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Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!

Fantastic Friends Recordings drops a new 12” bringing together long-time label pillars Daniel Meister and Brizman, alongside first-time vinyl appearances on the label from Ilario Liburni (Italy/Belgium) and San Dee (Miami). Moving across deep house, minimal, subtle techno and electro influences, each artist delivers a distinct sonic identity while contributing to a cohesive overall vision. The EP reflects the collaborative and eclectic spirit that has defined Fantastic Friends since its early days, with tracks built around groove, tension and durability on the dancefloor. A timeless vinyl EP for lovers of deep, minimal and forward-thinking club music.

Doubting all the time. Fearing all the time. Our Darkness descends upon Dark Entries with a reissue of Anne Clark’s epochal proto-house masterpiece from 1984. As a young poet, Clark found herself drawn to London’s emerging punk scene. She became acquainted with Psychic TV affiliate David Harrow, with whom she would collaborate on 1983’s Changing Places and 1984’s Joined Up Writing. “Our Darkness,” off the latter album, was released as a single on Ink Records that same year, and became an underground club hit. It’s a singular piece of music: Clark’s lyrics, delivered with equal parts muscular confidence and unease, speak of urban alienation and heartbreak, while Harrow’s production pummels the listener with hydraulic beats and gloom-laced arpeggios. The song’s spirit would prove influential on both the early Chicago house and Detroit techno scenes, where mechanistic funk and existential despair could catalyse dancefloor mayhem. This reissue offers three versions of “Our Darkness”: the original 12” remix, the Razormaid mix, and a previously unreleased dub version uncovered by David Harrow. Also included is the extended mix of “Sleeper in Metropolis,” another dancefloor hit of Clark’s, as well as the elegiac “Poem for a Nuclear Romance.” The record includes an insert with liner notes and lyrics. “Our Darkness” channels timeless longing and contemporary dismay, a classic overdue for a little light shed upon it.

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

Debuting on Token with his 'Blind Witness' EP, Pierce serves high-intensity cuts produced with finesse and flare. An architect of wide dimension, the producer works meticulously not only on the bite of his elements but the textures that glue everything together. Diving into immersion, Pierce executes four surgically precise tracks that burst at the seams and onto the dancefloor.



The balance of design to compliment each element is a tough feat, but Pierce funnels his expertise into very precise intention, making 'Blind Witness' a force to be reckoned with already so early in the year.

2026 Repress

This new EP on OCD is once again another project into which we’ve poured all our love and attention, carefully working with the artist to compile a release that would, at least in our vision, stand the test of time.

Our friend Harsh (Reformed Society) caught our attention through his outstanding double EP on Basic Moves. A subsequent, very synchronistic real-life encounter with him in Barcelona led to this EP, which pays homage to the early 2000s Progressive House era.

This era played an important role in our musical journey, as it did in Harsh’s own. Within this project, he fuses the influences of that time with his own refined taste, resulting in three tracks that could easily pass as unreleased material unearthed from old dusty DATs from that era.

-3LP triple set featuring all the Prescription versions and the newly created AD II artworks by Steven Stapleton.



The booklet features all lyrics, extensive liner notes and sheds light on the interesting circumstances of the creation of this Coil release by Gary Ramon who not only instigated the sessions but also provided the haunting location for their recordings.



Has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Steven Stapleton design & layout by Oleg Galay.

-3LP triple set featuring all the Prescription versions and the newly created AD II artworks by Steven Stapleton.



The booklet features all lyrics, extensive liner notes and sheds light on the interesting circumstances of the creation of this Coil release by Gary Ramon who not only instigated the sessions but also provided the haunting location for their recordings.



Has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Steven Stapleton design & layout by Oleg Galay.

4/5 Mojo review: ‘Sparse, hypnotic big-room techno that builds from the bass drum up

Double LP is released on 140gm black vinyl in a transparent gloss foil sleeve, artwork and design by Ian Anderson for Designers Republic. Circuitry Electronic launches with a release that stands as a statement of intent - an artist with few true peers within English electronic music, with an album that jumps out of the speakers and slaps you around the chops. G-Man is Gez Varley - one half of Sheffield pioneers LFO, and thirty years into his solo career, with his first vinyl album release since Avanti on Force Inc way back in 2002. Speaking to DJ magazine in 2014 Gez recalled his early days working with Mark Bell as LFO: “We were influenced by groups like 808 State. Unique 3, Nightmares On Wax and also stuff like Kraftwerk, Detroit techno and early electro. So when we first hooked up and made tunes together we just wanted to rock the dancefloor at our local club The Warehouse”.

Their eponymous track ‘LFO’ – a classic of the bleep and bass techno movement – was one of the first releases on the Warp label, gate- crashing the UK’s Top 20 whilst annoying Simon Mayo along the way. Having worked with the likes of Richie Hawtin, Karl Bartos, Laurent Garnier, Art of Noise, Radiohead, YMO and Alan Wilder, in addition to the LFO output, you'd expect Gez to know his way around a techno dancefloor rhythm and drum pattern, and this is an inventive funk-filled journey that never veers too far into experimental territory yet avoids the cliches and generic tropes that too often lose the listener when techno manifests in album form.

Repress!

Kirk Degiorgio’s influence on electronic music cannot be overstated, having been responsible for producing some of the most emotive and soulful machine music dating right back to the early 90’s. As a leading figure in UK techno his As One, Elegy and Future/Past output on labels such as B12, R&S and his own Applied Rhythmic Technology (A.R.T.) have rightly become revered classics and helped shape ambient techno and what would come to be known as IDM/Future Electronica. His connection with Cyphon co-founder Jamie Odell also dates back to the turn of the millennium when Kirk invited Jamie to play keys on his 21st Century Soul LP released on Ubiquity and subsequently releasing an EP together under the name Super Aloof on Exceptional.

DJ Support: Luke Una, Darryn Jones, Red Greg, Gilles Peterson, Patrick Forge

The second EP in the set from the dynamic duo themselves, The Mighty Zaf and Linkwood. 2 more killer edits to devastate the more headsy dancefloors.
Limited stock of these early copies. Act fast.

A 2024 remaster of Band of Skulls' critically acclaimed debut album, Baby Darling Doll Face Honey. The album was produced, recorded, and mixed by Ian Davenport, recorded at Courtyard Studios in Oxfordshire, and mixed at the House of Blues studio in Los Angeles. It features the single "I Know What I Am", which was released as the Single of the Week in Canada. This, along with the band's other two early albums, has been remastered for enhanced sound quality. Russell Marsden has also introduced a new lineup while teasing new music.

Andy Riley and Laurence Ritchie are Drop Music accomplices; the label is a natural outgrowth of yesterday's Smokescreen Soundsystem, one of the oldest and best-respected UK crews to endorse (sound-) systems thinking. In case you don't know, remember this: they were early 90s stanchions of pressure-dropping UK house heft. This rare new reissue hears their hugely in-demand classic 'Party Criminals' return to fully swung, gatecrashing mode. And boy, weren't they just. Their fourth ever Drop drop, it first surfaced in 1999 and turned instant heads for its crystalline blue inners and jacking, organic sound, not to mention a cameo from fellow duo Freaked on the A2's 'Rhythm By Nature'. But our favourite has to be 'Make Me Feel' with its soft-attack hi-hats, not tapping, more fizzing like metal leaf against the ears.

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

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

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

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

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

Early support by Gerd Janson, Moxie, Tim Sweeney, James Zabiela, Prins Thomas

Berghain’s Panorama Bar resident and Love On Rocks founder, Paramida delivers her take on Deep Dish’s classic ‘Say Hello’.

For the Lisbon based, international superstar DJ and producer, it’s a full-circle moment. As a teenager living in Tehran, she listened to “Say Hello” on her daily car rides to and from an internship at an Iranian newspaper while attending a German school.

Paramida explained the remix idea came together very quickly, in a single take, with everything falling perfectly into place.

An essential remix that is sure to be played everywhere from sweaty basements to festival throughout the Summer.

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.

DJ Support: Luke Una, Leftfield, Ewan McVicar, Optimo, Damian Lazarus, Jimpster, Hifi Sean, Lovefingers, Heidi Lawden, Justin Robertson, Damian Harris, Sean Johnston (ALFOS)

Electronic music icon Jon Dasilva continues to push forward into the future with “Sun Brings Joy”, alongside Swedish production compadre Skyskrapa and vocalist extraordinaire Donald Waugh.

Coming in a few different flavours, the Bass ID mix has already piqued interest on the socials... is it house? Is it techno? Is it bass music? Who knows, but Luke Una has already called it “the tune of the year”…
The package is completed with a remix from in demand genre bending dj/producer Spatial Awareness.

A mercurial producer, he has had a string of cutting-edge productions to his name spanning over two decades, on labels including Ellum Audio, Rush Hour, Soma, Mute, Deconstruction, Better Days, Eskimo, and many more. His early productions were considered seminal works, combining breaks, African influences, Acid and Bleep culture.

He is in the process of finishing a number of electronic projects for labels such as Balkan Vinyl, Mighty Force, I Love Acid and Hottwerk.

A 2024 remaster of the English rock group's second studio album, which debuted at #14 on the UK Albums Chart and features the single 'The Devil Takes Care of His Own'. This, along with the band's other two early albums, has been remastered for enhanced sound quality. Russell Marsden has also introduced a new lineup while teasing new music.

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

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

Black Truffle is thrilled to announce Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith and Keith Rowe, Reichel’s rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release.

Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely centre of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. As Reichel says in the charming archival interview with Markus Müller included here, he was ‘always a cuckoo’s egg at FMP’, a label that began as an outlet for roaring European free jazz. What strikes the listener right from the opening selection on Dalbergia Retusa—‘Return of the Knödler show’, from 1987’s The Dawn of Dachsman—is the extraordinary beauty of Reichel’s music, at once alien in the shimmering sonorities and unconventional pitch relationships made possible by his invented instruments, and deeply lyrical, even romantic in its harmonic content. Growing up in West Germany in the 1960s, Reichel’s formative influences were mainly British and American rock bands, a background that shines through in many of the pieces included here: ‘An old friend passes by’ is haunted by the ghost of Hendrix’s rhythm guitar, and the wild closer ‘Heimkehr der Holzböcke’, taken from a rare 1975 7” and the only piece to use overdubbing, layers errant hammer-on and slide tones over a Canned Heat boogie chug.

Reichel was an important source for the development of Oren Ambarchi’s own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel’s work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. On a piece from his very first LP, played on an 11-string instrument (partly strung with piano strings and using a schnapps glass a slide), we hear his intensive exploration of fret-hammering to create zither-like, chiming tone, which Reichel would hone further in later years with a double fretboard guitar specifically designed to be hammered rather than fretted and picked. On a piece from 1979’s Death of the Rare Bird Ymir, Reichel uses two steel-string acoustic guitars at once, with beautiful results: ‘some even say too beautiful’, he jokes in the interview included here. Many of the pieces from the 1980s make use of varieties of the ‘pick behind the bridge guitar’, instruments of uncanny harmonic richness primarily designed to be played on the ‘wrong’ side of the bridge. At times the unexpected behaviour of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realised solely through Reichel’s unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel’s own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel. Rarely has music been at once so strange and so beautiful.

The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.

As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.

You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.

We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.

XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.

XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.

Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.

XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.

XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.

So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last 2 LPs flew. You have been warned.

Assemble Music welcomes XDB for his first appearance on the label. Born and based in Germany with Greek roots, XDB (Kosta Athanassiadis) has been deeply involved in electronic music since the early 1990s. Known for his broad musical vision and refusal to be boxed into a single style, XDB has built a reputation through both his carefully curated DJ sets and hardware-driven productions. His sound draws from raw Detroit traditions, dub techno and deep house, favouring analog textures and stripped-back machine funk. On this three-track EP, XDB explores the darker edges of house and techno, blending classic Detroit influences with raw analog production to deliver a focused and uncompromising statement. With releases on respected imprints such as Sistrum, Ferox and Dial Records, this debut on Assemble Music feels perfectly placed and essential.

Given the Balearic life that Leeds ex-pat Nightmares on Wax now leads in Ibiza, we have to admit we did not see this coming: the downtempo Warp legend returning to his early 90s electronic roots. He does so with a new series of collaborations with young talents on 20/20 Vision, starting with Marlon Lopez. 'Patang' is slow, snaking dub with glitchy synth patches and melodic bass. 'Cancel Dat!' has a crunchy feel next to the bleepy synths with a leggy, loopy low end and tech house snap. Wulf's Jam 4 Jamie is a deeper, more twisted version and label head RL's Get It Together remix cuts up the groove and brings a spoken word that reframes the cut as soulful I:Cube style jam.

So… what are we actually supposed to tell you about HCL? Honestly, it’s a pretty nice story. A collaboration the way it’s meant to be.

HCL stands for Horkheimer, Consti aka Zeitstill, and Delenz — not hydrochloric acid, but liquid music. One shared idea of sound, without a fully mastered plan. Most of the tracks were born during long studio sessions — long nights, extended jams, ideas taking shape naturally. No big concept, just working it out together and seeing where things go (or not).

After the first two HCL tracks found their way onto various samplers — including the 25 Years of Live at Robert Johnson compilation and Freeride Millennium’s own Queer Base Vol. 2 — it felt like the right moment to take the next step and release the first pattern. Not as a conclusion, but more as a checkpoint. This is far from the end. There are more patterns, more sessions, more ideas already waiting to be published.

Describing the genre is, as always, not that easy. It drifts somewhere between techno and all the other things orbiting around it. Purely electronic music, rooted in the club, but not obsessed with functionality. In a way, it reminds us of the early 2000s — deep, slightly twisted, hypnotic, driving but never aggressive. Music that takes its time, creates space, and pulls you in rather than pushing you forward.

For moments that are meant to last — tracks you don’t want to hear mixed out. For getting lost on the dancefloor, for forgetting the noise and madness outside for a while, for drifting into yourself and letting time fly. Honest club music, built for immersion.

Enjoy the music. Enjoy yourself. Love.

Yours, HCL

Brooklyn Sway's 8th installment arrives from outside with more unexpected debuts and riotous returns to form. Experienced Barcelonian Larry Lan's epic 10-minute opener 'WTNG' is minimal goes post-punk, repurposing well-known, undisguised lyrics into an aggressive take on early Perlon and explanation enough for his recent album drop on Cadenza. BKS vets N/UM return with 'A Free Woman in Queens' showing off a reduced side of their sound adjacent to mid-00s minimal with plenty of character, its stripped intro giving way to a fuller, dubbed-out second half, with the cheeky vocal and instrumental touches joined by a swelling pad. Featuring spoken vox from Mari Blue and the debut of BKS co-head Asha Jasz alongside DeWinter and Jay Prouty, 'Acid in Your Coffee' takes the dirtier route, with layers of zapping electronics, an insistent single-note acid bass, and synths drifting between tones and textures all veering off like its vocals before eventually returning to center. LA/Bucktown scallywag $coe brings it home with 'The Devil is a MF Liar', an acid jam whose profanity-laced vocal samples don't require divine intervention to decipher. Bookended by a pair of interludes, the first on the power of repetition and the last in memoriam BK legend Big Sexy in his own words, and again featuring striking artwork from notable NYC street artist Fumero, BKS keeps that Sway from going astray.

2026 Repress

A further exercise in musical curation, Child Of Nature is our latest sonic confluence of self-released tracks from the loners, hippies and outsiders of the 70s and early 80s. A collection of privately pressed music, able to breathe and be created free from the constraints of heavy handed commercialism, yielding a pure vision of artistic expression. Child Of Nature features ten songs of brooding soft rock and psychedelic folk steeped in melancholia. Some ache for better times or past lovers, while others seek spiritual fulfilment or social progress.
A compilation to evoke the raw and unobstructed, to summon the occult, to fundamentally conjure a vivid portrait of our untamed natural environment. Recorded on the north coast of California, Luellen Reese’s ethereal “Silvery Waterfalls” drifts and swirls with electric guitar as her unearthly vocals transcend across a seven minute opus, fit for the golden age of labels like 4AD or Dedicated. “The flowers are dancing just for you …”, Reggie Russell croons over glistening Key Of Creek’s title track “Child Of Nature”, evoking a utopian world of natural harmony free from the present day realities of industrial decay.
Tap into your inner primal being, to embrace wholeheartedly, with frivolity and without reserve, your own child of nature.

Commissar Lag - Absolution EP (Earwiggle)

The 38th Earwiggle release comes from one of our favourites, and a debutant on the label, Serbian studio supremo Commissar Lag. The "Absolution EP" finds Lag delivering his playful vision of techno, dipping into the past while also pointing us to the future, all framed through an exquisite production gleam. Dense, rolling rhythms reminiscent of early '00s Stockholm techno, combined with a catchy repeating vocal sequence (one of Lag's trademark techniques) and rising sirens, result in the monster opening title track "Absolution". "Aim Without Mercy" is another club destroyer - jabbing keys, broken jagged beats, and a series of rising pressure points making it another winner. "The Blessed" meanwhile, shifts the mood from mental to majestic, with interchanging leads and reverb-drenched climaxes marking the big-room peak of the record. Rounding things off is Irish wunderkind Dylan Fogarty, who reimagines "Aim Without Mercy" through a deep and psychedelic lens, layering textural collages over surging, jacking
909s.

Constellation Tatsu welcomes US artist Brendan Principato aka Saapato for what is a hugely conceptual new album based around decomposition. It was sparked when Saapato saw a dead fox lying by the side of the road on his way home from a job in a local warehouse. He used that as a jumping-off point to interrogate "transformation, interconnectedness, and renewal" and the five stages of decomposition, namely fresh, bloat, active decay, advanced decay and dry/remains. Several collaborators help him on his way as he sketches out various instrumental textures which variously have occasional shards of light, lingering melancholy and a subtle sense of hope.

Music From Memory is thrilled to present ‘Aquáticos’, a captivating new record from Los Angeles producer Eddie Ruscha and Brazilian guitarist Fabiano Do Nascimento. Blending Nascimento’s expressive, Afro-samba and choro-inflected guitar with Ruscha’s cosmic, groove-driven sound, ‘Aquáticos’ marks the start of a vibrant musical partnership—an organic, free-spirited collaboration full of interplay and vitality.

Conceived during the early 2020’s, ‘Aquáticos’ grew from a series of recording sessions in which the music unfolded naturally, in a state of effortless flow. Album opener ‘Nascer,’ the very first piece they recorded, captures such a moment perfectly: Nascimento’s 7- and 10-string nylon guitars weave seamlessly with Ruscha’s modular synths, drum machines, and vintage keyboards. Like much of Ruscha’s work under Secret Circuit and E Ruscha V, it is rich in lush, rhythmic textures—pulsing and bubbling with vibrant energy.

The initial session that produced the opening track set the tone for the record, establishing a template of intuitive interplay and musical freedom. Each subsequent session built upon the last, gradually shaping ‘Aquáticos’ across nine tracks, all characterized by melodic richness, rhythmic depth, and an unshakable sense of spontaneity.

‘Aquáticos’ pulls the listener gently into a celebration of musical conversation — a radiant, immersive journey where Ruscha and Nascimento’s instruments breathe together, echoing the joy, curiosity, and playful spirit that define their collaboration.

Sleeve art and design by Michael Willis.

"¡Qué ardiente!" combines the best of Los Roger's limited discography, one of the most influential Amazonian cumbia bands from Iquitos, Peru.Their discography dives deep into Cuban-influenced sounds, where the guitar shares the spotlight with powerful percussion and-with tracks like 'Descarga Roger's'-with the vocals as well. A thorough look into one of the most essential Psychedelic cumbia bands in Peru. Iquitos, one of Peru's most remote cities and the capital of its Amazon region, was the epicenter of the psychedelic cumbia movement. Countless bands emerged from this place, each with a different fate in their musical journeys. Some rose to become international stars and flag bearers of cumbia, while others remained local legends, their fame never traveling far beyond the Amazon jungle. Los Roger's achieved great success in Iquitos and served as the foundation and inspiration for many local bands that emerged in the late 1960s and early 1970s. "¡Qué ardiente!" combines the best of the band's limited discography. The recordings come from their first 45 RPM single and their two mini Long Plays for the FTA label, as well as their only elusive LP from 1971, "¡Qué ardiente!", ("How Burning!") recorded for the prestigious IEMPSA label. Los Roger's came to an abrupt end just one year after the release of their LP, at the peak of their career, due to their disappointments with the music industry.

Belgian artist, label boss and DJ, End-jy, glances back at one of his most revered releases to date, the 2003 ‘Red Alert’ EP, originally released on Lupp Records it marked a defining moment, earning widespread support from scene-shaping artists including Carl Cox, Tiësto, Marco Bailey, Dave Clarke and Mark Broom. Long regarded as a personal milestone, the track now returns in renewed form on the artist’s own label as MV08. This forthcoming EP revisits the original with fresh perspective, featuring a powerful remix from Pig&Dan alongside a newly reworked version by Dimitri Andreas and the artist himself, bridging the track’s enduring legacy with a contemporary evolution.

Pig&Dan take the reins first, extracting fragments of the original version of ‘Red Alert’ and reshaping them into a dub tinged, deep techno cut fuelled by circling synth stabs, robust percussion, tension building atmospherics and a driving bottom end. Following on is ‘Red Alert’ (Dimitri Andreas & End-jy 2026 Remix), the pair lay down a deeper, more hypnotic and minimalist interpretation courtesy of crisp, stripped-down drums and oscillating resonant synth flutters underpinned by the original’s dark, dubby aesthetic.

The original version of ‘Red Alert’ opens the flip side, capturing the essence of the underground at the turn of the millennium, the track fuses, gritty stabs with organic percussive elements, hypnotic siren like synths and a subtly evolving feel throughout.

‘Flexibeat’ then concludes the release, a composition that veers into the realms of early Detroit techno and electro via an amalgamation of twitchy synth pops, cinematic strings, saturated 808 drums and murky bass tones.

Already Supported by Jamie Jones, Calao, Amé, Marco Faraone, Timo Maas, Nick Varon, Steve Parry, Just Her, Dax J, Perc, Massimiliano Pagliara, Alex Neri.

Mutant Volt emerges from the depths of the underworld with Bona Vista, a six track EP built from unreleased DAT recordings made during the early 90s. Drawn from a vast archive, much of the material had been long forgotten, written at a time when electronic music moved fast and rarely looked back.

Mutant Volt is one of several aliases used by Dan Piu, whose roots sit firmly in early European rave and club culture. The name was originally used to explore a stripped, machine driven sound shaped by early trance structures and bleep influence. Aside from a single release on Superluminal in 2020, much of this material has remained unheard. Recorded on a hardware setup that has changed little since 1991, the tracks were made instinctively and left behind to gather dust.

Today the tracks carry a different kind of weight. What was once made quickly and left behind now feels immediate, proof that some music does not belong to the past, it simply arrives there first.

Peace World Records returns with Hidden Atmospheres, the debut release produced by Max F and mixed by Space Ghost. Drawing from classic deep house and esoteric club sounds of the '90s and early 2000s, this seven-track collection channels these influences into fresh territory while preserving the digital grit and dreamlike essence of the era.

The release strikes a delicate balance between the meditative and the kinetic. On the A Side, tracks “Soul Control” and “Zone 6” highlight subtle yet hard-hitting percussion grooves and deep basslines that anchor the mix beneath ethereal pads and sweeps. Each track builds through hypnotic, evolving arrangements that reward close listening. On the B side, “Dream Channel” and “Earth Effects" both feature airy, spectral synth progressions that interweave with ephemeral yet decisive melodies, demonstrating a refined insight of space and dynamics. To round things off, Space Ghost took a crack at an energetic club remix of “Dream Channel. ” Carried by a classic 909 house rhythm and a bubbly bassline, the remix offers a fun, uplifting take on the original, complete with organ stabs and MIDI sax!

As a whole, Hidden Atmospheres delivers something new for fans of 90s and 2000s era house music. Think Ronin, Hanna, Chris Brann, Wamdue Kids—artists whose work holds its own in the club while remaining equally suited for intimate late-night listening. Throughout the record, tracks drift seamlessly between shimmering dancefloor functionality and liminal, introspective ambience, inviting repeat listens that reveal new details and "hidden atmospheres" with eachpass.

Hidden Atmospheres lands on Peace World Records April 9th, 2026.







[g] B3. Dream Channel [Space Ghost Club Remix]

Killer Groove Records proudly presents "Keep Your Step", the explosive comeback by Italian rock steady & early reggae ambassadors The Appetizers, a soulful celebration of reggae's timeless spirit.


"Keep Your Step" marks the band's much-awaited return, landing April 10th on limited edition LP, CD digipack and digital format featuring two exclusive bonus tracks.

The Appetizers deliver a masterclass in roots reggae music with their highly anticipated second studio album, bridging Jamaica's golden age with contemporary relevance. "Keep Your Step" is a heartfelt sonic journey where the band blends rocksteady and early reggae with funk and soul influences to create a sound that's both genuine and refreshingly modern.

The fourteen tracks move fluidly between infectious dancefloor fillers and socially conscious lyrics. From the laid-back swing of "Feel Like Dancing" to the hypnotic rhythm of "Thicker Than Water", the band demonstrates their versatility while remaining true to the roots of Jamaican sound. "A Message from The Meters" pays tribute to the legendary funk pioneers, while the instrumental "Catch This" and "Make It Reggay" highlight the band's musical prowess and the deep connections between reggae and funk.

Meanwhile, tracks like "Fussy Girl" and "Behind My Shoulders" explore love's complexities with humor and soul. The album's heart lies in its social consciousness. "Cool and Deadly", "The Life", "Stormy Weather" and the album title track "Keep Your Step" tell stories of perseverance through life's struggles.

With the hopeful anthem "We Shall Overcome," The Appetizers deliver a timely message about genuine human connection in a social media-dominated era. The digital edition closes with "Get Some Rollin'" and "Swing and Sway," rounding out the journey with two additional gems.

"Keep Your Step" pays homage to Jamaican music legends, from Jackie Mittoo and Tommy McCook to Toots & the Maytals, while carving out The Appetizers' own distinctive sound. This is a groove made for both the dance floor and the soul, proving that reggae's power to inspire, unite, and uplift remains as vital as ever.

The production stays true to The Appetizers' signature sound: organic tones, deep groove, and that live-room vibe you only get when real musicians are locked in together. Luca Monza and Claudio Mambrini, the band's core members, handled the artistic production. Mastering came courtesy of the great JJ Golden (Black Pumas, Sharon Jones & The Dap-Kings, Jr. Thomas & The Volcanos, The Frightnrs) at Golden Mastering in Ventura, California. JJ is one of the most trusted engineers working in this sound, ensuring every ounce of warmth and authenticity came through.

The Appetizers are a rocksteady and early reggae band formed in Milan in 2020 by musicians deeply embedded in the Italian and international reggae scene. Musicians from different paths united by a shared vision: recreating that vintage Caribbean and American sound with authenticity, respect and a forward-thinking edge.

Drawing inspiration from Jamaica's golden era and channeling the soul of Delroy Wilson, Alton Ellis, the early Wailers, and The Upsetters, The Appetizers carry forward the essence of bass culture with a pure, fully organic approach.

Their debut album Listen Up! (2022), released via Belgian imprint Badasonic Records (home to The Slackers, The Aggrolites, David Hillyard & Victor Rice), featured ten original tracks and a dub cut by Victor Rice. Distributed across Europe, the UK, the US, and Japan, it quickly earned international recognition among reggae connoisseurs and selectors worldwide.

Following extensive touring, including shows with The Slackers, Black Uhuru, Skip Marley, and more, the band returned to the studio to record "Keep Your Step", their second album produced by Killer Groove Records. Here the band expands its musical language, weaving together the spirit of historic Jamaican labels like Studio One and Treasure Isle with '60s funk, arriving at a warm, organic, and timeless sound: soul, Jamaican roots, and modern sensibility in perfect balance. Their lyrics explore heartbreak, social issues, and reflections on life and music, performed with dedication and respect for tradition while always pushing forward.


If you're into The Skatalites, The Ethiopians, and those classic Caribbean rhythms, this one's for you.

Two foundational releases from Toronto's Strobe Records get a well-deserved reissue on the Clone Classic Cuts series, spotlighting a pivotal moment in North American dance music. While often overshadowed by the Detroit and New York scenes, Toronto's underground in the early '90s was brewing its own potent blend of house and techno - and these tracks are prime examples of that cross-border synergy.

The Hayden Andre Project's contributions sit at the perfect intersection of tribal house rhythms and the emotive, machine-driven pulse of early Detroit techno. There's a raw elegance here - a sense of deep groove layered with just the right amount of percussive tension. It's no surprise that these tracks became staples in the crates of DJs both then and now. The production feels timeless, with hypnotic arrangements that still command the floor over three decades later.

On the flip, Kingdom Come, another alias of Ron Allen, delivers lush, blissed-out house music that channels the soulful energy of New York's golden era while adding a uniquely Canadian sensibility. Allen's piano work, layered with warm pads and swinging drums, gives these tracks an unmistakable vibe - equal parts deep house ecstasy and garage swagger. It's the sound of 3 a.m. euphoria, of packed dance floors and emotional peaks.

Celebrating 20 years of Frank Turner’s solo debut EP ‘Campfire Punkrock’, Xtra Mile Recordings are excited to release a special anniversary extended edition of the seminal release. Featuring the original EP with two added songs (The Real Damage and The Ballad Of Me & My Friends, both of which were included on the US version in 2007), plus 7 further live tracks recorded from Frank’s 50th solo gig in London 2006 - taking listeners right back to where it all began at the very early days of Frank’s incredible solo career. The 12” LP features new reworked artwork with shiny gold campfire on matt black cover plus coloured vinyl.

The original EP was recorded by Frank's guitarist Ben Lloyd at the Oxford home of Turner's bass player Tarrant Anderson and mixed by Tristan Ivemy. If features fan favourites ‘Nashville Tennessee’, ‘The Real Damage’ and ‘Ballad Of Me And My Friends’. Throughout April, Frank will tour UK performing tracks from Campfire Punkrock and the early years of his solo career. All dates are sold out including two nights at London’s Scala.

First time reissue of JP free jazz rarity, pre-Seikatsu Kōjyō Iinkai group.

The single album self-released by the quartet Shūdan Sokai in 1977 is one of the most vital documents of mid-seventies Japanese free jazz, documenting Tokyo’s free scene at the precise moment when it began to shift to a handful of tiny venues on the western fringes of the city. In Free Jazz in Japan, Teruto Soejima identifies the extant venue Aketa no Mise in Nishi-Ogikubo as the pioneer of this decamping from the centre: a cramped basement beneath a rice shop, seating just 20 people. Musician-run, operated on a shoestring, these spaces offered a vital site for community, creativity, and a small measure of financial independence — “even though it was in a basement, in spirit it was a loft.”

Among the most active of the new venues was Alone in Hachiōji, nearly an hour from Shinjuku, in a district shaped by universities, lower rents, and a thriving counterculture. Originally opened in 1973 as a jazu kissa, Alone was unusually spacious and equipped with a stage, grand piano, and drum kit. Around 1974, Junji Mori and Yasuhiro Sakakibara began working there, booking free jazz players on weekends and establishing the venue as a crucial hub. Mori recalls early appearances by figures including Kazutoki Umezu, Toshinori Kondo, and others who would define the scene.

In early 1976, Umezu and pianist Yoriyuki Harada — recently returned from New York’s loft jazz environment, where they had played with musicians such as David Murray and William Parker — formed Shūdan Sokai with Mori and drummer Takashi Kikuchi. The name, meaning “mass evacuation,” pointed to their self-chosen exile in Hachiōji. With Alone as their home base, the quartet developed a music characterized by an infectious sense of enjoyment and a willingness to integrate free jazz with elements of song structure. Harada switched between piano and bass; the group experimented with rap-like vocal pieces, jabbering nursery rhymes over bass rhythms.

They returned to Alone on December 24 to record Sono zen’ya (Eve), releasing it on their own Des Chonboo Records, partially funded by advertisements from local businesses printed on the rear cover. The closing “Ballad for Seshiru,” dedicated to Harada’s newborn son, unfolds over a delicate piano melody that moves into emphatic chords as intertwining alto lines rise and spiral.

Alone closed in September 1977, and Shūdan Sokai soon dissolved, later morphing into the expanded Seikatsu Kōjyō Iinkai Orchestra. What remains is a recording rooted in a specific place and moment: a fiercely independent scene sustained by small rooms, close listening, and collective commitment.

WRWTFWW Records is pleased to announce its fifth collaboration with NY-LA ambient / jazz / downtempo musician Danny Scott Lane with the first ever vinyl release of his 2022 full-length album Holy Goodnight, available on limited edition LP (500 copies worldwide) housed in a heavyweight sleeve.
After Home Decor, Shower, Caput, and Songs For Sex, here’s another Danny Scott Lane classic. On Holy Goodnight, he handles synths, keyboards, bass, guitar, percussion, and field recordings for a smooth nightride through city pop, contemplative jazz, vaporwave, slow funk, cozy ambient, library music vibes, and relaxed moods.
Holy Goodnight feels like cruising through a half-asleep city with the windows down and the radio low—lush harmonies and soft grooves guiding the way. It’s warm and hazy music for late hours and early mornings, introspective, comforting, cinematic, intimate…
Following the release of chillout staples on WRWTFWW, Danny Scott Lane further cements his unmistakable sonic universe. Complete the collection and sink deeper into the night.
Points of interest
For fans of ambient jazz, city pop, downtempo, smooth funk, vaporwave, library music, night drives, neon lights, quiet introspection, cozy late hours, and peaceful goodnights.
Super limited edition vinyl (500 copies worldwide) of Danny Scott Lane’s Holy Goodnight, available on vinyl for the first time ever.