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Olindo Records is proud to present the physical edition of Venezuelan drummer, producer and artist Orestes Gómez 2nd solo LP: No Me Fui Porque Quise.

This album is a deeply personal and rhythm-driven project where Orestes explores themes of migration, identity, and emotional resilience. Through a fusion of Afro-Caribbean percussion, jazz, hip-hop, and electronic textures, the album tells the story of leaving home not by choice, but by circumstance.

Featuring a host of exciting guests from his home country and beyond, each track blends organic drums with modern production, creating a sound that is both rooted in tradition and forward-thinking. The music moves between introspective moments and powerful rhythmic expressions, reflecting the complexity of displacement, memory, and cultural identity.

Orestes Gómez is much more than a percussionist; he is an architect of rhythm and a visionary of hybrid production. Originally from Venezuela, he has established himself as a leading Latin American voice by fusing the heritage of Afro-Caribbean drums with the avant-garde of electronic music, jazz, and hip-hop.

For thirty years, Alden Tyrell has been at the forefront of electronic music. This analogue alchemist has concocted heady grooves that transmute genres: acid, disco, electro, house, italo and techno; no style left unturned. Under his Tyrell Corporation moniker, he returns to the Bordello with a sound forged for dancefloors. Midnight Machines is a warm embrace that melts electro‑disco with star‑gazing synthlines. “Midnight Machines Pt. 1” balances robust melodies and incising snares with soulful undercurrents and joyous breaks. Past energies are re‑channelled. Arpeggiators rumble as beats throb. Beneath it all, there is a greater consideration of the interplay of elements.

This focus pulsates through speaker cones on the needle‑drop of “Love in Decay.” Elated key changes and bright shifts are tempered by bittersweet moments, early‑morning light piercing fresh mists of grey. Tempos rise on the flip with “Midnight Machines Pt. 2.” Sci‑fi‑scored disco lifts ever higher as scaling notes untether themselves from the floor and soar above vibrant rhythms. Coy and alluring, the bright “Romance Obscura” closes the record. Cowbells and bending wavelengths open into an expansive, intoxicating melody where keys search the horizon as arms fold around celestial bodies.

For their third release, Sarturan Records immerses you in the electrifying and captivating world of Wave Catchers (aka Baldov & Lazer Man).

The duo delivers a truly immersive sonic experience with their debut vinyl. Electric Pressure captures the essence of electronic music, where saturated bass meets retro sounds with tracks like Aerosmith and 80’ Spirit. Then comes a plunge into introspection, all tinged with haunting melodies and hypnotic rhythms, with Secret Emotion and The Russian Nightmare. A bold EP, at the crossroads of eras and emotions.

Keroxen presents Spandauer Damm 103, a new album by Dancelwerk.
Bringing together modular systems, worn drum machines and digital synthesis, the record nods directly to the first decade of Warp Records and the early logic of bleep culture.
Dancelwerk is a Tenerife-based electronic pioneer and one of the foundational figures of the Canary Islands underground. Active for over 30 years, Spandauer Damm 103 marks both a personal milestone and a renewed point of focus, reaffirming his role in shaping the region’s electronic lineage. The album draws on 1990s electronic futurism, filtering those references through a contemporary production approach rather than nostalgia.
The music moves between places and periods: from the early rave circuits of southern Tenerife, where Dancelwerk built his reputation through DIY releases and warehouse-level experimentation, to his later relocation to Berlin, famously arriving with a shipping container of vintage synthesizers and modular equipment.
Balancing melody and impact, Spandauer Damm 103 sets custom-programmed percussion against detailed sound design. FM, spectral and wavetable synthesis shape its harmonic and textural focus, resulting in music that remains physical without sacrificing clarity.
A long-standing practitioner reconnecting with his roots while pushing the system forward.

Following releases of the UFO and Supercar soundtracks, Thunderbirds is the third in the series from Gerry and Sylvia Anderson’s iconic TV shows. It is newly compiled, mastered and designed by the creative team at Fanderson (The Official Gerry and Sylvia Anderson Appreciation Society), who have access to Barry Gray's original studio tapes.

The album features 37 tracks from 19 episodes (series 1 and 2), including the Thunderbirds main theme and closing titles. The tracks were not programmed to follow the episode order but to achieve an integrated listening experience. The best bits of the sixties’ soundscapes are here. The Thunderbirds soundtrack is an effective time capsule as Gray’s music veers into British spy genre, Latin pop, exotica, urban jazz and military marches. Beautifully composed and conducted, the score reflects the moods of the scenes, from dangerous to romantic and no-nonsense to silly.

Barry Gray was a classically trained composer and a versatile musician, and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Bridging the sound of two distinctive auteurs within modern electronic music, Exhale is the natural convergence of Batu and Donato Dozzy"s revered, distinctive sonic signatures. With techno in the broadest sense as a framework, the pair have created an immersive listening experience that celebrates the flashpoint of inspiration and thrives on experimentation.

Finnish multi-instrumentalist Simo Hakalisto makes mosaic music of strings, bowls, bells, reeds, wind, water, and obscure electronics, threaded in subtle currents of color and texture. The title of his latest, Toinen Luonto (Finnish for “second nature”), alludes equally to Shakali’s earthen, tactile soundworld and Hakalisto’s deepening comfort with his craft.

The album’s eight songs feel coaxed as much as composed, a web of resonances set in motion and allowed to simmer, build, or billow. Vibrations and silences unspool and intertwine, alternately pointillist and diffuse, attuned to some hidden harmony of the spheres. In addition to his own repertoire of rare instruments (including a 36-string kantele, built by Hakalisto’s grand-uncle), several notable collaborators contributed to Toinen Luonto: saxophonist Julian Overall; Hakalisto’s partner in the duo Lunar Horns, Timo Juntunen, playing udu and percussion; American experimentalist Roy Werner; and Belgian ambient flute samplist Les Halles.

Isometric is an upcoming hardgroove album by Slovenian DJ and producer UMEK and his hardgroove alter-ego Polyvinyl, released on his own imprint 1605 GROOVESECTOR.

The album features a blend of groove-infused tracks, including originals like Isometric, Unlockable Formations, Mechanically Intensive, and Da Flute.

UMEK, born Uros Umek in Ljubljana, Slovenia, is a techno pioneer who kickstarted Slovenia's electronic music scene with illegal raves in the early '90s. With over three decades of influence, he's released on labels like Drumcode, Filth on Acid and Tronic. As the founder of 1605, UMEK has shaped the genre with hits like "Lanicor" and "Gatex," consistently topping Beatport charts. His relentless production and 100+ annual gigs-from Berlin's underground clubs to festivals like EDC, Ultra and Creamfields-cement his status as a global techno ambassador.

Founded by UMEK in 2007, 1605 Music Therapy boasts over 300 releases, featuring artists like Sam
Wolfe, Maddix, and Space 92. The hardgroove sublabel 1605 GROOVESECTOR was founded in 2024 to give home to UMEK's groovier creations and his alter-ego Polyvinyl, as well as other artists, such as the legendary Hertz and a fast-rising Khabiar.

Available in both vinyl and digital formats, the project continues UMEK's long-standing contribution to the techno scene through rhythmic grooves and club-ready energy.

Much like the fusion resulting in the output of light and heat within a star, the last seven years for Dave Sumner, aka Function, have been defined by immense change and an outpouring of creative energy. What began in late 2016 as a period of burnout from a relentless touring life became a catalyst for the most prolific recording era of his career. At the time, the studio became the only viable escape, a space to transmute exhaustion into a gestalt work.
Aeternum (Existenz) serves as the missing element in this creative arc. It acts as the final chapter of a cycle, that began with the 2019 album Existenz and moved through Subject f (Transcendence), Awakening from the Illusory Self, and Green EP. Drawing inspiration from the seven stages of alchemy, this mini-album represents a cathartic process; a natural end point of a psychological cycle and the beginning of a new curve.
Across the six tracks on the mini-LP, recorded 2016-2019, Function builds a unique world, one which underlines his place as one of the luminaries of contemporary techno. Opening track, Ascent, traverses the space between ambient and techno; second track City Of Luz almost fades into itself across its twelve minutes before Transmutation brings around a reawakening with a beat that would not have sounded out of place on an early Rephlex or even a Sähko release. Final track on the 12”, Growth Cycle is fittingly a re-version/re-vision of a track on the Existenz LP; Robert Owens’ soulful vocal now Stefanie Parnow's floating Siren-like voice with music that feels reborn: fresh, strong and insistent. The digital pack contains two further tracks, the deep electro of November 29, as well as Rubedo, a spacial ambient track that feels like the final glowing red embers of a fire turning to ash as the sun rises to reveal a new, golden dawn.
Aeternum (Existenz) is the final chapter of the soundtrack to Function’s spiritual awakening, the closing of a door and the clearing of a path. It’s a sonic manifestation of the Magnum Opus completed, a moment of total integration, where the leaden weight of the journey is finally perfected into the incorruptible gold of the spirit.
It is dedicated to John Mendez, aka Silent Servant, Sumner’s dear friend and lifelong collaborator.

San Dee, TMD - Watif EP - Command Center Records - CCRE001

Command Center Records operates as a unified collective, independent label, and boutique online shop that actively energizes the local Miami community. Launched in 2019, the brand champions multiple musical styles. curating a wide array of genres while amplifying dance music to the forefront.

San Dee and TMD team up to launch this debut vinyl effort, delivering a heavy-hitting release of deep, minimal house and breaks. Across four tracks, "Watif" engineers a landscape of floor-shaking groovers, fusing sub-heavy kicks and rolling bass lines with layering drum machine textures and analog synths.

House titan Adam Collins contributes TWO masterwork Watif remixes that incinerate peak-hour sets. With the first Remix, a deeper rhythmic breakbeat and slapping hi-hats that slightly varies from the original. The second remix, being the Top Down Mix, packs a groovy Detroit electro-house feel, that you'll find yourself cruising at high speed with the top down.

Rounding out the EP is “Listening Minds" which transports the audience through a cosmic soundscape, while a recurring voice instructs the room to "Listen."

Deep Inspiration Show Records continues to defy the norms of electronic music vinyl culture, seamlessly bridging the gap between dancefloor energy and deeper, more emotive soundscapes. Their latest release, “Friends of the Deep”, is another standout EP to celebrate the 10th record. The original coming from Sundaze Lab & Melchior Sultana, and the remix by the legendary Zarenzeit. In addition, there are two exceptional contributions from deep house stalwart Brad P (Brad Peterson) which help deliver a rich, immersive journey through classic original deep house. From the sundrenched textures of “Seaside,” with its lush pads, rolling bassline, and signature jazz guitar touches by Melchior Sultana, to the dreamy, exploratory tones of “Zarenzeit,” the A-side sets a warm, evocative mood. On the flip, Brad P brings his unmistakable depth and musicality — “Years Don’t Lie” unfolds as a mature, emotive piece layered with soulful strings and an bass driven groove, while “Metaphysics” channels the timeless spirit of classic labels like Deep4Life and Nu Groove, building from stripped-back percussion into a full, uplifting but heady arrangement. A must-have for true deep house heads — “Friends of the Deep” is a heartfelt, groove-driven collection that rewards both the deep dancefloor and the soul

Test Pressing Tracks is back with a new release from Barcelona original PAU. It’s a another club cut this time landing somewhere between early Chicago house at its most sensual, dark, and emotional and a modern day balearic track.

PROA is a new collaborative project by Pau Roca and Orion Agassi, two well-known figures in the Spanish electronic music scene, who have come together for first time to release ‘Incondicional’.

The original version features the vocals of Sandy Nuni and also comes in instrumental form. The B side gets a remix from Tepper & Apiento and goes pure heavy club dub. More soon…

Channeling his trademark style of driving techno and robotic rhythms, Phase Fatale makes his Dekmantel UFO series debut, upping the ante with his forward cutting production methods. His first solo release in 2 years, the Berlin-based DJ, Producer and Label owner hotwires his signature wall of sound with precise, hypnotic magnetism and dystopian textures.

A key protagonist in Techno’s lexicon as a regular in the booth at ∄ in Kyiv and with residencies at queer collective Merge in New York, alongside institutions Berghain and Khidi. The New York native’s unflinching mutualism of past and present comes forward in his introspective production style of textural waves and melancholic narrative, welded together by true techno formation. A deep referential lens cutting through layers of whirling cybernetics form his sonic coil, surrendering the listener into dissociative euphoria.

Underpinned by a focus on bass heavy techno, the 4-track EP circulates an ebb and flow of surrealist, atmospherics and whirring futuristic frequencies. Hypnosis inducing polyrhythmic analog sequences, flesh-out the EP’s core whilst the track progression traverses over a terrain of experimental cuts, driving beats, and oscillating sonic shrapnel. A culmination of influences spanning techno born out of Birmingham and Detroit alike form an architecture of stripped back electronics alongside soulful melodies, as well as references to acid house, post-punk and shoegaze. The title track ‘Off Desire’ a nod to longtime friend and collaborator the late Silent Servant, evokes a dream like crescendo between David Lynch and the sci-fi body tech of David Cronenberg, electric stabbing beats are offset by wistful guitar riffs and the digital rain of ethereal distorted vocals as if echoes from the void.

Undo & Casiowaves join forces to bend minds on their new EP “Chemical Eyes”. The Catalonian pairing, collaborators for the past five years, have built a body of work that’s conceptually rich and sonically sophisticated. The “Chemical Eyes” EP is a love letter to analog synths, taking us on a psychedelic trip through past and present, nostalgic but never mimetic.

Reality begins to warp the moment “Chemical Eyes” kicks in. The title track opens in post-punk territory, leaning into nostalgia both lyrically and sonically and with synth outro that lingers like a memory.

Parisian producer Chloé’s remix takes us firmly into the 21st century, chopping up the title track until it mutates into something more minimal and syncopated. This electronic take still retains the track’s post-punk mood, with contemplative loops and reverb-drenched guitar as we begin to move from the concert venue into the club.

B side “Trumpsky Beats” picks up the pace with neon-soaked synthwave that references the 80s synthpop icons in more than just name. Crisp, shimmering synths dance through warped bass lines and new wave drum patterns, creating a lush contrapuntal soundscape that thrives as much on nostalgic memory as it does on contemporary creativity.

Italo Brutalo’s remix amps up the intensity further with infectious snares and acid twangs. The German producer and synth enthusiast adds a tasteful complexity that pulls the EP fully onto the dancefloor.

In just five years, The Spy has gone from underground newcomer to one of the most talked-about names in the European electro and EBM dark electro scene. Early releases on Osáre Editions and Mechatronica quickly placed him on the radar of forward-thinking clubs and selectors across Europe. Now landing on Oráculo Records, he presents his most wave-driven and club-oriented material to date: pure, physical electro built for dark rooms and late hours. Driving basslines and sharp machine rhythms—infused with subtle, classic post-punk tension—define a sound that connects the dancefloor with the shadows, drawing clear parallels to artists like L.F.T, Credit 00 or Gesloten Cirkel. This is music made to move bodies without sacrificing attitude—raw, confrontational, and far removed from formulaic club clichés. Five years in, the message is clear: this is not hype, but momentum—an artist fully in command of a modern electro language built for the underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The new label R.I.T.M.O. launches its journey with a clear statement of intent: VOID RIFT QUANTUM, a six-episode cosmic voyage by WHITE SOLAR DOG, complemented by two premium remixes from UNIVAC and PROMISING YOUNGSTER. The EP opens with “VOID RIFT QUANTUM” a dark, expansive electro exercise where crushing basslines, syncopated rhythms, and a dialogue between vocoders and acid lines evoke an interplanetary landscape. On “I.N.S.I.D.E.” the intensity ramps up through driving percussion, tribal voices, razor-sharp breaks, and an almost ritual force that propels the body into physical and mental trance.

UNIVAC’s reinterpretation of the title track unleashes his full arsenal: a steely remix of relentless energy that pushes the original into a hard-edged industrial realm, stamped with the unmistakable signature of the Catalan producer. “MOVE YOUR BODY” showcases WHITE SOLAR DOG’s most direct side: classic electro with heavy bass, pads, and bright melodies, where the machine calls the dancefloor to action without compromise. The journey reaches its most ethereal point with “SING TO ME” where a female vocal intertwines with broken rhythms, crystalline atmospheres, and fresh acid incursions—cementing WSD’s personal hallmark: equal parts intensity and spirituality. The release closes with Promising Youngster’s remix, which takes the vocal elements of “SING TO ME” and guides them into a hypnotic state, suspended between the dreamlike and the club. With VOID RIFT QUANTUM, R.I.T.M.O. presents its inaugural catalog, distilling the power of contemporary electro and the otherworldly vision of WHITE SOLAR DOG. A debut that clearly establishes its coordinates: impact, exploration, and progressiveness, introduces itself to the world through an inaugural catalogue that distills the present and future of electro: mysticism, power, and precision.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

All covers are handmade. They feature a fluorescent strip along the sides for easy identification, and under black light, the Spanish version of the cover is visible. Each disc contains three handmade inserts: a pop-up of R.I.T.M.O., a template, and a paper synthesizer model based on the actual synthesizers used to create the album (a different one on each disc). Each disc comes in a plastic sleeve.

Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 1 compilation featuring a selection of iconic hits that have shaped the global electronic music scene. Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.

This edition of Spinnin' 25 Years...Chapter 1 double vinyl LP collection includes memorable tracks from legends like Martin Garrix with the chart-topping hit “Animals”, "Stumblin' In" by CYRIL, "Secrets" by Tiësto & KSHMR, "Tsunami" by DVBBS & Borgeous, “Bullit” by Watermat, “Toulouse” by Nicky Romero, "Show Me Love" by Sam Feldt and 23 more tracks showcasing the signature sound and major contributions to the label.

Spinnin' 25 Years...Chapter 1 is available as a limited edition on green vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.

The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Superonda’s debut release, Aurora Spectralis, introduces the latest project from Mahatmos, a duo emerging from long-established practices in electronic music, sound design and composition for moving images. Released on 12” vinyl and digitally, the EP unfolds across four tracks of electronic ambient music shaped by atmosphere, con1nuity and restrained propulsion. Ambient textures open a broad emotional and spa1al field, while slow, insistent rhythms provide steady forward motion.
Superonda has created a space for Mahatmos to sharpen their focus on sound as material. Modular synthesis, analogue instruments and live processes techniques are balanced with precision and restraint, resulting in music that moves between progressive and hypnotic forms, informed as much by underground club culture as by cinematic composition.
Mahatmos is a Rome-based duo with complementary and deep-rooted practices. Gianluca Meloni brings a long-standing presence in techno and experimental music scene, with international releases and performances (as Laertes and as part of Modern Heads). Maurizio Loffredo contributes an extensive background in composition, production and sound engineering across popular music and film, with a refined sensitivity to timbre, structure and sonic narrative.
Superonda is a Rome-based label founded by artists engaged in deep sonic research and advanced technical exploration. Operating as an open platform, it connects collaborators working across recording, synthesis and composition, approaching music as a process-driven practice rather than a fixed genre. Each release stands as a distinct exploration, linked by shared sensibilities rather than formal constraints.
The physical edition of Aurora Spectralis is conceived as an extension of the work itself. Alongside a standard black vinyl pressing, a limited run of color and marbled copies has been produced, each one unique. Variability and tactility are embraced as part of the object’s identity, reinforcing the record as something to be experienced gradually, over time.