quête:electronic music

Mit Vol. 04: Happy Music For Happy Feet präsentiert Wagram einen weiteren Höhepunkt der beliebten Electronic Music Anthology-Reihe. Auch dieses Kapitel wird von FG Radio, einer der einflussreichsten Stimmen der französischen Electronic-Music-Szene, sorgfältig kuratiert und vereint ein erstklassiges Line-up an House- und Dance-Produzenten, deren Tracks über Jahrzehnte hinweg die Dancefloors geprägt haben. Die Kompilation spannt einen weiten Bogen zwischen zeitlosen Club-Klassikern, funkigen House-Grooves und elektrisierenden Dance-Anthems. Mit einer Mischung aus bekannten Hits, DJ-Lieblingen und stilprägenden Signature-Tracks liefert Happy Music For Happy Feet genau das, was der Titel verspricht: pure, positive, hochgradig tanzbare Energie. Perfekt für DJs, Sammler und für alle, die elektronische Musik in ihrer fröhlichsten, ansteckendsten Form lieben, steht diese Ausgabe für das, was House und Dance seit jeher ausmacht - Leichtigkeit, Euphorie und die Freude am rhythmischen Ausbrechen aus dem Alltag.

Mit The Drum "n" Bass Session erweitert Wagram die renommierte Electronic Music Anthology um ein weiteres zentrales Kapitel der elektronischen Musikgeschichte. Auch diese Ausgabe wurde von FG Radio, einer der wichtigsten Plattformen für elektronische Musik in Frankreich, kuratiert und widmet sich ganz den energiegeladenen, bassgetriebenen Facetten von Drum "n" Bass. Die Compilation vereint wegweisende Künstler wie Goldie, Roni Size, Calibre, Nookie, DC Breaks, Souljah und DJ Gilb"R - Namen, die das Genre von seinen frühen Jungle-Wurzeln über soulful, deepen Drum "n" Bass bis hin zu modernen, clubtauglichen Produktionen entscheidend geprägt haben. Rasende Breakbeats treffen auf massive Basslines, atmosphärische Flächen und eine unverwechselbare Mischung aus Präzision und Energie. The Drum "n" Bass Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Subkultur. Eine sorgfältig kuratierte Anthologie, die den Stil nicht historisiert, sondern seine zeitlose Dynamik und Relevanz eindrucksvoll hervorhebt - kompromisslos, direkt und absolut dancefloor-erprobt.

Christian Kleine continues to unearth long-lost transmissions with Electronic Music From The Lost World: Vol.2 - another batch of pristine artifacts from his personal DAT archive. Much like its predecessor, this release serves as both a time capsule and a reminder of Kleine’s effortless blend of melodic warmth, intricate rhythm programming, punk influences, and a deep-rooted love for the fringes of electronica.
Where Vol.1 felt like an invitation back to the late ‘90s, a time when IDM was still an evolving conversation, this second volume extends the dialogue, revealing more of the sonic experiments and fully-formed pieces that never saw the light of day. Tracks recall specific moments from Kleine’s time living in Berlin, an era of minimal comforts but maximal creativity, where all that really mattered was that the PowerPC, sampler, and synths kept running. This period of introspection, coupled with the musical freedom afforded by cheap rent and late-night school classes, shaped the deeply personal and solitary sound of these recordings.
Visually, Vol 2 shares its origins with the first volume, as Midori Hirano’s stark Berlin photography forms the foundation, and Noah M / Keep Adding pushes the imagery into a brighter, more reflective final space. Final touches remain in familiar hands, with LOOP-O on mastering and lacquer duties, bringing new life to Christian’s OG DAT recordings. 
And much like the classic City Centre Offices era that shaped this sound and Kleine’s early career, this release nods to that legacy. A special limited 7” EP with two bonus tracks, designed in tribute to CCO’s iconic DIY aesthetic, will be available on release day direct from the label’s Bandcamp. 

DJ Resurgence on this release has put the funk back in electro continuing to push the boundaries.

Die renommierte Electronic Music Anthology-Reihe von Wagram kehrt mit einem neuen Kapitel zurück - diesmal voll und ganz gewidmet den feinsten Perlen des Deep House. Kuratiert vom französischen Electronic-Aushängeschild FG Radio, präsentiert The Deep House Session eine sorgfältige Auswahl zeitloser Tracks, die die stilistische Breite und emotionale Tiefe dieses Genres perfekt einfangen. Die Compilation vereint international gefeierte Künstler wie Ben Böhmer, nTO, Bonobo, Solomun, Fritz Kalkbrenner, Kaytranada, Masters at Work, Dennis Ferrer, DJ Deep, St Germain, Môme und Soha - Namen, die sowohl im Club-Kontext als auch über Genregrenzen hinweg einen exzellenten Ruf genießen. Ob atmosphärische Synth-Texturen, organische Grooves, warme Basslinien oder hypnotische Melodien: Diese Edition destilliert alles, was Deep House seit Jahrzehnten zu einer der elegantesten und gefühlvollsten Spielarten elektronischer Musik macht. The Deep House Session ist eine hochwertige Sammlung für Liebhaber, DJs, Sammler und alle, die elektronische Musik zwischen Wärme, Groove und subtiler Eleganz schätzen.

Mit The Techno Session setzt die renommierte Electronic Music Anthology-Reihe aus dem Hause Wagram ihre Reise durch die wichtigsten Strömungen elektronischer Musik fort. Nach House- und Deep-House-Ausgaben widmet sich diese neue Edition nun konsequent dem Techno - in all seinen hypnotischen, treibenden und zeitlosen Facetten. Die Auswahl stammt von FG Radio, einer der angesehensten Institutionen für elektronische Musik in Frankreich und seit Jahrzehnten eng mit der internationalen Club-Kultur verbunden. Die Compilation versammelt prägende Künstler und Produzenten, die Techno von seinen frühen, funktionalen Wurzeln bis zu modernen, melodischen und atmosphärischen Ausprägungen definieren. Pulsierende Grooves, repetitive Strukturen, reduzierte Eleganz und eine klare Fokussierung auf den Dancefloor stehen im Mittelpunkt dieser sorgfältig kuratierten Zusammenstellung. The Techno Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Musik, die Techno nicht als kurzlebigen Trend, sondern als eigenständige, langlebige Musiksprache verstehen. Eine hochwertige Anthologie, die die Essenz des Genres einfängt - kompromisslos, fokussiert und cluberprobt.

Mit The House Session setzt die renommierte Electronic Music Anthology von Wagram ihre stilprägende Reise durch die elektronische Clubkultur fort. Nach erfolgreichen Ausgaben zu Deep House und Techno widmet sich diese Edition dem Herzstück elektronischer Musik: House Music. Kuratiert vom französischen Electronic-Aushängeschild FG Radio versammelt die Compilation zeitlose Klassiker, moderne Favoriten und inspirierende Genre-Perlen. Mit dabei sind zentrale Namen wie George Morel, Cassius, Motor City Drum Ensemble, Mézigue, Moloko, Soha, Bob Sinclar, DJ Gregory, Joe Smooth und St Germain - Artists, die House in unterschiedlichen Epochen maßgeblich geprägt und weltweit auf die Dancefloors gebracht haben. Zwischen funkigen Grooves, soulful Vocals, pumpenden Basslines und eleganten French-Touch-Momenten entfaltet The House Session ein breites Spektrum an Sounds, das sowohl Sammler als auch DJs anspricht. Eine hochwertige Anthologie, die den Spirit von House Music - warm, energiegeladen und zutiefst euphorisierend - perfekt einfängt.







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[g] b3 | Cheek - Venus (Sunshine People) [DJ Gregory Remix]

Naya Beat Records reveals Volume 2 of its critically acclaimed series dedicated to South Asian dance and electronic music. Label founders Turbotito and Ragz have curated an exceptional 13-track compilation with a focus on an overlooked era of house and electronic music released between '88 and '94.
While Volume 1 explored early 80s Balearic, synth pop, and disco, Volume 2 uncovers lost or forgotten future classics from later in the decade. The release spotlights a unique era in the late 80s and early 90s when fertile cross-cultural collaboration abounded in diasporic communities in cities like London and New York and when South Asian music was infused with acid house, New Beat, and dub.
There is a true wealth of sounds here, from The Jets Orkhestra’s organ-fuelled house workout ‘X-290’ to the downtempo splendour of the Asha Bhosle fronted West India Company. Lady M lends the Hindi house track and arpeggiated wonder of ‘Kali Raat’ and Mantra’s eponymously titled cut is a hypnotic gem. Featuring other scintillating Balearic house, dub, and street soul from the likes of Asha Puthli, Bappi Lahiri, Johnny Zee, and Kuljit Bhamra, this double album is a treasure of never-before-reissued and previously impossible-to-find holy grails.
Often "too Asian for mainstream success in the West, and too Western for success in Asia," the pioneering music from this time was frequently released to short-lived success or relative anonymity. Naya Beat founders Filip Nikolic (aka Turbotito) and Raghav Mani (aka Ragz) have spent the last four years endlessly hunting through dusty records, obscure cassettes, and unreleased studio tapes to deliver a reference release for contemporary collectors, tastemakers, and bold selectors looking for fresh sounds.
Featuring an incredible gatefold package with Naya Beat’s trademark stunning artwork and exhaustive liner notes, the 2LP release has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.
Naya Beat Records is focused on uncovering foundational dance and electronic music from the subcontinent and South Asian diaspora through reissues, remixes and compilations. Success came immediately with ‘Naya Beat Volume 1’, which was named Vinyl Factory’s number 1 reissue of 2021, and has been followed up with more fascinating releases such as a two-part remix project with disco-jazz legend Asha Puthli, a scintillating bhangra acid house EP with Mr. Scruff, a reissue of Pinky Ann Rihal’s 1985 Hindi new wave album, and the superb Bollywood compilation ‘Awaaz Series 1

Naya Beat Records is proud to present its release Naya Beat Volume 1: South Asian Dance and Electronic Music 1983-1992. This is the first in a series of compilations and full-length album reissues dedicated to uncovering hidden electronic and dance music gems from the overlooked ‘80s and ‘90s South Asian music scene.
The compilation features future classics from India, Pakistan, the U.K., Canada, Guyana and Suriname released between 1983 and 1992. From East-West’s dancefloor filler "Can't Face The Night (Club Mix)" to Remo’s balearic masterpiece "Jungle Days" (off his seminal album Bombay City!) to other disco, synth-pop, and balearic dancefloor bangers from artists like Babla & His Orchestra, Sheila Chandra, Bappi Lahiri and Asha Puthli to name a few, this double album includes highly sought after, previously never reissued and otherwise impossible to find grails.
The double album has been mastered by multi Grammy-nominated Frank Merritt at his mastering studio The Carvery and includes some killer remixes and edits by Naya Beat co-founders Turbotito and Ragz.
Turbotito and Ragz have this to say about the release: “We’ve spent the last year meticulously remastering some of the coolest finds from our collection and have had the honor of working in close partnership with many of the original artists. We are beyond excited to bring this music out to a new generation of dance and electronic music lovers.”
Founded by former Poolside member Filip Nikolic (Turbotito) and DJ and record collector Raghav Mani (Ragz) Naya Beat (loosely translated from Hindi as “New Beat”) is building on the success of seminal South Asian dance and electronic reissues like Rupa Disco Jazz and Charanjit Singh’s iconic Ten Ragas To A Disco Beat. Turbotito and Ragz have spent years digging for records in the most unusual places, from the crowded and dusty markets of New Delhi, Mumbai and Chennai to the Guyanese corner shops in Jamaica, Queens, to the Surinamese record stores in Amsterdam and the South Asian communities of London and Birmingham. They have amassed an exceptionally deep treasure trove of dance and groove-based music that has never been reissued

Sunroof, alias Daniel Miller & Gareth Jones, veröffentlichen ihr brandneues Album „Electronic Music Improvisations Volume 3“

„Electronic Music Improvisations Volume 3“ ist eine Sammlung von neun improvisierten Tracks, die mit den Eurorack-Modularsystemen des Duos aufgenommen wurden, und baut auf den selbst auferlegten Parametern ihres Debüts aus dem Jahr 2021 auf. Daniel Miller, der Gründer und Vorsitzende von Mute, und Gareth Jones, Produzent und Tontechniker, der durch seine Zusammenarbeit mit Depeche Mode, den Einstürzenden Neubauten, Erasure und Yann Tiersen bekannt wurde, arbeiten seit vier Jahrzehnten zusammen. Obwohl sich beide nicht mit ihrer Vergangenheit befassen, sondern lieber immer wieder neue Wege beschreiten, wird das Erbe von Miller und Mute in dem Track „Splendid“ erwähnt, der mit dem deutlichen Zischen einer Kassette über einem rhythmischen Herzschlag beginnt, bevor die Oszillatoren platzen und kollidieren. Dieser Track wurde mit dem originalen 4-Spur-TEAC aufgenommen, den Miller in den späten 70er Jahren aus zweiter Hand erwarb und auf dem er die 7 Inch „Warm Leatherette“ von The Normal aufnahm.
Dieses Album folgt auf ihr Debüt „Electronic Music Improvisations Vol. 1“ (2021) und ihr zweites Album „Electronic Music Improvisations Vol.2“ (2023), sowie auf ihre Bandcamp-exklusive Veröffentlichung „Electronic Music Improvisations Live in London and Frankfurt“, die ihre Live-Shows im Frankfurter Museum für moderne elektronische Musik und im Londoner IKLECTIK aufzeichnet.

Rian Treanor keeps knocking new doors of possibility with his new label Electronic Music Club and its initial focus on Rotherham Sight & Sound, participants of a community-based initiative in their shared post-industrial home town Rotherham. Utilising software synths designed by Rian and his dad Mark Fell, the trio twist out vortices of shearing, asymmetric anarchitecture, rudely resembling the sort of hyper-contemporary styles alluded to in Rian’s solo works, but inflected with cranky timing and an intuitive freedom that bears extraordinary results, especially when considering the fact the trio had no prior musical ability, and only encountered electronic music a few years ago.

After a couple of years of practice and performance, ‘Action Potential’ now firms up their quicksilver sound for club and home buzzes with seven actions that warp and morph from the needling jolts and hoof of ‘Pass The Go’, to shuddering detonations in ‘Dial’, each with a properly electrifying force carrying a genuine futureshock. Working within Rian’s systems-based framework, Anne, Kathleen, and Mick deploy a tactile feel for the machines, finely honed over the course of many sessions at the Rotherham Sight & Sound facility, that uses their visual impairments to synaesthetic advantage.

Between the wickedly metallic ragga swivel of ‘Hold’, the diffractive chain reactions of ‘When It Ends’, and more tempered, sloshing sensuality of ‘30 Seconds’, the trio follow their noses down wormholes that manifest an ideal of accessibility and expressionism within electronic music contexts that Rian and Mark have long worked towards, with Anne, Kathleen and Mick’s relative lack of cultural conditioning in this paradigm prompting them to act on pure instinct

Endeckt die Electronic Music Anthology Collection neu. Diesmal dem TipHop gewidment. Echte Perlen, liebevoll ausgewählt vom französischen privaten Rundfunksender FG, gesammelt auf 2 Vinyl.

Endeckt weitere Perlen der elektronischen Musik. Wieder ausgewählt vom besten französischen Radio für dieses Genre: FG Radio. "The Drum"N"Bass" Anthologie ergänzt diese spezielle Vinylsammlung. Mit dabei sind: Goldie - Roni Size - Calibre - Nookie - Dc Breaks - Souljah - Dj Gilb"R...

All the gems of Electronic Music in a 5 LP boxset with : Fakear - Kölsch - Fritz Kalkbrenner - Laurent Garnier - Bicep - Kerri Chandler Thylacine - Bob Sinclar - Mr. Oizo - The Prodigy - Alex Gopher - Purple Disco Machine...

More French touch classics with the quintessential filtered disco looped bangers from Bangalter & DJ Falcon on 7" for the first time! As always, only 300 copies so don't miss out.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Rediscover all the pearls of electronic music selected by Radio FG with our emblematic double vinyl collection : Electronic Music Collection !

FOR THIS SUMMER, THE LAST VOLUMES ARE
REISSUED ACCOMPANIED BY A NEW FRENCH TOUCH SPECIAL OPUS! The new volume dedicated to French Touch

features :
JUSTICE - WORAKLS - FAKEAR - GUTS Feat. LERON THOMAS - MYD - MOME - OXIA - DEMON & ALEX GOPHER - KID LOCO - BOB SINCLAR - SUPERFUNK - DJ MEHDI - LAURENT GARNIER

repressed !

Electronic Music from 1972-2022 seeks to frame ¬fty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 ("Three Confusongs" and "Ryound Thygizunz", featuring the voice and poetry of Stefan Weiser – later known as Z'EV) up to the present. This collection is not meant as a de¬nitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival release marking Carl Stone’s

evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving.

Future Jazzers, notorious experimentalists and outfield eccentrics stumble onto the dancefloor. In the 90s. In the UK.

From an electronic music perspective, the period 1992 to 1996 in the UK that this compilation celebrates, was one of dizzying sonic diversification.

It was also a particularly turbulent time in the UK, not only politically and economically, but also culturally too. Economic catastrophe in ‘92 was followed by widespread poverty, a cost of living crisis and countless political scandals. Meanwhile, John Major’s Tory government pandered to its political base via unpleasant, authoritarian legislation that seemingly sought to crush rave culture, alternative lifestyles, and traveller communities. The UK was not so much a ‘Happy Land’ – to quote the name of this compilation – as an angry and divided one. Sounds familiar, doesn’t it?

Throughout, the music created by producers based across these Isles remained uniquely British, speeding up a process begun in the late 1980s through the emergence of street soul, bleep & bass and breakbeat hardcore – musical styles whose roots in multicultural inner-city communities made them distinctly different from the Black American sounds that had inspired their creators. It was here, rather than in the indie pubs of Camden, that real musical revolutions were taking place.

This deep diving selection brings together some truly adventurous and original electronic music from this period, much of it very hard to find. Major label outings connect with white label oddities with ease. Perhaps it could even be argued that many of these unearthed gems fit more easily into DJ sets in 2023 than they ever did at the time. The off-kilter swing of Richard D James’ obscure and highly sought after Strider B outing, ‘Bradley’s Robot’ is joined by further rare cuts from Cabaret Voltaire and the Black Dog, and artists as diverse as Ultramarine, Herbert, Fretless AZM, and Radioactive Lamb, amongst others.

This collection has been lovingly selected, compiled and mastered for maximum sonic playback. This very special release boasts sublime pastoral themed artwork, as well as informative and passionate liner notes by celebrated music scribe Matt Anniss (‘Join The Future’).

2 x 180 gr heavy weight vinyl in deluxe matte-finish Gatefold cover + Download Card) Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. Silvia Kastel, Andrea Belfi, Marco Shuttle, Ninos Du Brasil, Alessandro Adriani, Chevel, Lucy, Lory D, Caterina Barbieri & Neel Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within its four album sides, reminding us that historically 'decadent' times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the 'floral' theme that has remained a consistent feature of S.A.'s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future.Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with 'Errori,' deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi's 'Spitting & Skytouching,' and then by the resolute electric bass patterns and luminous fog of 'Lux et Sonus,' from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos du Brasil open the B-side with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani's 'You Will Not Be There For The End,' showcasing his distinctive take on the 'paranoiac breakdance' aesthetic of classic EBM. S.A. veteran Chevel rounds out the first record in the program by interlacing several percolating synth lines together into a richly conversational piece.The journey continues with 'Starving The Mind,' an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of 'PRV-HH3-X', by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of 'Virgo Rebellion,' designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing '4G' from Spazio Disponibile co-founder Neel - a crepuscular serenade that accurately sums up much of the foregoing activity.

Unusual Colour And Complex Microtonality Found In The Classical Music Of Iran / Blurts Of Noise, Sour Tones, And A Vaguely Technoid Or Dubwise Impression Expose The Inner Rhythm And Counterpoint Embedded In This Strummed Music / Emotional, Mathematical And Polyrhythmic Principles Underpinning Persian Music, The Record Reveals A Dramatic Blend Of Acoustic Persian Instrumentation And Contemporary Electronics. Sote Aims To Devise An Idealised Fusion Of The Musical Heritage And Tradition Of Iran With The Forward-thinking Vision Which Has Propelled His Storied Career Producing Techno, Hardcore And Computer Music For Labels Like Warp, Ge-stell, Morphine And Repitch. Now Living In Tehran, His Music Has Frequently Grappled With The Strict Cultural Restrictions Imposed In His Country Over The Past Few Decades, Finding A Space And Setting To Nurture New Developments In Experimental Sound And Performance. Working With Arash Bolouri Who Plays The Santour (persian Hammered Dulcimer), And Behrouz Pashaei On The Long-necked, Four-string Setar, Sote Frames And Responds To Their Traditional Artistry. On Occasions He Directly Manipulates The Music Emanating From Their Ancient Instruments, Cultivating And Thickening Up A Surreal And Beautiful Tonality Plucked From Their Strings With A Series Of Processing Techniques, But Mostly Each Track Is A Peaceful Arrangement And Partnership, Sote Electro-acoustically Augmenting Their Movements Within His Own Cybernetic Framework.

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

Marking its first decade of activity, Blume returns with the first ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media”, from 1977, the third and final instalment in a suite of releases that includes James Tenney’s “Postal Pieces” and Ben Vida’s “Vocal Trio”. Unquestionably among the most important collections of experimental music to emerge during the 20th Century, “New Music for Electronic and Recorded Media” is the original feminist presentation in its context, releasing the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and Laurie Anderson under its collective banner. Includes newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the efforts of efforts of Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and others, Blume delivers their third release in their first suite of releases for 2024, the fist ever vinyl reissue of the seminal “New Music for Electronic and Recorded Media” compilation, originally issued by Thomas Buckner's 1750 Arch Records in 1977. Out of print for decades on vinyl and arguably the most important feminist statement in the history of experimental music, illuminating the work of Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Robert, Ruth Anderson, and Laurie Anderson - in a number of cases representing their recording debuts - during a crucial moment in the history of experimental music. Blume’s brand new edition - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - radically shifts perceptions of the past and present day with its truly revolutionary sounds.

Issued by Thomas Buckner's 1750 Arch Records in 1977, and out of print nearly the entire time since, “New Music for Electronic and Recorded Media” can be understood within two simple frameworks. On one hand, it is an astounding document of the landscape of experimental music toward the end of the 1970s. On the other, it is a historically significant feminist statement, being the first collection of experimental music entirely dedicated to female composers, a number of whom were grossly under-celebrated at the time, but have since gone on to be regarded as among the most important composers of their generation.

The eight pieces gathered by “New Music for Electronic and Recorded Media” - Johanna M. Beyer’s “Music of the Spheres”, Annea Lockwood’s “World Rhythms”, Pauline Oliveros’ “Bye Bye Butterfly”, Laurie Spiegel’s “Appalachian Grove I”, Megan Roberts’ “I Could Sit Here All Day”, Ruth Anderson’s “Points”, and Laurie Anderson’s “New York Social Life” and “Time To Go (For Diego)” - might be regarded as the first cohesive vision of alternate proximity or expression of experimental music to what has always been a frustratingly male dominated environment, and to the tropes, temperaments, and sensibilities that have been historically perceived to define it. It is an expanded vision of truth. While the presence of feminine sensibilities and temperaments in experimental music, however they may present themselves, were anything but new in 1977, “New Music for Electronic and Recorded Media” was the first opportunity, beyond the temporal limitations of live performance, to view them collectively, rather than as individualised expressions within a larger body of similar gestures (as was the case of Oliveros’ inclusion in Odyssey’s 1967 “New Sounds In Electronic Music” and “Extended Voices” compilations) where they might be confused for something else; to regard and celebrate a radical notion of feminine sonority for its unique characteristics and through its interrelations.

While its historical significance and groundbreaking nature can not be debated in its totality, nearly half a century on “New Music for Electronic and Recorded Media” remains compelling in both its musicality and the palpable sense of its lasting influence. Every composition across the album’s two sides is not only engrossing and deeply compelling - feeling as fresh and relevant as the day it was laid to tape - but clearly tangible in their lasting influence. Viewed in context, the album’s eight works feel like breath of fresh air when compared to much of what came before, and laid the groundwork for much of what was to come, introducing a new, often more holistic temperament and more sensitive and inclusive sensibility into the landscape of experimental music.

Particularly in the case of Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Ruth Anderson, and Laurie Anderson, it's hard to throw ourselves back in time and imagine a moment when these composers rested in a fairly marginalised corner of the creative landscape. Blume’s brand new edition of “New Music for Electronic and Recorded Media” - complete with newly commissioned liner notes by Jennifer Lucy Allen and Bradford Bailey, as well as reproducing Charles Amirkhanian’s original accompanying text - brings us back to this confounding moment and points us toward a crucial moment of change set forth by these incredible composers and their sounds. Absolutely seminal and not to be missed.

Vaccine Electronic was the 4th album from Younger Brother and originally released in 2014. Now available on vinyl for the first time. Remastered. Heavy Weight 180 gram vinyl

NOW Music is proud to announce the second release in the ‘NOW Presents…’ series, following ‘The 1970s’ with ‘NOW Presents… Electronic’. The 5-LP box set highlights some of the most innovative and enduringly popular tracks of the genre, and includes some era-defining 12”, extended, and full-length versions alongside the single versions. NOW Presents…Electronic’ is presented in a rigid slip case, with complementary design extending across the 5 individual LPs, with the reverse of the covers featuring track by track annotations that include chart positions, and facts about both song and artist(s). NOW Presents… Electronic’ is strictly limited to 1200 numbered copies. Featuring artitsts Queen/Buggles/Giorgio Moroder/OMD/Human League/ Howard Jones/Tears For Fears/ Joy Division etc etc - 67 tracks in total

Long time friends (since Flex Vienna 95) Patrick and Luke joined forces on Blumoog Music and came up with this crafty and dynamic four tracker EP. Patrick Pulsinger opens the project on the A with two ingenious and uplifting tracks reminiscent of his old 'Sluts'n'strings &909' days with an acidic twist. 25 years have gone by since Patrick Pulsinger made history and put Vienna on the map by founding techno avant-garde label Cheap Records and with productions like 'Dogmatic sequences' on Disko B and pioneering sequential- minimal-techno soon after with the huge LP 'Porno' also on Disko B. On the flip side Luke M.R.E.U.X is consistent with his fine style. Dry percussions and rubbery bass in B1 'Cerebral fix'. A darker approach in confession B2 with a relentless 5 minutes of techno trip that will not let you catch breath.

Side A a long electro track from BRZ arranged with happy and positive elcetro vibes , BRZ is coming from the Tekno scene and produced this track exclusive for UMX
Side B starts with an offbeat electro track from Paulus8 , this track takes you to another world . B2 is a dark vibed electro track from Ocitin , this onwe will blow you of the dance floor

2023 repress

For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers.

As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.

The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.

Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil's rich music history for the first time.

''Incorregible" is an album where sound becomes a symbolic form of expression and a tool for introspection.

With a sonic language that crosses borders and draws from diverse cultural influences, the album seeks to reframe electronic music as a bridge between the ancestral and the contemporary.

After years of exploring and experimenting with different musical genres such as punk, noise, witch house, reggaeton, Mexican tribal etc., I have arrived at a moment in my life where I seek a deeper, more intimate form of expression, one connected to my personal world.

Although I do not believe in God, I believe in the power of invisible worlds, in the strength of being, and in music as a bridge toward expanded states of consciousness.

This work is born from that conviction: the possibility of turning dance and sound into tools for connecting with the spiritual.

A sonic journey that seeks to connect with the universal rhythms of life through powerful percussions, chants that are poems, Andean instruments, and the hypnotic force of electronic music. Each piece is designed to induce a collective trance, where the body finds its natural place: movement.

Among its most significant moments are the poems in Nahuatl written and recited by Maribel Galicia, a native of Teotihuacán and a member of the Nahua people. Her words resonate like ancestral memories that dialogue with electronic instrumentals, reminding us that tradition and innovation are not opposites, but can dance together.

Tribal Sound System – Incorregible is a sonic ritual that seeks to: Create altered states of consciousness through repetitive musical patterns. Celebrate sonic diversity by fusing sounds from indigenous folklore, Andean instruments, elements of regional Mexican music, and contemporary electronic music. Honor cultural roots by re-signifying electronic music as a bridge between the ancestral and the contemporary.

This project is my way of affirming that music, dance, and shared energy can transform into a healing and transcendent experience. - Rosa Pistola

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis Five years in the making, "Music For Tombak & Synth" bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploringexperimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s exploration of improvised electronic music and his desire to craft a performance-ready setup. Over
several years, the project evolved from capturing the energy of his live shows into a fully composed studio work.

"Music For Tombak & Synth" stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father’s voice reciting the poetry of Ahmad Shamlo on the track Dar Shab ,?? ??collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.

With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. "Music For Tombak & Synth" invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took usfrom the industrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 1.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from theindustrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 2.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from the industrial and post-punk sounds of the late 70s,through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 3.







[f] B2. Javi Redondo - HALT [Process]

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

At the dawn of European techno, before the genre had fully taken shape, a small number of records hinted at what was to come—stripped-down, machine-driven and forward-looking. One of those records was “Die Zukunft” by Scope, a project formed by André Fischer (Recall IV) and Holger Wick (Konzept).

Originally released in 1989 on the now cult Suck Me Plasma label—founded by Talla 2XLC—"Die Zukunft” holds a special place in history as the label’s first release, marking a key moment in the transition from EBM and New Beat into early techno.

Scope’s sound captures this transitional phase with remarkable clarity. Built on minimal drum machine patterns, cold synthetic basslines and sparse melodic fragments, their music sits somewhere between late-80s electronic body music and the emerging techno aesthetic. Driven more by repetition and tension than by traditional song structures, the tracks create a hypnotic, forward-moving energy that reflects the experimental spirit of the time.

This reissue of “Die Zukunft”, limited to 500 copies on black vinyl and 200 copies on purple vinyl, brings together all original tracks from the first pressing alongside the iconic Cybotron Mix, offering a complete snapshot of Scope’s output at a pivotal moment in electronic music history.

Following the celebrated reissue of Classics Vol. 1, Metroplex unveils Model 500 - Classics Vol. 2, a powerful new collection of essential works from Juan Atkins--pioneer of Techno and architect of some of the most forward-thinking electronic music ever recorded. Bringing together key cuts, rare mixes, and long-sought favorites from across Atkins' groundbreaking output, this compilation highlights the full spectrum of his sonic universe: deep, rolling machine funk, shimmering electro-techno hybrids, and timeless futurist grooves that helped shape generations of electronic artists. Each track has been carefully remastered to enhance its original energy while preserving the raw spirit and space that define the Model 500 sound. From expansive, atmospheric journeys to soulful vocal transmissions and Detroit-powered rhythmic science, Classics Vol. 2 presents Juan Atkins at his most inspired--an essential document of a visionary whose influence continues to echo across dancefloors worldwide. Three decades on, these tracks have lost none of their immediacy, imagination, or futuristic pull. Restored for a new era, Classics Vol. 2 celebrates the legacy of Model 500 with pristine sound and renewed force. Pure Detroit heritage. Eternal future music.

Ltd to 500 copies.

Following the buzz of his first LP DUBMAID, Tokyo-based producer MERMAID unveils his much-anticipated new LP, DUB FOREVER.

DUB FOREVER blends Reggae, electronic texture, his own vocals and references to classics — Bach's Air on the G String, Gossec's Gavotte, the traditional Japanese song January 1st, and more.

Crazy and tender Dub!

About MERMAID:
MERMAID is a Tokyo-based electronic producer and musician, deriving from the DDM (Dangerous Dance Music) crew associated with Tokyo record vendor Los Apson?.

‘Sings Again’ is the fifth album from British electronic musician Will Samson. After starting the decade with a pair of largely instrumental albums, Samson… sings again.

The familiar collection of old tape machines that have characterised much of Samson’s sound remain (with a 1971 Seinnheiser microphone for the vocals), firmly rooting ‘Sings Again’ in an organic sonic landscape of electronic and acoustic influences.

Taking inspiration from the early works of Bjork, Four Tet and Efterklang, much of the album was built upon recording and then sampling organic sounds such as twigs, rocks and paintbrushes to create percussion. An empty glass bottle was transformed into the otherworldly organ on raw opener ‘0333AM, and his own voice became the moody synth sound on the sparse electronica of ‘Darabuka.’ Elsewhere, the hypnotic, emotionally resonant ‘Time Used To Feel Like’ and grandiose album finale ‘Julian’s Rocks’ offer a raw and direct insight into the most vulnerable parts of himself – a long-established artist beginning again.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

In the early 1990s, Frankfurt stood at the forefront of a rapidly evolving electronic music landscape, where the raw energy of EBM and New Beat was mutating into the earliest forms of techno. Emerging from this fertile environment, Noise Control delivered “Modulator E.P.” in 1992—an overlooked yet striking document of that transitional moment.

Following their earlier releases, “Operation S.B.” (1989, New Zone) and “My Flight” (1989, Zoth Ommog), “Modulator E.P.” marked the project's return and a clear progression towards a more stripped-down, club-oriented sound. Originally issued as the first release on the short-lived Neo Ego label, the EP captures a style in flux, moving between industrial body rhythms, early techno structures and acid-inflected sequences, reflecting the hybrid character of the German electronic underground at the time.

Limited to 300 copies on black vinyl and 200 copies on violet transparent vinyl, this reissue presents all four original tracks in full, alongside the highly sought-after Razormaid remix of “Tehniska Musika”.

Following the underground cult success of Mystical Funk, Gerardo Frisina returns to the 7” format with a new double-sider aimed at dancefloors, collectors, and selectors with a taste for cinematic funk. A record that feels as though it emerged from a lost Afro-funk session, where cosmic funk and Afro-Latin grooves are filtered through a distinctly modern electronic sensibility.
On the A-side, “Duala”, inspired by the African city of Douala, pays tribute to Afro-funk in its most visionary era, evoking the unmistakable sound made famous by the great Manu Dibango. The track opens into a dense and hypnotic electronic funk journey: pulsating basslines, fluid guitars, psychedelic synthesizers, and a rhythmic tension that recalls the golden age of Afro-funk. A nocturnal voyage through rare groove and cinematic atmospheres, with the groove constantly remaining at the heart of the composition.
On the B-side, “Lindeza” is a tribute to the beauty and richness of Brazilian musical culture. A track that shifts perspective while keeping the temperature high: elegant, percussion-driven electronics with a Latin spirit, flowing at around 110 BPM. Warm and magnetic, the piece carries all the hallmarks of Gerardo Frisina’s sound, where futuristic jazz, tropical funk, batucada, and club culture meet in a refined production designed equally for deep listening and the dancefloor.

What happens when the mathematical rigor of Johann Sebastian Bach is stripped of its classical facade? With the album SRDNG x LPZG, the duo AMAS, together with double bassist Frithjof-Martin Grabner, delivers a radical answer on May 15th, 2026. The work does not merely translate Bach’s legacy; it consistently reimagines it within the aesthetics of Minimal, Dub-Techno, and Ambient. The creation of this extraordinary abstraction spanned three years and two geographical poles: the raw isolation of Sardinia and the academic precision of Leipzig.

The project found its origin in the seclusion of Pula, at the southernmost tip of Sardinia. There, AMAS extracted and digitally dissected the rhythmic and tonal essence of 14 selected works by Bach. In a temporary local studio, these minimalist sequences fused with field recordings of the surroundings to form a hypnotic framework of electronic structures. Back in Leipzig, this foundation met Frithjof-Martin Grabner. In an intense session held in a hall of the historic HMT Leipzig, spontaneous improvisations emerged that breathe the spirit of Miles Davis’ approach to "Ascenseur pour l’échafaud": free play based on rudimentary sketches, an intuitive reaction to the material—comparable to Davis’ iconic scoring of silent film images. It is a deliberate prioritization of atmosphere over technical perfection. Grabner utilizes the full spectrum of his instrument, creating sounds that, in post-production, often blur the line between analog depth and synthetic texture.

The result is an organic symbiosis: the vastness of Sardinia (SRDNG) meets the intellectual density of Leipzig (LPZG), while the strictness of the Baroque dissolves into the repetitive energy of Minimal Techno. To do justice to this conceptual ambition, the album will be released in an uncompromisingly audiophile edition. Limited to 200 copies worldwide, the double LP is pressed on 180g vinyl and features a front cover with a special 3D effect, continuing the visual tradition of the AMAS series. An album for listeners who understand Bach as a living origin of modern sound art—and for lovers of electronic music seeking a new, organic soul within the repetitive depth of techno.

Sun Ra is better known to most as a musician than a poet, but he identified equally as both. My Words Are Music provides direct access to the sentiments of a poet who never called Earth home. The spoken word album hosts an inspired array of artists who personally chose their favorite Sun Ra poems to recite. Freed from the page, his poetry acquires an unexpected simplicity and poignance it possessed all along.

This all-star and intergenerational lineup of artists conjure wisdom from his words: spoken word elder Abiodun Oweyole of The Last Poets; rapper, and singer-songwriter Saul Williams; jazz experimentalist Melanie Charles; British-Trinidadian poet, novelist and musician Anthony Joseph; poet Mahogany L. Browne; poet, playwright, and conceptual artist Carl Hancock Rux; musician/digital composer L’Rain; singer, actor, and director Tunde Adibempe of TV on the Radio singer; British DJ and BBC radio host Zakia Sewell; ballistic hip-hop poet Jive Poetic; and longtime members of the Sun Ra Arkestra, Marshall Allen, Knoel Scott, and Tara Middleton.

Punctuated by impish electronic interludes composed and played by Marshall Allen, these voices bless Sun Ra’s poetry with new life My Words Are Music offers the opportunity to follow Sun Ra into a
better future. “Prepare for the journey,” he writes in his poem “The Cosmic Age”, “You have a rendezvous / With the living wisdom.” My Words Are Music is a project developed in conjunction with Living Sky, the all-instrumental Sun Ra Arkestra album released on Omni Sound in 2022

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Two jewels in the crown of the soulful electronic music scene in NYC unite for a spellbinding EP on Rhythm Section International. ”Full Circle” is a brand new body of work from Musclecars & Toribio.

To call this 12” simply epic would almost be doing it a disservice. The breadth of musicality and execution of ideas contained across 3 compositions is nothing short of miraculous. I use the word composition intentionally: these are not merely tracks - these are 3 movements making up a concerto - with a dub thrown in for good measure!

The record kicks off with a soulful house behemoth, “ That’s My Story” featuring NJ legend Roland Clark on vocals giving sweet sweet testimony. In many ways, this track feels like a coming together of the trios influences. The lyrics contextualise it, giving it this intimate, confessional feel. The latin drums shuffling amidst the 909 kick drive it forward and the organ swimming freely amongst it all takes us to church. It’s a timeless track - paying homage to the various New York traditions laid down by Louis Vega, Timmy Regisford, Joaquin Claussell , Ron Trent et al - all heroes and collaborators of the composers who - with this effort - have surely now earned their place in the pantheon of American Soul Music.
‘
Be Honest’ maintains the confessional tone with the lyrics but takes things right back down in terms of tempo. Is it a love song, an ultimatum or a cry for help? Whichever way you interpret it, this track is Toribio’s time to shine as a lead vocalist and he hits all the notes, leaving not a dry eye in the house. This is a delicate tour de force, delivered with such raw emotion and vulnerability it allows the instrumentation takes a back seat - just a gentle groove, swelling strings and some unresolved chords are all that’s required to transform us to the main character of this story. We’re left hanging, and it’s oh so relatable.

Agua De Florida serves as an uplifting, fast paced finale to the concerto and this one’s all about the trumpet - masterfully performed by Melbourne born, London based virtuoso Audrey Powne. If Herb Alpert was making house music - I imagine this is what it would sound like. Throbbing bass and noodling synths join the melee and crank the joy up to 11. If the EP is a story arc over 3 tracks, then we’re definitely not left hanging with this one. All is resolved, things are moving onwards and upwards and the circle is complete.

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

ISKRA is the debut album by Polish multi-instrumentalist and composer Olga Anna Markowska. Starting at “Dawn” and ending at “Dusk”, it is a journey of melancholic depth and true beauty filled with warm memories from what was & what could be.

Using zither, cello, electronics and occasional wordless voice, Olga weaves together something so affecting and under the skin beautiful that it is hard to shake, bringing to mind classics from artists like Jacaszek and William Basinski, or the films of Kieslowski. However, there’s a personal touch in her playing and compositions that stands out. Olga explains: “the cello pieces, in particular, were born from a desire to reconnect with the instrument I’ve known intimately since childhood. However, I had to step away from it for two years to gain perspective and find a fresh approach when I returned.” She continues : “ISKRA is an album about "ignition" — a gradual shift in how I think about music and a search for new values. It also marks the closing of a chapter, blending archival recordings with the dawn of new ideas.”

The album feels deeply personal from the first note, and bridges the difficult point between classical and ambient music in a truly natural way, leaving any typical tropes far off, instead demanding your full attention. Olga uses plenty of loops throughout, which together with the cello and zither builds a transcendent atmosphere. Standouts contain amongst others the stunning “Train Ride Home” - a 7 minute piece with zither as main focal point; “Fever Dream” - a plunge into warm static noise and deep plucks, as well as the beautiful “Helix”, which sounds like a washed out dream with its minimal tape loops and ambient vocal washes. Overall the album connects very well with Olga’s subjects of identity, memory of the places and human relations with nature. There is a deep humanity burrowed within these 40 minutes of music which feels immensely appropriate in these contemporary times.

ISKRA was recorded in different times and places from 2017 to 2022 and lands with perfection on Miasmah - connecting the dots from the early years while reaching into the stars.

Acclaimed producer, DJ, and dancefloor healer Octo Octa (Maya Bouldry-Morrison) announces her fourth full-length album, Sigils For Survival. Following 2013's Between Two Selves, 2017's Where Are We Going?, and 2019's Resonant Body, the new record marks a decade since Maya publicly came out as transgender in November 2015. ''As an autobiographical artist, I set out to write an album that would be a milestone for this past decade of joy and sorrow,'' Maya explains. ''Sigils For Survival is my attempt to encapsulate the intentions and techniques that I used to move through life into a spell.'' For each of the record's eight tracks, Maya drew a sigil. Each is a personal symbol intended to ''bind magic to the song and seal its intention.'' These drawings appear throughout the physical edition's design. Maya's sister, New York artist Hope Morrison, incorporated each sigil into her original paintings, which comprise the album's vivid artwork. Hope Morrison, whose imagery translates the sigils' energy into vivid form; the layout was designed by Jo?o Ervedosa. Created entirely on hardware instruments and later mixed in Logic, Sigils For Survival captures the tactile immediacy of live performance. Maya preserved the feel of MIDI-clock drift and off-grid recording, letting her machines interact in the rhythmic pocket, rather than confirming them to a click. Alongside her signature deep, ecstatic electronics, the album features hand-played dulcimer, hand-pan, and recorder. Her voice also returns, carrying spells of love, protection, and transformation. Across Sigils For Survival, Octo Octa channels the ecstatic house lineage into an intimate ritual space. The music speaks of immediacy, play, and communion -- of magic as method, love as survival, and sound as spellcraft. Sigils For Survival is both a document of ten years lived fully and an invocation for the next chapter -- a glowing testament to music's power to protect, transform, and set the spirit free.

Filmmaking and music-making share a common element of worldbuilding. Whole cloth, environments are raised in which a perspective can be placed; the viewer, the listener, is taken on a ride into the unknown for a time. Movie, the newest album by DMV-based duo Lifted, is like a film shot with microphones rather than cameras, using the pacing, spatialization, and semiotics of cinematic sound design to lead us through a surreal soundworld that draws as much from Foley artistry as dub, jazz, and electronic music. Musical elements and field recordings shift in and out of focus, collaged in spontaneous improvisation sessions on CDJs by the core duo of Andrew Field-Pickering (Max D, Dolo Percussion, Beautiful Swimmers) and Matt Papich (Co La, Ecstatic Sunshine). We may not see where we are, but our ears give us all the information we need.

We open on a pedal steel, played by More Eaze, but it’s been warped and slowed, gradually pitching upward until it's met by drums and electronics. Imagine the THX logo emerging onscreen. Movie is bookended by two related themes, “The Ice Chewers (Opening Credits), ” and “Midnight Snack (End Credits), ” giving the spatial experiments at the heart of the record form and focus. If there’s a broader narrative to latch onto, it’s in the transition moments, the juxtaposition of various field recordings that indicate movement of characters through space and life happening at its own pace. Tracks are defined by other thematic elements: a wandering piano in "Repossessed, " the drone of Duncan Moore’s bagpipe on “Melts Very Nasty, ” the delicate dance of Dustin Wong’s guitar over Jeremy Hyman’s drums on “Midnight Snack. ” Even with such an expansive ensemble cast, the focus remains squarely on the flow from one scene to the next.

Robert Altman’s use of sonic perspective shifting, as well as Apichatpong Weerasethakul’s intricate construction of environmental ambience and aural representations of the unknown, were both inspirational for Lifted’s focus on sound as a way to establish set and setting in film. We hear Altman especially in the way dialogue emerges and recedes: as Papich puts in a sandwich order, as Field-Pickering browses the grocery store. These techniques have been a part of the duo’s arsenal in Lifted and their own projects for years, but here, without the mandate to make something overtly musical, they are foregrounded and placed in crisp focus. Here is another way to listen to the world, to understand how time, place, and personality are communicated through sound as Lifted closes the gap between artforms. What you can’t see only drives the imagination to more brilliantly invent.

Some tracks don’t need fixing. They just need a bit more room. South African composer and keyboard wizard Don Laka has been quietly sitting in DJ bags for years, especially with people who like their synth music warm, slightly
mysterious, and impossible to date properly. Somewhere between jazz funk, township pulse and studio electronics, but really just its own thing.
Stages was an obvious candidate for extension. Prins Thomas what he does best here: opens the arrangement, lets the synth lines breathe, stretches the groove until it starts floating a little higher off the ground. Nothing forced, nothing added for
the sake of it. Just more of a very good thing. I Wanna Be Myself gets a gentle nudge from Gerd Janson. The idea was simple: keep the personality, and give DJs a version that lands naturally in a modern set without losing the original charm. It’s still the same track, just standing a bit straighter.
And because the source matters, the original version of “Stages” is here as well. Always good to remember where the magic started. Three versions, no drama. Just strong music that already knew what it was doing.

Shape of the Moon is the California based duo of Benjamin Burke and Bear Glass that explores existential headspaces beyond mundane frames of thought. Following streams of consciousness that contemplate the stardust that forms us to the very first human sound that reverberated through a cave, Shape of the Moon intertwines language and music into ambient dream-weaving narratives.

When the land is laid bare forms a collection of recordings composed of Burke reciting his introspective poems and Glass improvising gripping modular synth and string patterns. Burke brings a wealth of experience working between an impressively vast range of written and visual mediums to Glass’s live electronics and acoustic instrumentation mirroring the spoken word. The pieces on the album consist of excerpts from live outdoor performances under the night sky in the Mojave desert as well as sessions in Glass’s off-grid solar powered studio. Burke drapes vivid vocal narration over deeply immersive textures and melodies conjured up by Glass on Buchla, bass and sitar, painting peaks and valleys that live score the storytelling. The duo tread their own path fusing poetry with undulating electroacoustic instrumentals, arriving at meditative and ASMR territories that draw inspiration from ambient and electronica. Often joined on stage by guest musicians playing anything from Rhodes, percussion, jaw harp and saxophone, the recordings edge towards blues and spiritual jazz.

Benjamin Burke is a poet, writer, performer, and visual artist who spends his time lending a hand to unusual artistic expeditions around the world. Most recently, he helped to launch Dhun and Dhun School, a humanist eco-township and progressive education center on a 500 acre biopreserve in Rajasthan, India. He has written and performed countless unusual shows, experimenting widely and, through that, witnessing firsthand what makes ideas resonate for his audiences. This work evolved over time into an approach he refers to as Applied Poetics which he employs to help communities set intentions, scientists present their findings, and humanitarian organizations find their footing.

Bear Glass is a sound artist, multi-instrumentalist, music teacher, live sound engineer, and founding member of Mobius Acoustics who build innovative sound systems and host events on the West Coast (utilizing a quadraphonic setup for live performances and immersive drone bath sessions). Glass is involved in various collaborative projects with a couple of releases under different pseudonyms as well as a solo tape featuring a track with prolific producer Carlos Niño. For most of the year, Glass lives sustainably off-grid with his family on a plot of land outside Joshua Tree, a mini utopia infamous for his well curated private campouts and artist residencies. Wide skies, magnificent climates, and being surrounded by the love of family and friends inform Bear’s musical output and artistic practice.

Shape of the Moon present their debut album for Marionette’s 30th title, channeling an inquisitive yet playful state of mind that marvels at the mysteries of the universe.

Limited Edi(on - Signed and numbered - includes poster
A true living legend in dance music, Benny Benassi has built a career on innova(on and era-defining
releases, collabora(ng with global icons like David Gue1a, Skrillex, Chris Brown, Jeremih, and Sofi Tukker.
Since reshaping global club culture in 2002 with his groundbreaking anthem Sa(sfac(on—a track that
redefined dancefloors worldwide with its mechanical groove and distorted bassline—Benassi has remained
at the forefront of electronic music’s evolu(on.
Once again, Benny Benassi proves he’s not just a pioneer — he’s s(ll leading the charge.
Now, with his fi9h studio album, Feel the Bass, he delivers a lean, driving, club-focused return to his
signature low-end power—updated for a new era and pressed as a limited run vinyl.

On her second album, Sawt El Doumouh (The Sound of Tears), Beirut-based Sandy Chamoun summons flickers of light from sadness. Influences from the Arabic tradition of Tarab – one of the first styles Chamoun learnt to sing – and polyphonic Cantu are reinterpreted and reimagined through her voice and electronics, synths from her SANAM and Ghadr bandmate Anthony Sayhoun, and live percussion from Ali Hout.
Marked by its times, the record isn’t what Chamoun had planned. “I wrote the lyrics between October 2023 and September 2025,” she explains. “The plan was to write about nature, since the album’s concept was inspired by Cantu, a tenor Sardinian ritual that celebrates humanity’s victory over nature. I intended to visit several places and regions in Lebanon and write a track for each, but after the genocide and the war in Lebanon, everything changed.”
“I chose the title because many mornings during this period I woke up crying silently. I remember a dark story from school: a teacher yelled at a small boy while he was crying and told him to cry without making any sound. I feel we are still living in that condition in the region — forced to die or suffer without making any noise.”
Sawt El Doumouh is a gorgeous refusal to be silent. It opens with a booming drum. Over keening autotune Chamoun’s pure voice cuts through, burying the despair to illuminate rays of hope. On “Ward W Shok” a shuffling swing gives way to a righteous organ interlude. The title track sees a choir of Chamoun’s vocals lull and lap. Drums arrive and indignation stirs, what’s mournful begins to stride.
Chamoun’s tracks are as beautiful as they are defiant. Why write songs in the face of horror? Perhaps because music can hold onto something better. By turning to song, Chamoun catches the hopeful glints and sparks that persist and strive outside the terror. In SANAM and Ghadr she often borrows lyrics from Arabic writers through the centuries, listening to what their words say in the present while reminding us the world can and has been different to how it is now. Solo she writes her own words, and the way her songs alternately soar and sigh evokes hopeful pluralities and suggestions of other, kinder realities. Even hearing someone cry is a connection to humanity.
It’s a possibility conveyed in the album’s most jubilant moments. “Shahed” is an incandescent dance of percussion and levitating synths. “I wrote it after I saw a photo of a small boy on a horse on the beach in Gaza,” Chamoun recalls. “I imagined a fantasy where the boy lives in the water and watches the terrifying reality on the shore, trying to bring water to put out the fire. Shahed is the witness who lives far from the shore, enjoying the water and trying to help. You can hear this duality: the percussion is desert-like, while the vocals and synths evoke the feeling of water.”
Although it comes from darkness, in Chamoun’s music we can hear faith in something beyond it.

The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.

Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.

His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.

This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.

The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.

Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.

Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.

After six years of purgatorial sway, Joel Shanahan’s Auscultation project returns with a fourth full-length of dazzling, convex electronics: IV. His signature production touches have only heightened in the interim: iridescent synths; dexterous bass; slinky networks of pads and percussion; regal, rolling fog. Icy bangers of isolation and beauty crafted over long Pacific Northwest winters of endless rain.

The album evolved fitfully, polished and shelved between bursts of inspiration and malaise. This push and pull gives the music a manic, mirror ball, mood-swing movement, tilting between reverie and regret and sweaty abandon. Seven songs of memory and mirrors, haunted by shadows of the past but dreaming of futures still liquid, and unions yet to come

Rebecca Goldberg presents the release of her debut full-length album, Night City, a deeply personal and expansive body of work that reflects a decade of artistic growth, exploration, and connection. Produced and arranged by Goldberg, this album captures the evolution of her sound through years of practice, travel, collaboration and mentorship.

Including 12 tracks across a 2x LP, Night City draws from the rich lineage of Detroit electronic music. Goldberg cites influences from dystopian cityscapes and futurism to space exploration and the possibilities of technology. The result is a forward-thinking genre-spanning collection.

The album features two notable collaborations: “444,” created with Jnn Aprl and recorded in her studio in Seoul, South Korea, and “Tunnel,” featuring Detroit techno artist Tiptonaires. Each collaboration adds a distinct voice and texture to the record’s immersive sonic world.

Night City was mixed and mastered by Andy Toth, with album artwork illustrated by Mark Sarmel. A limited run of vinyl is available for preorder now, pressed at Archer Record Pressing Co. in Detroit. The album will be released on Detroit Underground.

At its core, Night City is an offering shaped by experience and guided by curiosity, marking a significant milestone in Rebecca Goldberg’s musical journey.

Parallel Universe – Volume 1 marks the latest collaboration between Natacha Atlas and Samy Bishai — a bold reimagining of the musical crossroads between East and West. While its textures echo retro-futurism and electronic lineage, the spirit of the record is unmistakably present-tense — rooted in a boldly contemporary vision of Arabic pop, refracted through experimental production.

DMV-born rapper and producer kuru is already a veteran among their contemporaries. Spurred by the online renaissance that accompanied the pandemic, they began to foster a cult following while in high school, their Soundcloud releases leading to production work with artists such as Black Kray and Destroy Lonely. Over the past few years, as Kuru began to prioritize their own voice, they prioritized their solo endeavors. Growing up in Maryland, kuru was inspired as much by the work of Future, Hikaru Utada, Yuyoyuppe, and the sounds of Japanese math rock as he was by his native DMV’s rap scene. He first began making music in 2019, garnering buzz with early tracks like “clueless”, “typo” (4M Streams), and “atmosphere” (9M+ Streams) — cuts brimming with the catchiness you’d expect out of a mainstream pop hit, but uncharacteristic of the internet rap landscape at the time.

The forthcoming sophomore album is a summation of all of kuru’s work in both electronic and hip-hop. It’s the artist’s most focused effort to date, and touts credits from Lucy Bedroque, frequent collaborator xaviersobased, and a rolodex of Soundcloud’s most cutting-edge producers. “Backstage Hologram” ties together a mosaic of the current internet underground’s landscape with a veneer of dusky futurism, and panoramic wide post-production.

Fresh rework by Mr Sam of the iconic track 'Broken Dream' by Da Fresh, originally released in 2005. On the flip side is the Original Version, which became a major club hit and remains a beloved track among electronic music fans.

Back on the Discos Panorama series we head once again to Colombia, this time pairing two Afro-cumbia dancefloor weapons from Afrosound and Wganda Kenya — two giants of the late-’70s and early-’80s tropical scene.

Around this time Colombian studios, particularly those connected to Discos Fuentes, were beginning to push things forward. Traditional cumbia rhythms were still at the core, but now they were being driven by electric organs, synths, drum machines and fuzzed-out guitars. The result was something raw, hypnotic and incredibly rhythmic — records that feel almost proto-electronic, long before anyone would’ve used that word.

The two cuts on PAN014, originally released in 1978 and 1981, capture that moment perfectly. Rolling percussion, locked-in basslines and swirling keyboards create grooves that just keep building. They’re party records, no doubt about it, but there’s something else going on too — repetitive, driving, almost techno in spirit, the kind of tracks that can run for minutes and never lose the floor.

The A Side is the anthem, the B Side feels like it was lost on an LP…

Part of PANORAMA’s Discos Panorama series, this one continues the label’s focus on bringing essential Colombian dance music back to DJs and collectors. Carefully remastered and pressed on 7inch, these are the kinds of records that instantly change the temperature in a room.

Diese Doppel-Vinyl-Compilation lädt ein in die warme, entspannte Welt des Lo-Fi-Sounds - eine Musik, die entschleunigt, Atmosphäre schafft und Nähe erzeugt. Versammelt sind prägende Künstler des Genres, die Lo-Fi, Downtempo, Jazz-Einflüsse und elektronische Gelassenheit miteinander verbinden. Mit Beiträgen von FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna und weiteren wichtigen Namen entsteht ein vielschichtiges Panorama zwischen organischen Grooves, sanften Beats und subtilen Melodien. Die Auswahl richtet sich gleichermaßen an langjährige Liebhaber wie an neue Hörer, die Lo-Fi als eigenständige, zeitlose Form elektronischer Musik entdecken möchten. Ein stimmiger, sorgfältig kuratierter Sampler für entspannte Hörsituationen, stilbewusste Sets und alle, die elektronische Musik lieber fühlen als konsumieren. ENGThis double-vinyl compilation invites listeners into the warm, comforting world of lo-fi music - a sound defined by relaxed rhythms, organic textures and understated emotion. Featuring leading artists of the genre, the collection blends downtempo beats, jazz influences and laid-back electronic production. With tracks by FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna and others, the album offers a broad yet coherent overview of lo-fi aesthetics. It appeals both to seasoned listeners and newcomers seeking a timeless, atmosphere-driven listening experience. A carefully curated selection designed for calm moments, focused listening and stylish musical environments

Particle Audio was created by Viels to express his musical vision without compromises.

The first release explores his deeper and classic vision of techno focusing on simplicity and unique sound design shaped by the natural evolution of electronic music.

Tour-Maubourg returns with a new 6-track EP, Dreams, further cementing his place as a key figure in today’s electronic music scene. Known for blending soulful house with rich jazz influences, the French-Belgian producer showcases both his DJ sensibility and refined production skills on this long-awaited release for French deep house label Noire & Blanche.



Nearly four years after Floating on Silence - his acclaimed EP for the label that quickly became a staple in DJs’ sets and underground all-night club sessions - Dreams follows the same inspired path while raising the bar even higher. Joined by a carefully selected group of collaborators, including American producer Kareem Ali (praised by Rolling Stone, Pitchfork, and Boiler Room), pop/R&B soul singer Nic Hanson, and Lithuanian producer and musician Cyan Lu, Tour-Maubourg blurs the lines between jazz and house. The result is a deeply musical, immersive EP that reinforces a sound signature now unmistakably his own, designed for both intimate listening and late-night dancefloors.
crédits

Harry Romero, Brothers Macklovitch, and Austin Ato team up on Rekids.

Harry Romero and Austin Ato return to Rekids alongside the debuting Brothers Macklovitch, aka A-Trak and Dave 1, with the ‘The Corner’ EP, arriving 5th June 2026. Romero has more than two decades of house pedigree behind him, continuing to refi ne a signature sound rooted in expert drum work and undeniable attitude. With a catalogue spanning seminal imprints from Nu Groove to Classic Recordings and Defected, the Bambossa Records boss builds on his 2025 debut with ‘Nice To Meet You’, once again showcasing his knack for balancing functional, floor-ready grooves with rich musical character.

Joining Harry Romero are Brothers Maklovitch, consisting of legendary turntablist A-Trak alongside his brother, David “Dave 1” Maklovitch of Chromeo, bringing decades of experience across the electronic spectrum, alongside versatile Scottish producer Austin Ato, who previously contributed to Oliver Dollar’s 2025 album on Radio Slave’s Rekids imprint.

Harry Romero, Brothers Macklovitch, and Austin Ato’s ‘The Corner’ (Piano Mix) opens the release, a warm and energetic house cut driven by bold, bouncy drums and jazzy melodic touches, as lively guitar licks and rolling piano lines inject an uplifting, expressive feel primed for the dancefloor. The ‘Deep In Jersey Dub’ follows, maintaining the heat with a more stripped-back approach, where filters and breakdowns build tension before a punchy drop, with teased-out guitars adding to its dynamic impact.

Echoes (1984) is the debut solo album by Wally Badarou, a keyboardist and producer closely associated with the Compass Point Studios scene.

This re-issue faithfully replicates the original Island Records UK release and is pressed on 180g vinyl.

Echoes has since gained cult status for its forward-thinking production and genre-defying style. Built around early digital synthesizer technology and fluid composition, the album remains a notable example of 1980s electronic music that continues to resonate with modern audiences.

Thirteen years later, building on everything they had learned about capturing the purest sound, Guttenberg returned to produce The Ultimate Demonstration Disc Volume 2. Designed to bridge the gap between technical terminology and the listening experience, this collection serves as a practical guide to the audiophile lexicon. On each track, Guttenberg "spells out" exactly what to listen for, providing clear musical examples of concepts like "transparency" and "soundstage depth." By using a custombuilt recording chain and avoiding dynamic range compressors, equalizers, or overdubbing, the album captures a "live" session exactly as the microphones heard it - resulting in a sound so neutral and natural that it can be used to reveal the subtle differences between high-end speakers, electronics, and cables.

Berlin-based disco don Tobi Schwermann aka Jack Tennis strides into his tenth year making music with a seance on his Art Groupie label. 'Billy's Family' is a heart-sweeping disco sound with sweeping Philly strings and neat guitar lines, golden chords and a nice plump mid-tempo rhythm. 'Lonely Streets' channels Bill Withers gritty soul and moody basslines into an infectious groove, then 'Some Kind Of A Lady' gets lips pouted and hands in the air with unrestrained disco joy. 'VO' closes with a rich ecosystem of whistles, organic percussive sounds and a strident electronic groove with fiery Latin vocals. Eclectic excellence once more.

Obelix, released exactly 30 years ago on Stickman Records, is a milestone in the 90s electronic music scene. A masterful balance of acid house and techno, interwoven in hypnotic loops, creates a soundscape that is both energetic and psychedelic. Obelix represents a cross-section of the era's underground electronic music scene and embodies the raw energy and creative audacity of 90s techno/acid house, highlighting the more subterranean sides of electronic music.

2026 Repress

Thirteen years after their landmark debut, Italian duo Voices From The Lake (Donato Dozzy & Neel) return with their much-anticipated second album, 'II' (two) on their own Spazio Disponibile.The record marks a new chapter in one of electronic music's most revered projects. Born from a friendship and a singular musical vision, Voices From The Lake first emerged as a one-off live performance in the Japanese Alps, later distilled into their self-titled 2012 album. That record has since become a touchstone in ambient techno, reshaping the global landscape of hypnotic and atmospheric electronic music. In the years since, the duo have performed worldwide, released a handful of EPs, worked on installations, and founded record labels, all while continuing to refine the project's unique identity. Yet the core of Voices From The Lake has always been its deep, aqueous approach to sound, a sensibility that returns in full force on II. "The project was never meant to become what it did," the duo reflect. "At one point, we even paused it. Only to later embrace it in all its forms. II is both a continuation and a reinvention." True to that spirit, Voices From The Lake have explored extremes in recent years, from high-tempo live sets to seated listening concerts, while remaining anchored in the meditative pulse of ambient techno. II extends this lineage, carrying forward the immersive sound design and boundary-pushing vision that has defined their work from the beginning.

Besides his work as a painter, filmmaker and set designer, Philippe Lamiral Poirier (1951-2025) played guitar and saxophone in the group Kat Onoma, which he co-founded with Rodolphe Burger.

His fifth studio album combines his written texts with music composed by his son, Roméo Poirier, whom he considered to be cut from the same musical cloth as he was. It also confirms what has emerged from his previous albums, namely songs more spoken than sung and whose words evoke images, thus the album’s title – Images parlées.

A book of his paintings, Images traversées, will be published simultaneously with the album.

In this continual back and forth movement between text and image, music has always been present – sensitive and abstract, expressing nothing other than itself. It hollows out a place to tell us where we are. It is life without delay.

Roméo Poirier is working in the field of electronic music, focusing on heavy processing of samples and digital collage. He released albums on the London based record label Kit Records (Plage Arrière), the mancunian record label Sferic (Hotel Nota), and Jan Jelinek’s own imprint Faitiche (Living Room and Off The Record).