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We’re back with our first reissue of the year, number nine in the series, and easily our most ambitious to date. After eighteen months of focused work by Tommy (Zulu Matrix), we’re proud to finally give the 1994 Canadian trance weapon, Hyperspace, the reissue it’s long deserved. The original Supernova Mix returns in full force, backed with two brand-new edits on the B-side from S.O.N.S and Tommy (Zulu Matrix) himself, built for modern systems while staying true to the original energy.

Manfredi Romano, founder and A&R of Life and Death Records, has been a pivotal figure in electronic music for over two decades. This year marks an important milestone as he is invited to curate the upcoming fabric presents mix for fabric Records, a release that highlights his instinctive storytelling and the distinct musical identity he has cultivated throughout his career.

Manfredi’s journey began in Italy around the turn of the millennium, tour-managing punk bands and organizing left-field music events before completing his studies in computer science at the University of Pisa. He went on to form DAZE, Italy’s first booking agency dedicated exclusively to electronic music, laying the groundwork for what would become a globally influential presence in the scene.
In 2010, he shifted focus to his own artistic project, DJ Tennis, which quickly gained international recognition for its emotive blend of house, techno, and disco. Renowned for creating intimate atmospheres in even the largest spaces, DJ Tennis has performed at leading clubs such as Circoloco Ibiza, Fabric London, and Panorama Bar Berlin, and at major festivals including Sonar, Timewarp, Primavera Sound, and Coachella. His 2022 residency at Phonox in London further showcased his ability to shape dancefloors with nuance and depth. Since 2017, he has also co-founded and curated Rakastella, the celebrated Art Basel Miami festival created in partnership with Life and Death and Innervisions.

As a producer, DJ Tennis draws from early relationships with post-rock pioneers such as Godspeed You! Black Emperor, Tortoise, and Fugazi, channelling their influence into intricately layered electronic compositions. His work has appeared on respected labels including Kompakt, Rhythm Assault, Running Back, !K7, Cercle Records, Aus Music, and Circoloco Records, alongside frequent releases on Life and Death. His remix portfolio includes collaborations with Diplo, Boys Noize, Loco Dice, WhoMadeWho, and Acid Pauli, among many others. He has also previously contributed a DJ-Kicks mix, bringing his eclectic sensibilities to one of electronic music’s most beloved series.

After extended periods living in Miami, Berlin, and Barcelona, DJ Tennis now resides in Paris. Outside the studio and club environment, Manfredi is a passionate chef who has curated menus for charity events and collaborated with Beatport at ADE, Pioneer, and Resident Advisor. He is also an avid collector of bicycles, vintage action figures, and vinyl — his record collection now surpasses eleven thousand pieces.

With the forthcoming fabric presents DJ Tennis release, he offers a deeply personal, narrative-driven statement that reflects decades of crate-digging, boundary-pushing selections, and a lifelong devotion to sound. It marks a new chapter in his artistic evolution and stands as one of the year’s most anticipated entries in the iconic series.
The first single from DJ Tennis is a collaboration with long-time studio partner Ashee, and it immediately sets the tone for the mix: warm, seductive, rhythm-driven, and emotionally charged.

“I Wanna Know” is a sleek club track built around a pulsing groove and a steady, hypnotic rhythm. The low end is rounded and warm, giving the track a driving but understated momentum. Percussion is crisp and minimal, allowing the bassline and vocal elements to take center stage. The repeating, robotic earworm of a vocal hook, “I wanna know’ is the lynchpin to the track and will remain in your head long after the track has finished.

It’s the kind of record that warms up a room early in the night, sets the tone for a sunset beach set, or adds a lush, emotional peak during a more leftfield club moment.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

dgoHn (pronounced “John") is the moniker of John Cunnane, who hails from somewhere between London and Essex. ‘Tessares,’ his fourth album but his first for Planet Mu, is playful, unconventional drum & bass that contrasts sparse effects and melodic elements with complex drumfunk and breakcore. He often uses unusual time signatures and head-spinning polyrhythms inspired by jazz and math rock, sometimes within the same track. Somehow he makes it sound effortless, and occasionally pretty as well, keeping a fine balance that never feels punishing; exploratory without getting lost.

He's built a name for himself over the last two decades performing live at festivals and events around the world, while collaborating with fellow artists such as Macc, Nic TVG, Jodey Kendrick and Badun as well as solo releases.


The album opens with ‘Waiting For’ which combines complex breaks with melodic fills, spacey effects and dubbed out vocals that feel like snatches of lost conversations - a combination he uses throughout the album giving it an eerie touch of humanity. Lead single ‘I Couldn't Remember So I Made Something Up’ is in 15/8 time. It feels like a conventional melodic drum & bass track, but the time signature disrupts the listeners’ expectations, while the detuned melody eases its sense of dislocation. ’Whistling On A Tuesday’ opens with a light echoey piano countdown into bass stabs which introduce heavy whirling amen breakbeats that switch between 180 and 120 bpm. ’Holly Can Swim But She Doesn’t Really Like It’ is the most rhythmically challenging track here. It feels hard to hang on to as its knotty breaks play out over bell chimes, like something Autechre might make if jungle was in their DNA. The album ends on the dubbed-out drumfunk of ‘7 Years Or More,’ with an arrangement that builds a filmic, dusty atmosphere of chimes and electric guitar, layering in vocals, vinyl crackle and echoing synth giving way to tough drums, before all that is taken away so that just a voice remains.

Feel the sun, samba, and soul that define summer in Rio.



Summer in Rio blends smooth bossa grooves with mellow lofi beats, capturing the laid-back energy of Brazil’s most iconic city. Born on Rio’s beaches in the late 1950s, bossa nova fused samba rhythms with jazz harmony and soft vocals, a sound both timeless and deeply expressive. This 28-track compilation brings that spirit to life: the first 14 tracks dive into bossa lofi with guitars and syncopated rhythms, while the last 14 ease into warm, expansive summer lofi.



From beachside mornings to golden hour evenings, this is summer on loop.

"HOPES AND DREAMS - Rare & Unreleased Psych-Soul Nuggets from the 1970s" marks the beginning of a new journey of discovery through the music history of the 1970s, which we hope will be just as successful as its predecessor, PRAISE POEMS. Curated by label headman & DJ Tobias Kirmayer.

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

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

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

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

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

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

With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
 
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe. 
 
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”. 

But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
 
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
 
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.

Classic 90s boom bap from Poor Righteous Teachers with two of their biggest tunes on 45 for the first time!

The Brooklyn Players’ track “Hypnotized” was originally recorded in 2003 by a group of session musicians for a UK newspaper’s CD series free giveaway, featuring classic disco and funk. Despite efforts to identify the band members, their identities remain unknown.
A sublime boogie track with wonderful vocals, “Hypnotized” will be loved by the dancers!!
The track is now available for the first time on a limited edition 7-inch vinyl (400 copies), released by Home of The Good Groove Records (Catalog No: GG004) on March 6, 2026.
The B side “Hypnotized (Timberman Bass Groove),” includes a fantastic underlying bass line groove laid down by one of East London’s finest bass players, Timberman, enhancing the original synthesizer-bass sound.
Enjoy!!

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

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

Artwork & Layout by Alicia Carrera

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

Repress!

Legendary NYC house label Strictly Rhythm is celebrating a mammoth 3 decades of cutting edge, roof-raising house music. Truly a benchmark.

Originally founded in 1989 by the dynamic pairing of music industry man Mark Finkelstein and A&R expert Gladys Pizarro, Strictly tapped directly into the fertile New York underground and after hours club scene, helping to launch and bolster the recording careers of dance music luminaries like Armand Van Helden, Roger Sanchez, Ultra Nate, Todd Terry, Wamdue Project, DJ Sneak, Louie Vega and many more. Strictly Rhythm is easily one of the most recognisable and respected dance music powerhouses of all time.

Across 3 limited double vinyl offerings, the Strictly catalogue has been expertly picked over to present you with a snapshot of some of the most earth shattering house music to emanate from the streets of New York City. A who's who of producers and artists, all killer and no filler. End to end classics that help to tell the story of one of dance music's most well loved labels. Classic cuts and essentials from DJ Sneak, Wamdue Project, Louie Vega (Sole Fusion), Essence and more all feature on part 2 in their unedited, 12" mix glory.

Fully legit, remastered and selected with love courtesy of Strictly Rhythm and Above Board distribution for 2020. Happy birthday Strictly Rhythm!

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

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

After nearly three years, *Can You Feel It Vol. 5* marks the release of a brand-new installment in Tramp Records' Disco/Boogie series. Like all four previous volumes, Vol. 5 offers a colorful mix of songs from the late 1970s and early 1980s. From extremely rare tracks to easily accessible ones and even unreleased material-this release has everything to make a collector's heart race. Once again, these songs will get you on your feet, inspire you to dance, and transport you back to the glittering world of the late 1970s. CAN YOU FEEL IT?

Let's take a closer look at a few of the songs on this album. Kicking things off are Bill Deal & The Rhondels, a band that needs no introduction. The same cannot be said for Tom Balistreri and Ryjel. The latter presents "Heart's On Fire," a seven-minute journey into previously unreleased deep disco. "Old Mother Winter" may not be a typical disco song, but it's undoubtedly a fantastic composition. The Stone Mill Band is relatively unknown even among hardcore collectors. The most recent track on this album is by singer Tory Wynter who already contributed a song for Can You Feel It Vol.4. "Oh Let The Rain Fall Down" was released in 1988.

The second record opens with "Been Thinkin' About You" by Avatar-an amazing song and probably the rarest gem on this album, in stark contrast to Piz-Zazz - a record you can find easily for a few dollars. Saxophonist King Perkoff was born in Santa Monica, California, but now resides in Berlin, and with "When You Live In Marin" he delivers a real disco-funk banger! Glenn "Shake & Bake" Doughty played professional football as a wide receiver for the Baltimore Colts from 1972 to 1979. Together with some of his teammates, he founded the Shake & Bake Band in 1975. We probably aren't telling Tramp fans anything new here. Anyway, a little over two years ago, we reissued the first of their two extremely hard to find 45-RPM singles ("Shake & Bake Pt. 1 & 2"). We also included a DJ-friendly edit of the song on "Movements Vol. 12." It is a must for us here at Tramp that we also reissue their second single, "Starflight Disco Pt. 1 & 2," soon!

So there you have it, 13 obscure but brilliant MODERN SOUL, DISCO and BOOGIE tunes of which all have not been compiled anywhere else. We sincerely hope you enjoy our guided tour back into the late 1970s and 80s Disco era.

2026 Repress

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

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

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

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

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

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

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

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

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

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

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

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

Windy City label Identity Spectrum is back with a third volume in its The Way Of The Rave series, and again it offers authentic techno from across the US East coast, the Midwest and Mexico. ViiV opens with a dubby, low-key groove packed with suspense and muttered vocals on Dollar Shake. Sister Zo's 'Diamond Hands' then cuts a rugged groove with razor sharp percussion and jungle breaks just about contained in a moody techno framework, then Snad strips things back to an abstract minimal groove with loopy rhythms and broken glass before Titonton Duvante serves up his smooth signature tech house cruiser, 'Unrequited.'