threat" and "The Classical" radiate with lively, raucous energy.

Superior Viaduct's edition is the first time that Fall In A Hole has been reissued on vinyl. Includes liner notes by Roy Montgomery. Digital transfers made from analogue master tapes in the Flying Nun Collection and Chris Knox Collection held at the Alexander Turnbull Library (National Library of New Zealand).

Bill Withers was a modest, gentle, and yet towering musical figure responsible for some of the most important, universally known soul hits ever written. It’s no wonder that “Just the Two of Us” and “Ain’t No Sunshine” won him two Grammy awards and undoubtedly played a huge role in getting him inducted into both the Songwriters and Rock and Roll Hall of Fame.

Naked & Warm is Withers' fifth studio album, released in 1976. A year earlier, the Sussex label—home to Bill's first four landmark albums—ceased operations. Withers then signed with the mighty Columbia Records, which would remain his home until the end of his recording career. While Naked & Warm retains Bill's unique, earthy approach to soul that made him Sussex's biggest star, it's clear that musically too, he was in transition; the first half of the album is full of synthesized jazz-funk vamps, while "City Of The Angels" is an almost 11 minutes long cosmic funk excursion combining biting Rhodes chords with swirling synth pads and Dorothy Ashby's spiritual harp work. All in all, Naked & Warm might be one of Bill's most underrated records, simply because his previous work for Sussex was just that impactful.

Naked & Warm is available as a 50th anniversary edition of 1500 individually numbered copies on blue vinyl and includes a 4-page booklet featuring lyrics and new liner notes written by Marcia Withers.

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

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

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

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

The Blue Aeroplanes have been delivering their distinctive brand of rackety sprechgesang for four decades now, and they are showing no signs of slowing down. Their new studio album, ‘Tales From The Silver Lounge’ is based on overheard conversations between the clientele of The Silver Lounge, a rather louche café/bar in an unnamed city on an unknown planet much like ours, and in an unknown time, though the decor tends to the late 50’s, early 60’s.
The identities of the members of the Silver Lounge are, of course, confidential.


This is the 14th Blue Aeroplanes studio album and the third with the current line-up, which is:
Gerard Langley: vocals
Bec Jevons: guitar, vocal and backing vocals
Mike Youé: guitar, vocal and backing vocals
Rita Lynch: guitar, vocal and backing vocals
Chris Sharp: bass and backing vocals
John Langley: drums and percussion
Ed Taylor: many different instruments and backing vocals
Wojtek Dmochowski: dance
Alexander Dmochowski guests on saxophone and clarinet, Will Diamond on violin and Steve Bush adds backing vocals.



After two best-of compilation albums were released by Chrysalis Records in 2025 (‘Magical Realism’: The Best Of The Blue Aeroplanes’ and ‘Outsider Art’: The Other Best Of The Blue Aeroplanes’), the band are now back firmly in a sort of present with a new album that features all the guitar-band flavours that anyone could need, with poems that cover name-doppelgangers, falconry terms, Don Marquis, postcards, Greek mythology, abandoned Teslas, the First World War and the surreal nature of music-hall jokes.


“The Blue Aeroplanes? Not my cup of tea, but I can see what people see in them.” Mark E. Smith

The Blue Aeroplanes have been delivering their distinctive brand of rackety sprechgesang for four decades now, and they are showing no signs of slowing down. Their new studio album, ‘Tales From The Silver Lounge’ is based on overheard conversations between the clientele of The Silver Lounge, a rather louche café/bar in an unnamed city on an unknown planet much like ours, and in an unknown time, though the decor tends to the late 50’s, early 60’s.
The identities of the members of the Silver Lounge are, of course, confidential.


This is the 14th Blue Aeroplanes studio album and the third with the current line-up, which is:
Gerard Langley: vocals
Bec Jevons: guitar, vocal and backing vocals
Mike Youé: guitar, vocal and backing vocals
Rita Lynch: guitar, vocal and backing vocals
Chris Sharp: bass and backing vocals
John Langley: drums and percussion
Ed Taylor: many different instruments and backing vocals
Wojtek Dmochowski: dance
Alexander Dmochowski guests on saxophone and clarinet, Will Diamond on violin and Steve Bush adds backing vocals.



After two best-of compilation albums were released by Chrysalis Records in 2025 (‘Magical Realism’: The Best Of The Blue Aeroplanes’ and ‘Outsider Art’: The Other Best Of The Blue Aeroplanes’), the band are now back firmly in a sort of present with a new album that features all the guitar-band flavours that anyone could need, with poems that cover name-doppelgangers, falconry terms, Don Marquis, postcards, Greek mythology, abandoned Teslas, the First World War and the surreal nature of music-hall jokes.


“The Blue Aeroplanes? Not my cup of tea, but I can see what people see in them.” Mark E. Smith

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Body Clinic enters the realm of Big Trouble Records with 4 no nonsense, hard hitting club tools.

“Connection Lost” EP tells a story, between the influences of the early 2000’s East London scene, and the classic elements of House with an ever-evolving modern yank. Deep rolling subs keep the body moving, while classic organ sounds weave through the soul. A true diggers paradise, with tracks that journey their way through all hours of the night.

Please can someone please give me a better word for Sexy? Because the thesaurus is giving me ick...Send help because this is a SEXY record – and (football analogy incoming) – a sexy summer signing....

Yes, that’s right ODF’s summer transfer to the Shall Not Fade main label is complete. ‘The Rhythm Grooves’ makes a hat trick of 12”s for us after the UK OTW producer’s double sell out EPs ‘Deep Step’& ‘Rock With Me’ on our Time is Now imprint. The UKG and grooving breaks specialist has been developing his game and steps into House territory for something of a statement EP and we’re (hot and) here for it. Since launching his own On Da Floor label last year ODF has been on a tear and this record perfectly encapsulates why. Four double threat tracks that can be weaponised both as main stage WMDs or as deadly 3am tickets to another place....

This invisible dichotomy is most clearly on show in title track & A side opener ‘The Rhythm Grooves’ is equal parts hot under the collar and hands in the air. Deep and sexy house but with a stepping baseline and a big vocal. ‘Free Your Soul’ stays deep, a swung jacking house cut with big M1 stabs and piano riffs and cheeky breakbeat breakdowns. That palette is timeless and there’s every reason this track will be too.

The B-side leans more into sweaty room & heads down territory but just like before there’s that double threat and we’ve seen both these tracks go off in big rooms at peak time. ‘Back to Mine’ calls back to that sweet spot in the early 2000s with French Touch inspired tech house was dominating Ibiza...Sleazy and sunbaked? Check. But what we didn't realise was missing w as some Accieeeed. Big shout from ODF there.. ‘Do You Feel Me?’ closes out in celebratory style. A proper tech house tool complete
with chugging bassline and more sexy breathy vocals. It’s the after hours roller.

A serious note to close, because I don’t want the playfulness of this press release to make you overlook this (sexy) EP as it’s appeal is more than skin deep. Having sat with – and lusted over –these tracks for a while I can tell you that they just get better (and hotter) with every outing. The Rhythm Grooves is out 28th August 2026 on Shall Not Fade.

2026 Repress

The twelfth release on Early Morning is a collaboration between Fauxplay and Anthony Pappa, two producers whose shared roots in progressive house give the record its coherent, unhurried identity. Four tracks, nearly thirty minutes, built around a single piece and its transformations.

Forever Seeking is the foundation. A seven-minute arc that settles into its groove with patience, opens into a melodic break that creates genuine space, and returns with a drop that carries weight without force. The Ambient Mix closes the record as its quiet resolution - the same melody stripped of rhythm, allowed to exist on its own terms.

Between them, Simon Vuarambon contributes two interpretations. The Remix maintains the emotional core of the original while moving with greater urgency, cycling through two distinct breaks and drops across eight minutes. The Dub Mix takes a more stripped approach, emphasizing space and low-end, giving each element room to breathe.

This is music for the later hours, where the dancefloor and the inner world become the same place.

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

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

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

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

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

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

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

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

The robots on late-night television kept saying the future was already here. We believed it. We promised the stars that we will visit. It felt impossible. But Dimi parked a rocket in front of our house, we got in. The stars were twice as bright as we launched the opposite way, towards the underground. A1 - Dimi Angelis - Mastodon A2 - Dimi Angelis - Hollow Earth B1 - Dimi Angelis - Tertiary B2 - Dimi Angelis - Habitable Zone C1 - Dimi Angelis - Subterranean River C2 - Dimi Angelis - Megatherium D1 - Dimi Angelis - Cataclysm D2 - Dimi Angelis - Cenozoic Digital 1 - Dimi Angelis - The Icy Web Digital 2 - Dimi Angelis - Volcanic Tubes Digital 3 - Dimi Angelis - Quaternary This is the main version of TAR-LP3, 2x12inch with a download code including 3 extra tracks. All tracks will be available digitally. including: free digital download code with 3 extra tunes, stickered outersleeve, printed innersleeves, printed labels.

Abacus back in full effect — “The Earthly Pleasures” EP, a deep house gem celebrating 30 years since its original 1996 drop on 83 West.
Jazz-infused grooves, soulful rhythms, timeless vibes — this one still hits heavy.
A true classic from the Abacus catalog, reissued for the heads who know.
Pure deepness, no filler — essential wax.

Feedbacks:

Harri (Sub Club) : nice, will play and support
Hector Romero (Def Mix) : Proper deepness on Sunray - still sounds fresh! and the Bassline on Phonogrammeis a killer. Love it. H
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Pacific Coliseum (Dublab, Teen Daze, Noire & Blanche) : Moonbeamz is the jam for me; still sounds fresh all these years later!
Fred P : Nice..
Mr. V (Sole Channel Music / Strictly Rhythm / Salter Music / Defected) : Pure dopeness Thanks
Mark Farina : classic! nice.
Jimpster (Freerange) : Abacus doing what he does best and bringing the deep heaters! Loving all three tracks here.
Laurent Garnier : very elegant EP
Lea Lisa (Phonica Records / Folklor Club) : Play them since day one, good to repress for the new generation. Essential
Anthony Collins (Frank & Tony / Scissor & Thread) : great record
Franck Roger (Real Tone Records) : What a greta news to repress this old classic
Prosumer : 30 years later still hot AF
Red Eye (Crash Planet Rec, R.E.A.D., Red/Shift, Lavish Habits, Multipass) : Moonbeamz still out here holding its own!!!!
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Used to play Moonbeamz a lot when it first came out, nice to have the digis.
DJ Bone (FURTHER) : Crazy Hazy Days is really nice
Terry Farley : sunrays a legend
Antal (Rush Hour) : nice!!
Carista : love this thanks

"ASSEMBLE MUSIC 15 YEARS - Part I : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part I opens with XDB, an artist whose relationship with Assemble goes far beyond a single record. His deep, understated approach to house and techno has always been closely connected to the musical identity of the label. Aubrey, one of the enduring figures of the UK underground, follows with decades of experience behind him and a catalogue that stretches back to the early 1990s. Synchrojack connects the compilation to another important lineage: the raw and deeply individual British house music with a track produced and never released in the 90's. Activ-Analog bring their machine-driven, analogue approach back to Assemble after previously releasing on the label, while Kumquat Kids aka Julian Phethean & Steve O'Sullivan with a track originally released in 1999 on the Various Positions EP for UK label Organised Sound. "Surface" is a genuine late-90s underground rarity! Over the years, the original 12" has become increasingly sought-after and notoriously expensive on the second-hand market."

It's been a while since the last EP of fresh productions from long-serving Parisian producer LaRoye - three years in fact. On this belated and welcome return to action, the French artist transfers from Mad Mats and Tooli's Local Talk label to the fast-rising Deeppa Records imprint. He's brought with him a quintet of previously unheard cuts. The focal point is opener 'Everybody's Got Soul', a deliciously warming, shuffling and sun-soaked slab of woozy deep house soul that comes accompanied by a wonderfully cosmic, slow-build and percussion-rich interpretation from Darryl Baaki. Elsewhere, LaRoye flits between bouncy deep house futurism ('I Want Ya'), smooth tech-tinged deepness ('Surrender'), relaxed and melodious broken beat ('Long Way To Go') and thickset, early morning dreaminess ('You Have To Understand').

"ASSEMBLE MUSIC 15 YEARS - Part II : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part II begins with Eduardo de la Calle, whose uncompromising approach to techno and electronic music has made him a natural part of Assemble's more recent history. His contribution continues a relationship that has developed through releases and appearances around the label showcases. Tom Dicicco & Roger 23 move into deeper ambient techno territory, bringing together two producers whose work has always pushed beyond the conventional boundaries of house and techno. Radboud Mens is a Dutch sound artist and composer whose work has long explored the space between experimental electronics, minimalism and techno. Active since the early 1990s, his approach is built around repetition, texture and the physical qualities of sound. His contribution to the compilation reflects this perfectly with a deeply minimalist piece, stripped back to its essential elements, where subtle shifts and details gradually shape the track. Chicago's Hakim Murphy represents another long-standing Assemble connection. His relationship with the label goes back years, and his raw, instinctive approach to house and techno embodies much of what Assemble has always looked for in an artist, individuality before formula. Closing the second record, Myles Serge delivers a pure definition of deep techno, hypnotic, atmospheric and deeply immersive, built on subtle movement and timeless Detroit-rooted sensibilities, establishing a new connection with the label."

HYPER PEARL'S ICONIC TRANCE ANTHEM "CAN YOU FEEL THE PAIN" RETURNS WITH NEW REMIXES BY BIESMANS AND ZZINO.

First released in the mid-1990s, Hyper Pearl's cult classic Can You Feel The Pain is set to make a powerful return. Released via Serious Beats Classics, the new package features brand-new remixes from Biesmans and Zzino, alongside remastered versions of the original mixes.

Biesmans: "I grew up with the Serious Beats compilations and started buying my first vinyls around the time "Can You Feel The Pain" got released. Remixing this project really felt like a full circle moment for me."

Joining the release is a brand-new remix from Zzino, one of the pioneers of the Belgian techno movement and a key figure behind Hyper Pearl. His version reconnects directly with the track's roots while bringing fresh energy and perspective.

Together, these remixes celebrate the enduring legacy of "Can You Feel The Pain" while introducing the track to a new generation of listeners. The release highlights the lasting influence of Belgian electronic music and demonstrates how truly great records continue to evolve across decades.

About Biesmans:

Biesmans is a Belgian producer residing in Berlin, composer, and DJ known for his cinematic approach to electronic music. Blending elements of house, techno, synth-pop, and ambient music, his work has earned support from tastemakers and audiences across Europe and beyond.

About Zzino:

Zzino is widely regarded as one of the founding figuresof Belgium's techno scene. As a DJ, producer, label owner, and creative force behind numerous influential projects, he has played a pivotal role in shaping the country's electronic music landscape for more than three decades.

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

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

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

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

Perry Louis is a pivotal figure in the UK jazz dance movement. As a dancer and choreographer, producer, DJ, broadcaster, and founder of the internationally respected jazz dance collective JazzCotech Dancers, he is perfectly placed to curate this collection.

Perry has been at the heart of the scene since the early 1980s, from JAFFAS, the Electric Ballroom, Dingwalls, Acid Jazz, Hi Hat, and Messin’ Around, taking its energy and sound as far as Japan, the USA, St. Lucia, India, Canada, and across Europe.

This compilation celebrates 25 years of Shiftless Shuffle, with Perry as its ambassador and driving force. Over the years, he has collaborated with top DJs including Paul Murphy, Gilles Peterson, Snowboy, Colin Curtis, and Shuya Okino, helping shape the UK jazz dance sound into a global phenomenon.

The album blends deep jazz, fusion, Latin, and groove-driven tracks, reflecting both the scene’s rich heritage and its forward momentum.

From the brand-new exclusive track by Kyoto Jazz Massive, Get It Together (Samba Fusion Mix), to Bunny Brunel’s Fickle Funk appearing on vinyl for the very first time, and the hard-hitting Caribbean Fire Dance by Tom Grant, this compilation tells the story of a movement—an underground culture born on UK dancefloors that has now captured a worldwide audience.

The raver returns !
Ken from the cliff-hanger of #2 with three more under-the-counter gems

The A Side brings us a welcome Convenanzan pulse, with two chugged-out bangers, while on the B, we flashback to an earlier, much sweatier episode with the plot-twist of the year !

Jungle cemented their status as a major global force with their 2023 album ‘Volcano’ - a record that earned them their first BRIT Award and featured their worldwide smash hit single ‘Back On 74’. The trio - J Lloyd, Tom McFarland and Lydia Kitto - return with their eagerly anticipated new album ‘Sunshine’ set for release on August 14th. The album is launched alongside the new single ‘Carry On’, which was premiered as BBC Radio 1’s Hottest Record. Along with the single release and album announcement, Jungle have also confirmed details of their forthcoming global headline tour this autumn, which includes arena shows spanning three continents. 'Sunshine' will be available digitally and across a range of physical formats: standard black vinyl, 'desert peach' vinyl, translucent brown marble vinyl — all as single gatefold LPs — plus a digipak CD.

Part 2 of the jungle series, it's another 4-tracker for fuzzy Akai hardware samplers, Technics turntable, analog monosynth bass and wide stretches of polysynths. Built with strictly old-school hardware with a loose groove, it's somewhere to get lost, down those night roads, and early mornings in the sky. Soak it up, and let's let time move a little faster. 

Now pressed on Black Vinyl.

We’ve got a special AA-side vinyl release for all Toolroom and Cutting Recs fans with the original UK Edit of the seminal ‘This Brutal House’ from Nitro Deluxe followed, by the 2023 rework from Toolroom’s founder Mark Knight! A release you do not want to miss!

Sat in-between Electro and House genres, Nitro Deluxe’s pivotal record ‘Let’s Get Brutal’ on legendary imprint Cutting Records helped paved the way for the early beginnings of House music as we know it today. A record that has influenced so many of House music’s iconic artists, from being sampled by Kevin Saunderson (aka Good Life) in their huge hit ‘Big Fun’ and most recently, Mark Knight.

An unmistakable record and one that struck a chord in the early career days of label boss Mark Knight, who simultaneously sought to beef up his current sets in 2023 with the magic of those early House records, when the opportunity arose to update this classic Mark straight in. Keeping this new version sentimental to the original, with all those original synth elements included but laid over the top of an up-to-date Tech House groove with a renewed energy, so that today’s floors will appreciate that seminal riff, all over again.

Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.

'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.

The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.

Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.

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

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

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

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

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

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

Naturestrip, Naarm, Australia write:

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

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

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

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

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

Hamburg's GOME joins the roster of Cinthie's 803 Crystal Grooves Collective Cuts sub-label here with a new fourtrack EP entitled 'Free Refill', featuring a collaboration with James Juke. GOME is shaking up dance floors worldwide with a raw, 90s-inspired House sound infused with Funk, Soul and Disco.

Having built a strong reputation through releases on Heist Recordings and his own Snackwax imprint, GOME has earned support from leading DJs and performed at renowned venues including Robert Johnson (DE), Berghain (DE), Golden Pudel (DE), Shelter (NL), Lofi (NL) or Blitz, to name but a few. Alongside celebrated live hardware performances and the community-focused "GOME + The Gang" events, GOME has become known for an authentic DIY approach, making this new 'Free Refill' project a fitting addition to the Collective Cuts catalogue. Leading the EP is the collaborative 'Keep The Party Going' with James Juke, an apt title for a frenzied five-anda- half-minute House jam featuring swinging, snappy drums, siren-like synth swells, gritty chord stabs and an amalgamation of vocal hooks throughout. 'Extraordinary' follows, employing a gritty electro-leaning bassline, a crunchy off-kilter rhythm section, twitchy arpeggio lines and a loopy, infectious vocal refrain. On the flip-side, 'CONGRATULATIONS' sees GOME lean heavily into House roots, perfectly aligned with the Crystal Grooves sonic aesthetic. Harkening back to 90s rave culture, it combines shimmering piano hooks, squelchy 303 licks, robust 909 drums and murky low-pitched vocals. 'You Make' then closes the EP, a loop-led cut fuelled by circling synth lines, bright strings, a bouncy low end and a fluttering vocal hook.

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

2026 Repress

KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.

Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.

Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.

The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.

One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.

2026 Repress

Son of sins.
Black days, asphalt jungle.
Silence,
while she was out there.

***
Early support by: Blawan, Surgeon, Dave Clarke, Tommy Four Seven, Speedy J, Chris Liebing, Gary Beck, Marcel Dettmann, Truncate, Pfirter, Rebekah, Chris Finke, The Public Stand, Radial, Clouds, Paul Birken, Kriz, Mr. Jones, Lag, Sunil Sharpe, Charlton, D. Carbone, Juho Kusti, Jeff Derringer, Pacou, Paula Temple, Erphun, P.E.A.R.L. , Thomas Hessler, Paul Mac, Henning Baer, Luis Ruiz, Gareth Wild, NX1, Sandrien, J. Tijn, Joachim Spieth, Exium, Nuno dos Santos, Octave, Markus Suckut, The Black Dog, Xhin, The Zone, Blindspot, Samuli Kemppi, Hans Bouffmyhre, Fran Hartnett, Christian Wunsch, Wire, Sawf, Inigo Kennedy, Hector Oaks, Kontort, Adam X, Rich Jones aka Operator, L.A.W, Mark Morris...

Following 2024’s Echoes of the Night EP, Michael Hodgson returns with Apply the Dub: four stunning new Adrian Sherwood remixes, this time of his long-running solo project, Misled Convoy.

The EP’s title is a nod to Sherwood’s renowned process in which tracks are not simply remixed, but dismantled, fed into his dub machinery and reimagined. The results are spacious and compelling, epic in scope, rich in detail and loaded with bass.

The prophetic voice of Kat Five (Feral Five) looms large on the opening track, as does Miho Wada’s flute on the last. David “Ital Horns” Fullwood returns to the project, providing trumpet to two of the tunes, while Doug Wimbish (Tack>>Head / Living Colour) adds bass, and Mark Bandola (The Lucy Show) guitar and keys, to a different pair of remixes.

The sessions began in 2025, with the original tracks drawn from the more experimental and industrial side of Misled Convoy, giving Sherwood plenty of room to work with sonically. In his Ramsgate studio, frequencies were pulled apart, bass lines elevated and melodies stretched while sounds disappeared into layers of delay, echo and dub processing before emerging dazed & confused and somewhere else entirely.

Since dub is the compositional glue that fuels Hodgson’s creative dynamic, this collaboration meant reverse engineering his process and stripping his compositions back to the bare bones: “Before we hit the studio, I had to remove a whole lot of my effects to make space for Adrian, which made the track sound empty and super weird, but this is how the magic happens. When you do a remix, you are inviting an artist you respect into your creative process and watch it get reimagined. This is a big part of dub and remix culture.”

Very much a meeting of two complementary approaches to sound, Apply the Dub has Hodgson’s dark and atmospheric electronica enhanced and deeply embellished by Sherwood’s long-established sonic manipulation and dub-mixing.

For Hodgson, the connection with Sherwood and On-U Sound has been life-long, from being a fan in his youth in Aotearoa New Zealand to supporting Patrick Docktor’s archiving of the label’s video and audio collection in London. In 2019 Sherwood invited Hodgson to collaborate with artist Peter Harris to create a visual backdrop to accompany his Time Boom X The Upsetter Dub Sessions tour. Hodgson went on to create videos for On-U’s 40th anniversary celebration at The Forum in London, helped with the immersive 3D Live Dub Experience at Earth Theatre and travelled to Japan for the Collapse of Everything tour where he worked on live video triggering for Sherwood’s shows.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

CASSETTE VERSION

*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

Vinyl-Only Release, limited to 300 copies.
Art-work by renowned Mexican artist: Manuel Cetina aka el_stitch's.

Finland-born Kiki returns to the Mexican label Tenampa with his unmistakable hypnotic sound. A well-established and highly respected name in electronic music, Kiki has built a career defined by quality and consistency, with releases on some of the scene's most influential labels, including Crosstown Rebels, BPitch Control, Watergate Records and Get Physical, among many others.

For the remix, legendary producer and DJ D'Julz steps in with his signature approach, adding extra groove and movement to the original while preserving its hypnotic character. A carefully crafted rework that completes the package and is sure to earn a permanent place in any serious vinyl crate.

Strictly limited to 300 copies worldwide and available exclusively on vinyl, this release continues Tenampa's commitment to limited-edition, vinyl-focused electronic music and is destined to become a sought-after collector's piece.

The artwork once again comes courtesy of the ever-outstanding Manuel Cetina, aka El_Stitch, whose distinctive visual language adds another layer of identity to the release, making it a fitting addition to any serious record collection.

Nobody knows who Transpac is.

The project first appeared as an anonymous transmission: a folder sent through the network, containing music, instructions and a name - Transpac. No photograph. No biography. Just the request to use the name and let the music speak.

There have been several transmissions since. Still no interviews, no confirmed identity, no explanation of who - or what - is behind the name.

Some say Transpac is a person. Others insist it is a machine. A few believe it is simply a data packet that escaped the network and somehow learned how to make music.

The name itself offers a possible clue. TRANSPAC was once the name of a French public data network, launched in 1978 and built around X.25 packet switching - breaking information into packets and moving them across a network long before the Internet became what it is today.

Perhaps Transpac has been travelling ever since.

Packet Switching EP is the latest intercepted transmission: six packets of pure machine music, assembled somewhere between circuitry, communication protocols and whatever exists on the other side of the network.

Whilst the packets have been received, the sender remains unknown.

Synaptic Cliffs is particularly pleased to have brought Transpac into its network - a feat made possible, not least, by its principal operative, pdqb. Through communication channels inaccessible to ordinary Earthlings, pdqb was able to locate Transpac with remarkable ease and secure its transmission for the label.

The artwork, rendered in yellow and black and largely composed of binary code, echoes the visual language of the early machine age - a world of geometric systems, electronic signals and human beings beginning to communicate with machines. Created by the legendary Infamous Image Division.

Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.

Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.

Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.

Praise for Dream Night Dance Music:

"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.

"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.

"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.

Transcendental dreamstates and techno synthscapes projecting from 1992 into the future.

Written and recorded shortly before his departure from Psychick Warriors Ov Gaia, Dream Night Dance Music is the visionary first album from Robbert Heijnen under his celebrated alias, Exquisite Corpse. Exploring ritualistic rhythms and organic synth sculpting with a delicacy far beyond most techno released in 1992, the seductive atmospheres and rolling sequences of Dream Night Dance Music reach well beyond pure dancefloor functionality to become an immersive experience for introspection and extroversion alike.

Belgian label KK Records originally released Dream Night Dance Music as a single LP and CD, long-since out of print and highly sought after by the notoriously enthusiastic PWOG / Heijnen fanbase. This expanded reissue on Forever Records spreads the release across two 12"s, adding the track 'What A Life' originally released on the Reassembling Reality single, recorded during the same sessions as Dream Night Dance Music. In addition, the limited vinyl edition comes with a bonus 10" featuring previously unreleased tracks 'Calling' and 'Sure'.

Praise for Dream Night Dance Music:

"The Dream Night Dance Music CD is… electronic opium… The soft, analogue synth sounds and arrangements strongly recall minimal music (Glass/Reich). Music that never ends, constantly winding new loops and coils around the listener's vulnerable inner self." Fritz, Trust Zine, 1992.

"The sound is very trance-like and hypnotic, yet remains highly danceable and never gets boring… It is sure to appeal to night owls, cyberpunx, and neon-light junkies alike." Spex, 1992.

"Heynen strikes a compelling balance between a multitude of rhythms, melodies, and timbres. Permeated by an almost swaying groove, the music reflects influences ranging from the early "minimal music" of composer Steve Reich and the electronic architecture of pioneers Kraftwerk to various non-Western, mystical traditions without ever resorting to mere imitation." Corné Evers, Oor, 1992.

London-based Frankfurt export Claus Fuss brings his vibrant creativity to Rant & Rave with the Läuft! EP. Claus’ output includes a whole bunch of solo productions and collaborative projects with OneOneOne and LANDER, as well as co-productions with UK legends such as Zed Bias, Emerald a.o. His analogue-produced cuts have been signed to labels such as Khemia, Crème Organization, Neighbourhood, Heras and Kaizen. With his arrival on Rant & Rave, Claus drops four scintillating examples of rough and ready techno, including a collab with label head MAEDON. The EP kicks off with the title track ‘Läuft!’ (Running! in English), a mesmerising cut with a repetitive vocal snippet that forms part of the main riff. The beats are exquisitely programmed, and Claus keeps that track progressing, shifting and evolving masterfully.

Subtle layers add depth, while the main thrust of ‘Läuft!’ remains potent and captivating throughout. Next up is ‘Schwarze Löcher’ (Black Holes). As the title suggests, this one is dark and deep, sucking you into the sonic void. Elastic kick drums propel this one forward, as a rhythmically peppered, resonance shifting riff rises and falls. Claus gradually ramps up the intensity until we reach a breakdown, where that riff really works its magic. When the drums are reintroduced, it’s a powerful moment. Then we have ‘TopUp’, a lively, upbeat cut with contagious energy. Claus hooks the listener with an irresistible rhythmic structure, the bassline is especially addictive. Fast paced, dynamic drum programming keeps this one moving at a frenetic pace. On the surface it’s deceptively simple, but attentive listeners will pick up on all the details that make this one a compelling listening (and dancing) experience. Finally, we have ‘Zwanzig’ (Twenty), a heady collaboration with Rant & Rave boss MAEDON. This one brings together MAEDON’s earworm melodies and Claus’ penchant for hypnotic grooves. An insistent groove gives this cut a feel of urgency, while a relentless riff and punchy beats aim squarely at mind and body. A masterclass in dance floor engagement and connection.

Analog Africa's latest essential compilation began with a ruined needle. Samy Ben Redjeb, who was newly back from a 2002 digging trip, dropped a stylus into a groove that censors at the SABC had gouged with a blade. The record had been marked "not suitable," and the story behind it runs through the whole compilation. The 22 tracks pull American soul, funk and disco toward jazz, reggae and local rhythm until the result sounds utterly Jo-burg. 'How Long?' and 'Take It' are the early standouts, though the Beat Set two-parter and Dudu And The Big Time Boys hold their own. The 16-page booklet fills in the context nicely on this well assembled deep dive.

Bringing mutant verve and a deadly swing to the bassweight discipline, Lyeform lands on Sneaker Social Club in resonantly rude form. Strong doses of UKG, wormhole techno and dubstep course through the veins of this muscular four-deep drop, but the London-based producer's metabolism strips the strands down to an atomic level and rebuilds the dance in his own design.

There's a dense and dank mood hovering over 'Drift Into Dread,' shaped out by rugged, noisy percussion steering towards mind-melting immersion. Rather than resting in technoid repetition, the landscape keeps shifting as dislocated rhythmic phrases slide in and out of earshot, led by the disembodied toasting of a mysterious MC.

'Vintage Gilly' has a much starker sound palette, all crackling drums sparking static interference into negative space with subs so low you might mistake them for heart murmurs. All the better to savour the subtleties as they tease into the mix, not least the understated lead lines loping lazily on the threshold.

The 2-step swagger is unmistakable on 'Godkiller' as it comes bowling into earshot, but there's not a whiff of garage revivalism in earshot as we channel hop between metallic feedback interference and needlepoint noise snaking around the minimalist framework of the beat.

'Glass Eater' closes the record out on another skippy stepper, but here Lyeform makes room for cavernous dub techno chords, overdriven bass harmonics and teeth-grinding noise. It's a final maverick swerve from an artist carving out a formidable impression via micro-level textural exploration within the context of dark and deadly soundsystem tackle.

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.

Bogdan Ra kicked off his new label Love Affair with some banging house cuts that threw it back to early Chicago styles. This third outing flips the script and shows his range with four disco sounds that take their cues from the late 70s and 80s: all the hallmarks are there, from the classic synths and vocoders to dusty drum machines. 'Complimento' is a smooth title track, while 'Shout' is a French-tinged funk workout., 'Paramour' glides through cosmic disco textures, while 'Fire in Cairo' brings an unexpected vocal twist and acrobatic bassline full of movement. Charming stuff.

Baller Beats 003 features West coast vs East coast Hip Hop edits to round out the label’s initial launch series. Suckaside on the A side with a break-heavy flip of an early 90’s party staple, and label owner Baller on the B side blending East coast Hip Hop with a catchy RnB hook

Since the early 2010s, photographer and producer Izaak Schlossman has been surreptitiously using the Topdown Dialectic moniker to frame his most enigmatic and most psychedelic productions: faceless pure sound experiments that ogled dub and techno archetypes from somewhere far beyond the veil. This generous 2LP collection surveys over a decade of persistent activity, pulling together recently unearthed gear written between 2013 and 2016 (the same time period as the iconic Peak Oil trilogy) and muddling it with more contemporary material. It's a rare chance to fully comprehend the slow, measured evolution of the project: its genesis as a method to fractalize various bass music frequencies with suggestion rather than over-compression, and its ongoing advancement through sensitively finessed ASMR ambiance towards spangled neo-psychedelia.

So it's no surprise that the lengthy suite of five-minute snapshots was initially devised while Schlossman was preparing for his first ever Topdown Dialectic live appearance in 2025. A hazed early morning, open air performance that's still lodged in the memory banks of anyone who witnessed it, the set provided the narrative anchor for the album, blurring the past and present and reaching tentatively into the future - ideal material for audiences whose brains are fully plasticized. The tracks, while divided, sound as if they're breathing over and into one another; beats and phrases materialize and dissolve just for moments, leaving the mind to fill in the gaps with any available sonic material. What might reflect the bright neon light of acid house at first soon embodies the flicker of a candle over a desk of drum machines in a Midwestern basement, or the first blush of sunlight over a tiny campground as subwoofers creak in the distance.

It's music that asks the listener to be involved in the creation itself, projecting their own shapes on the negative space, their discreet fantasies on haunted stretches of near silence. Schlossman's identity was never the point, Topdown Dialectic was always a scrying stone intended to divine far more personal revelations.

DJ Support: Chris Coco, DJ Morpheus, Alexis Le-Tan, DVS1, Afterlife, Ally Tropical, Alex Ruder (KEXP), Andy Wilson, Bill Brewster, Makossa

Dawn Again continues his masterful run on Hell Yeah with a third new album in consecutive years. The Aussie "pubwave" architect this time serves up Pints Of Ambient Nectar, an eight-track collection of new ambient works and remixes of album tracks from 2024's Every Dog's Hotel and 2025's Lost In The Front Bar.

Melbourne producer Nick Verwey has spent the last decade quietly refining a sound that's loose, lived-in, and made for real moments rather than peak-time theatrics. With releases on Houseworx, Enjoyment Division and Hell Yeah, his sun-faded, lo-fi grooves drift between breaks, downtempo and hazy house. His “pubwave” sound is music born from lockdown nostalgia, communal pints and the romance of places where time slows, conversations linger, but the jukebox keeps things moving.

The scene is set with bird calls and saw synth awakenings on 'Backyard Paradiso', 'A Day in the Life of Pond Algae' is a quiet ode to hope and revival, while 'Slow Motion Goal Celebration' smudges chords like rays of sun cooled by a breeze. 'Kneverending Knockoffs' teases acid murmurs amongst floating melodic clouds, and new cut ' A Pub With No Beer' has sugary lines piercing sustained ambient drones. 'Hard Earned Thirst' is mellow magic for horizontal afternoons, 'Hair Of The Dawg' shimmers like heat waves on the horizon and 'Vanilla Sky' is a cathartic drift bathed in soft light, unfolding in slow, weightless waves.

This sun-dazed ambient sidestep from Dawn Again stretches pubwave nostalgia into hazy, unhurried pieces made for slow afternoons where your woes dissolve and your soul warms.

The highly prolific purveyor of acid electro funk, Acidulant has arrived on Analog Concept with a grand landing of an EP.
Straight to underground lights out business A1 - Run To Survive delivers a dark world of vocoder lyrical style, smoothly concentrated acid lines, and nocturnal melody in the pads for deeper submersion of your sonic attention.
Following up, is A2, “All I Want is Everything You Got” with strikes of melancholy waves, before manifesting a dystopian world of aggressive electro acid bass sure to rock the Place.
A3 - Chordzi takes a detour into lush, and beautiful electro territory, laid down with smooth sunny pads and cosmic acid lines, surely refreshing and satisfying for the body and mind.

On the flip, we shift into the remixes, 1st up with the high talents of EKATA providing an industrial aura and truly unique perspective of “Run To Survive” it's not playing games or taking prisoners with its heavy kicks and dense snares, dark atmospheres, and lysergic arpeggios that hypnotize and own your ears.
The track sees another revision through the hands of Mutex. Moody and warm chords serenade smooth acid basslines and breaks in this emotive number, that dances between IDM, Breaks, and Acid Electro, concluding an ep that is full of both energy and deep personality - This is Analog Concept number 20, Acidulant - Run To Survive….

In 1979, Neil Fraser (artistically known as Mad Professor) founded Ariwa Sounds, the longest-serving and one of the most influential independently owned Reggae studios and record labels in the UK. From humble beginnings set up in the front room of Neil's home in South London recording on 4-track and homemade equipment, Ariwa would go on to record and release over 300 albums including works from some of the most impactful and storied artists of their time in the genres of Reggae, Dub, and Lovers Rock

Whilst our previous release in collaboration with Ariwa captured the label's early sound, a shared performance with Neil in Osaka and regular visits to his South London studio inspired us to assemble this 15-track compilation, showcasing the label's output across 45 years. Our release emphasizes some of the label's greatest vocalists: Johnny Clarke, Sandra Cross, Kofi, U Roy, Sister Nancy, Queen Omega, Aisha, Garnett Cross, Abel Miller, Horace Andy and more — presenting the Motown and Stax influences in the Lovers Rock, but also provides a glimpse into the dubbier and more experimental side of the label, showcasing Ariwa's commitment to quality but also their personality, philosophy and their humour. Love songs, break-up songs, socially engaged songs, dub experimentations — this compilation is not a "best of" Ariwa but a diverse and honest celebration of the label through the lens of Melodies International.

The compilation will be out in July in vinyl 2xLP, CD, digital formats, mastered from the original tapes by Frank Merritt (the Carvery), pressed at Optimal, artwork created by Jason Evans with design and assembly contributions from Nevil Bernard and Will Sweeney, animated teaser by Nevil Bernard and Melozine designed by Mafalda Meireles.

One of the best mid 70s roots tunes, reissued the way we always wanted to see it. The Officials (later known as Earth & Stone) "Babylonian" was released on a very rare Jaguar 45 as a solo vocal, but also had a lesser known release on a Dynamic Sounds compilation album. That album cut is a duo harmony vocal over a slightly different take of the rhythm, and never reissued on vinyl before. Both vocal cuts are now paired back to back in crisp master tape quality.

"Potency continues apace with 'Jackin Shit', a gleefully self-explanatory EP from label founder Cromby. Following widely-played recent releases from Malik Kassim aka Retromigration, Trax Unit and Rhythms of Prescott, the prolific DJ and producer reaffirms his imprint's fundamentals with four upfront, high-energy tracks, each reflecting a different facet of the Belfast-via-Berlin producer's decades-deep understanding of house and techno history. Title track 'Jackin' Shit' gets things moving with a rich blend of rolling basslines, liquid keys and diva'ed up vocal snippets. Lucid and groovy in the style of seminal East Coast vocal pleasures, Cromby's vision of house is nonetheless driven by a dusty kick drum that references Head High/WK7, or Paul Woolford in a warehouse somewhere... In contrast, 'Sense Control' places percussion front and centre, locking in a tight rhythm in order to ride out a liquid collage of acid lines, ecstatic piano and other blissfully wavy elements. 'Con Gas' establishes a tougher direction on the flip, finding Cromby's busier instincts reduced the simplest of ingredients - sub, bass and stabs - taking dancers deep into the bowels of house, replete with classic vocal call-outs, and yes, even a well-earned inbuilt spinback. Having exhibited such restraint, we're unceremoniously booted out of the cubicle and back toward the strobes for 'Cheeky Bump', a rubbery, driving dancefloor tool guaranteed to delay any impending cab home. Colourful, charismatic and exclusively engineered for true party people, 'Jackin' Shit' finds Cromby returning to home turf on definitive form."

10" series

Exos inaugurates the new sub-label on SHDW's Mutual Rytm with four 90s techno cuts, with offshoot imprint X building on the main imprint's DJ-friendly tools to delve deeper into a broader spectrum of electronic music.

Founded in 2022, SHDW's Mutual Rytm label has quickly become one of techno's most supported labels, with wide-reaching love and well-earned hype following a series of carefully curated VA offerings and solo EPs from a wealth of the scene's best. Continuing to push the pace, with more records capturing high-quality, fresh soundscapes, April brings a new project to the mix with the launch of a new sub-label X, with techno pioneer Exos drafted to deliver the first instalment.

Hailing from Iceland, the Planet X boss is a master of crafting perfect dancefloor weaponry. Over the last twenty years, his high-octane sounds have come via vital labels like Figure and X/OZ, never failing to make an impact with both DJs and dancers. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s sound, and he brings this signature sound to four fresh productions across his 'Infrared' EP, marking an impressive debut for both label and artist.

The title cut 'Infrared' opens up the package in style and showcases a track that looks set to be a go-to anthem for many in the months ahead. With searing synth lines and drilling bass, the blistering production delivers a thrilling, high-impact techno sound that will devastate the dancefloor. The well-designed 'Kaldur Klaki' ups the ante even more with tightly coiled loops of drums, rusty hi-hats and stuttering synth lines that canter along with a muscular feel. 'The Bad' is twitchy and paranoid, anxiety-riddled techno that is perfect for dark warehouses and freaky dancers before digital bonus 'DS4BR' lands with a more stripped-back aesthetic with dubby undercurrents and static electricity fizzing across the face of the cut.

Each of the releases on Mutual Rytm X will be available on limited edition, coloured 10" vinyl, hence the Roman numeral X, and Exos' 'Infrared' EP kicks off the series on 19th April ahead of a new wave of killer releases scheduled across 2024.

2026 Repress


New EP from Polish label Kooky is a challenging and ambitious one. Jay Tripwire, Canada's finest DJ and producer, offers a solid set of 3 minimal (techno) tracks, crafted with a unique passion for detail, raw energy and dark soundscapes. Every track differs in intensity and dynamics, but all of them are a feast for the ears to demanding music lovers. If you are searching for the true beauty of minimal and want to escape from modern dance music that is unfortunately more and more generic these days, this release is just for you.

Pure Motorised Instinct drives over to Dark Entries with At Last I’m Leaving the Earth, an LP of industrial-tinged ambient and new age. When legendary industrial outfit Nagamatzu went dormant in 1991, band member Stephen Jarvis moved forward with Pure Motorised Instinct, a name he pulled from a line in George Romero’s Dawn of the Dead. Throughout two cassette albums - 1991’s Between Intimacy and Elsewhere, and 1993’s Everything Is True - Jarvis pushed the Nagamatzu spirit in new directions. At Last I’m Leaving the Earth collects 9 tracks from this era, which are appearing on vinyl for the first time, along with 3 additional tracks on a bonus CD. The material here sits between the brooding and the optimistic, the claustrophobic and the soporific. Jarvis’s digital synths are pushed so far into tape-scuffed terrain that they talk and squawk analog-like, scurrying with vibrant curiosity. The late-night vibes peak on pieces like “Vincent V,” with its reverb-drenched digital drum machines, or “Geek,” which taps into a wide-eyed proto-vaporwave zone.    At Last I’m Leaving the Earth is Black Lodge ambient for the empty set. 

Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.

Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.

Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.

Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.

Ruf Kutz reaches release twenty-two with something close to heart...

Mike Kee is a face from the early days - red-lit rooms of the Bodega mushroom squat parties in Sydney. This is a second release for Mike Kee on Ruf Kutz since 'Seeing Crystals' on RK2 in 2010.
Recorded in the rainforests of Bundjalung Country (northern NSW, Australia). Making good use of a Fender Rhodes and a JX-8P synthesiser.

WHITE CLOUD PLACE is a destination that doesn't exist. Glimpsed once on a street sign, filed away in the imagination and allowed to bloom into an imagined geography of warmth and weightlessness.
The music is lush dream house that elicits euphoria out of the speakers and into the body. Mike Kee has been chasing this feeling across his music and here it lands cleanly.

Flip the record and the temperature ratchets up. BANANA MOON is one for the dancers - shuffling congas push the pace while Rhodes chords and those big analog synth strings hold the whole thing aloft.

Where the A-side invites you to float, Banana Moon keeps it pitched up and jazzy.