Search:electronic

Evighet proudly presents its sixth release, EVIGHET006, featuring the distinctive sound of Healing Force Project, the long-running creative vision of Italian artist Antonio Marini. For more than a decade, Healing Force Project has explored the intersections between electronic experimentation, free jazz and electroacoustic research. His work unfolds with a rare sense of spontaneity and depth, merging intuition and technical precision into a sound language that feels timeless and deeply personal. Over the years, this unique approach has earned him a cult reputation across the underground and avant-garde music scenes. EVIGHET006 is the result of a free creative process, a series of recordings shaped by intuition rather than concept or structure. Within this collection, elements of jazz, drill-inspired beats and dubstep textures emerge and intertwine. The music alternates between dark tonalities and unexpected shifts toward melodic and almost folkloric moments, inviting the listener into an evolving, immersive experience. A highlight, “Playing Tabla and Smoking Weed with Aliens”, reveals the hypnotic pulse of the tabla, guiding the piece through a steady percussive flow that feels both ancient and futuristic. Elsewhere, rhythmic improvisations and fragmented breaks form intricate layers that dissolve and reform with subtle tension. With this release, Healing Force Project continues to move along his own path, shaping sound as a form of exploration and reflection. EVIGHET006 captures an artist in constant evolution, translating instinct into form and intuition into movement.

With Get Together III, the journey moves into its next chapter, as four artists come together once again to bring the many colors of electronic music to life.
modul808 opens the journey with deep, warm chords and a driving groove that instantly pulls the listener into the depths of its sonic landscape. In “Kamuro”, shimmering details line the explorer’s path, while the magical vocals of Igor Pose are elegantly woven into the arrangement, creating a dense and hypnotic atmosphere. With “Habits”, Heidmann continues the journey in a similarly groovy fashion, leading the way to sunlit clearings filled with memorable melodic gems. Cie effortlessly picks up the uplifting mood on the B-side, where the magnificent “Schlosshotel” unfolds with majestic chords and shimmering strings, inviting every house lover to stay for a while.
Finally, the journey home begins with Dip’s “Module”, which follows a deep path once more, uncovering sparkling sonic secrets along the way.
Together, the four tracks form another chapter in the Get Together series - a warm and timeless deep house journey shaped by four distinct artistic voices.

Mit Get Together III geht die Reise in ihr nächstes Kapitel: Vier Künstler kommen erneut zusammen und bringen die vielfältigen Farben elektronischer Musik zum Leuchten.
modul808 eröffnet die Reise mit tiefen, warmen Chords und einem treibenden Groove, der den Hörer sofort in die Tiefen seiner Klangwelt zieht. In „Kamuro“ säumen glitzernde Details den Weg des Entdeckers, während die magischen Vocals von Igor Pose elegant in das Arrangement verwoben sind und eine dichte, hypnotische Atmosphäre entstehen lassen. Mit „Habits“ führt Heidmann die Reise ebenso groovig fort und öffnet den Weg zu sonnendurchfluteten Lichtungen voller einprägsamer melodischer Klangperlen. Die gute Laune greift Cie auf der B-Seite mühelos auf: Vor ihm erhebt sich das prächtige „Schlosshotel“, das mit majestätischen Chords und schimmernden Strings jeden House Liebhaber zum Verweilen einlädt. Beschwingt beginnt schließlich die Heimreise mit Dip’s „Module“, das erneut einen deepen Pfad einschlägt und auf seinem Weg funkelnde klangliche Geheimnisse offenbart. So entsteht ein weiteres stimmiges Kapitel der Get Together-Reihe - vier Künstler, vier Perspektiven und eine gemeinsame Reise durch warme, zeitlose Deep-House-Landschaften.


Early DJ Feedback:
Christian Seitz / Show "Neuland" on Radio Z
A beautiful compilation that brings together deepness and dancefloor
Sebastian / f.a.r.e.s / Bass And Space
Great EP, thanks!
ed2000 / Dangerous Drums, Cashmere Radio, Face Radio, dub intervention
Very nice set of tracks, support and thanks radio and dj set plays.
Sasha / Circus Recordings, Renaissance, Global Underground
Cool from Cie
Anthony Pappa / Selador / Renaissance
Nice tunes. Thank you.
Timo Maas / Cocoon Recordings, Crosstown Rebels, Rockets and Ponies, Mobilee, Moon
Harbour, Tenampa, etc etc
Nice Heidmann
Stéphane Chambord / Radio Resonance ("DeeJay Academy" Radio Show)
repérages : Kamuro & Habits je prépare une émission spéciale avec un mix des productions du label
Cyprien Rose / Lui, Houz-Motik, Waxdoesmatter
Amazing > Modul808 - Kamuro feat. Igor Pose
Rob Zile / Brain Food Radio (Kiss FM) / Brain Food Records
Great deep tunes
John Digweed / Bedrock Records
Downloading
T. Carlita / In My House
Good Vibe
Laurent / WTM
Another wtm's playlist is coming soon…;)
Douglas Arellanes / Radio 1
Cool chilled out vibe on this record.
Valerio Vaudano
I like "Kamuro" and "Habits". Will try these warming up the dance floor. thx for sending
Stuart Bruce / Chain DLK
Downloading for possible review on ChainDK
Noah Pred / Thoughtless, Biotop, Highgrade
Some nice ones here, thanks.
Ninu / Hipodrome
I like Habits
BARRcode / Backseat Mafia
Solid release.
Carl Craig / Planet-E
dl 4 erno thx!
Ilario Alicante / Cocoon Recordings, Alphahouse, Bosconi, Prism
Downloading for Ilario Alicante, thanks for the music!
Andrew Till / Machine, Fnoob
Cool dubbed out grooves ,,,Heidmann - Habits is my pick.
Ju / Upperberry
Dope =)
Kat Davids
nice and smooth!
Como Las Grecas / Kali Modernphase, Denis Yurgens, Alejandro Club, German MT, Como Las
Grecas
Deep mind in house groove. Interesting VA of deep house.
Dole & Kom / Death By Disco, Mixmag
Really liking Modul808's and Cie's traxxx Thank you

A. WandalHouz – Jazz Do it
Full 13 and a half minute ride, Wandalhouz wanted you to nab some quality use of your favorite material on this earth (vinyl) to its fullest potential. “Jazz Do It” sparks the same feeling and vibe as a sit in studio in session. Using a unique spacey Sci Fi sound creation as its main loop character, its main stand out is its big, bouncing fatty synth bass. Each introduced sound is eloquently placed upon its next, giving each individual sound its own time to welcome itself to the greater whole, and no moment is wasted. Each sound is playfully placed, perpetuating a bounce between the synths rubbing the low end frequencies, while the melodic pipe organ stabs shine bright through the ebbs and flows of sweeping fx to give it movement through the entire wave of sound. Its a driving deep, jazzy, and funky House track that truly encourages you to “Jazz Do It” on the dance floor, and as much as you can, for as long as you can.


B. Dj Mourad TD216 – Summer night talk
“Summer Night Talk” is Deep House cut that meets Electronic Jazz for a drink, at a Broken Beat art show, thats coming from the brain of a Techno OG, and Professor with years of producing, Djing, remixing, and sound design.

Mourad uses “Summer Night Talk” as his latest musical canvas. His machines are his paint brushes, and this song is his poem for its soundtrack. Mourad delivers thumping bass, peppy percussion, skippity snares, and fx that grab attention like poppin off fire crackers inside an art museum. Hypnotizing bass rumbles up your backside, creeps over your shoulders, and then whispers in your ear with a moist breath “Listen….” With each kick of the drum, each new brassy and chunky horn that graces your ear drum, you get further lost in the groove. His melody grab and spin you around, making you take another moment to catch your balance. “Summer Night Talk” is thumping and melodically techy in all the right ways to keep it deep, and true to its title.

With Black Koyo, Mattias De Craene enters a sound world at once intimate and vast. Born from journeys in Morocco and Brussels, the project traces the rhythms, chants, and spirits of the Gnawa tradition, revealing a quiet resonance that echoes De Craene's own search for depth and presence. Guibri, qraqueb, call-and-response chants, saxophone, loops, and electronics come together in a trance-induced dialogue - ritualistic, elemental, and dreamlike - creating a space where listening becomes immersion, tradition meets imagination, and music unfolds as a shared act of reflection and wonder.

About Mattias De Craene
Mattias De Craene's artistic path is marked by rare coherence. As a central voice in Nordmann and MDC III, he developed a physical, rock-inflected jazz language driven by propulsion, volume, and trance-like collective energy. Over time, a period of personal rupture - burnout, tinnitus, depression - shifted his focus inward. The saxophone became a breathing, textural presence, and in his solo work, he weaves saxophone, electronics, loops, and minimal forms into a cinematic, hushed world where repetition, resonance, and silence slow perception. Rooted in ambient and introspection, his music prizes attention over impact, precision over excess - a quiet intensity recognized with a nomination as Musician for the Music Industry Awards (MIA's).

About Black Koyo
Black Koyo is a Brussels-based ensemble and one of the most compelling voices of the Gnawa tradition outside Morocco. Led by maalem Hicham Bilali, the group brings guibri, qrraqueb, and call-and-response chants to life with trance-like intensity and ritual precision. Their music is both rooted and contemporary, weaving earthbound rhythms and vocal invocations into ecstatic, immersive soundscapes, creating a space where ancestral resonance meets present-day imagination.

About Jan Bang
Jan Bang is a pioneering Norwegian producer and musician, celebrated for his mastery of live sampling and his ability to merge electronics with improvisation, rhythm, and texture in real time. He mixed the album and occasionally joins live performances, bringing his signature approach to sound as co-founder of the influential Punkt Festivaland collaborator with artists such as Jon Hassell, David Sylvian, Arve Henriksen, and ECM Records' roster. As a performer and sound architect, Bang creates immersive, trance-like sonic textures where silence and sound carry equal weight. Within Mattias De Craene ftBlack Koyo, his live sampling becomes an organic instrument, weaving saxophone, electronics, and Gnawa rhythms into hypnotic, physically charged soundscapes.

Line-up & credits
Mattias De Craene - sax, electronics | Hicham Bilali - guibri, vocals, qraqueb |Ismael Akhraz - vocals, qraqueb | Marwan Abantor - vocals, qraqueb
All tracks are original gnawa traditionals played by Black Koyo and arranged by Mattias De Craene.
Album produced & recorded by Mattias De Craene in Essaouira, Morocco and hometown Ghent, Belgium 2025.
Text by Hicham Bilali.
Mixed by Jan Bang at Punkt Studio
Mastered by Lieven Van Pee
Artwork by Marina Sviridova
Design by Benoit Van Geel
Manufactured and distributed by N.E.W.S.
Executive production by W.E.R.F. records
Supported by Flemish Government, Jazzlab, nona, HA Concerts, Aubergine artist Management,
KAAP, La Bestia (Wout Van Putten) & mdcmu.sic vzw.
2026 (c) W.E.R.F. records

Continuing Blueprint's 30th anniversary celebrations, James Ruskin welcomes the return of Oliver Ho, whose relationship with the label is deep-rooted.

Oliver Ho has spent the last 30 years devoting his life to creating some of the most intense and compelling electronic music out there. Debuting his signature raw sound in 1996 on Blueprint Records, he cemented himself in the underground of the '90s UK techno scene. With a plethora of aliases, he has navigated his way through many different genres. From the frenetic tribal sounds of his own Meta imprint, the off the wall house music made as Birdland and Raudive, the grinding industrial of Broken English Club and the heavily textured ambient of his Slow White Fall and Zov Zov projects. While pushing and pulling at the fringes of electronic music, at the very centre has always been the beating heart of hypnotic techno, an art form that is both brutal and bewitching; techno as ritual magic. Oliver's live shows and DJ sets showcase this expression of music as shamanic experience, metallic and relentless, pure and direct.

An integral figure in shaping Blueprint's early sound, Oliver Ho returned in 2016 for their 20th anniversary with the "Burning Heretics EP", which was followed by a remastered reissue of 1999's "Awakening The Sentient". So it's fitting that he's now back for this latest milestone with a new EP, "Our Secret Religion" dropping in May.

Kerrie makes a welcome return to Sync 24's CE camp, with "Waves of Reverie PT1" dropping in March on Cultivated Electronics. It follows her two part "We Continue" vinyl 12"s, on sister-label Cultivated Electronics Ltd back in 2021. Irish-born, Manchester-based Kerrie is a multidisciplinary artist and resident DJ at Tresor Berlin. She performs live sets, produces music, DJs and runs her own label, Dark Machine Funk, as well as an extensive discography on the likes of Tresor, Blueprint Records, Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism. On her new EP, "Waves of Reverie PT1" Kerrie once again channels a distinctive electro aesthetic rooted in acid and electro traditions but filtered through her own raw, industrial-leaning production style. A staple for fans of analogue hardware-driven electro and forward-thinking electronic music.

Official reissue of a German under-the-radar disco tune. The original from 1979 is a bubbling dancefloor stomper with freewheeling synth lines. For the flipside of this 7" Korkut Elbay created a spaced out balearic dub rework. Picture sleeve with a funky painting by Holger Kurt Jäger that picks up on the original.

The melody of 'Butterfly Dance' came to Dieter Bührig's mind as a butterfly floated through the recording studio during a session break. The resulting track landed on a compilation with mostly cover versions of disco hits. Now, more than 45 years later, the tune found its well-deserved single release on funkscapes.

Korkut Elbay is a fixture of Cologne's electronic music scene for over 20 years. He's part of the Cómeme camp and with remixes and edits for labels like Permanent Vacation or funkscapes he prooves his sensitive feel for the dancefloor. So does he on this rework, giving the orginal space to breathe and calm down without leaving the dancefloor.

Dieter Bührig studied electrical engineering and sound recording in Berlin. Afterwards he worked several years as a sound engineer for the music industry and as a producer. Later on he worked as a teacher for physics and music, trained trainee teachers for secondary schools and wrote articles and publications on musical education, choir and band arrangements. Nowadays he's writing, among other things, musical crime stories.

"Music, like love, surprises you, makes your heart race, gives you new eyes with which to look at yourself in the mirror..." (Gigi Masin)
With an exclusive presentation by GIGI MASIN, UP TO 23 release their second album, now with an expanded three-member lineup following the permanent addition of ENRICO CONIGLIO over the founder members MARCO BUFFETTI and FRANCESCO FINCATO. The album draws inspiration from the 1980s, evoking atmospheres reminiscent of sci-fi soundtracks. Partly romantic, partly doom ambient, the work unfolds as a requiem for our planet. Liquid and enveloping atmospheres drift between melodic ambient territories — explored through processed guitars and synthesizers — and soberly electronic paths traveled to the rhythm of sequencer-driven patterns and programmed structures.
Dramatic and evocative moments emerge throughout this succession of varied yet perfectly integrated and fluid soundscapes, where sounds and progressions combine with ever-shifting solutions, following a descriptive thread that remains consistent as it continuously unravels through encompassing and emotionally engaging textures. AN APPLE A DAY YOU DIE ANYWAY is the perfect soundtrack to these dark times that UP TO 23 want to color in order to continue to hope, to live without having to survive.

2026 Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

Charlie May and Duncan Forbes return to 49North with a brand-new Spooky record !

Lucent unfolds with the long form Biform, essentially a piece in two halves that perfectly sets the listener up for the lush widescreen sonic journey that follows. The album flows from start to finish building energy as it moves though it’s different phases culminating in the infectious groove of Perpetual.

This is the sound of Spooky back in the room doing what they do best, making beautiful emotive electronic music that transcends boundaries.

Claudio Mate announces the launch of his new solo imprint, Claudio Mate Records.

As the name suggests, the label serves as a personal platform where Claudio explores his past, present and future works, shaping his sound into a more spiritual and meditative direction.

The imprint will also feature collaborations with friends, artists and creative connections established over the years across the globe, while carrying his typical forward-thinking approach and a distinctive imprint sound trademark.

Over the past two decades, Claudio Mate’s music has received recognition and support within the electronic music scene, from main stage artists while remaining rooted in more underground circles.

Claudio Mate Records marks a new chapter in his artistic journey — a dedicated space where sound becomes introspective, evolving and deeply connected to emotion.

--------------------------------------------------------------------------------------------------------------
天 (Ten) CMR - 001
The Japanese kanji 天 (Ten) means “heaven”, “sky”, and the natural order of the universe — something vast, unseen, and beyond human control.

For the Japanese, 天 is more than a symbol: it embodies the connection between humans and the cosmos, the divine order that guides life, and the higher realms where sacred forces reside. In Japanese Buddhism, it refers to celestial realms and higher states of existence; in Shinto, it evokes the sacred heavens of the kami. But TEN is not about reaching heaven.

It's a deep, dub techno journey through shadow and space — obscure, hypnotic, and timeless. Sound that drifts between worlds, suspended in something greater than the sky itself.

The EP also features Atarashii Hi (“a new day”), a classic deep Detroit techno cut in true Claudio Mate style.

Roberto Zanetti, better known as Savage or Robyx, is without a doubt a fully realized artist. When he stepped into the world of dance electronics in 1983, success came instantly. Not only across Italy, but far beyond its borders. Alongside his own chart-defining run as Savage, Zanetti was simultaneously shaping the scene from behind the desk, developing talent and refining a signature sound that would define an era. By the late ’80s, Robyx was already an established powerhouse producer. Around that time, he wrote three tunes for Maurizio Felici, performing under the alias Wilson Ferguson. These tracks carried all the hallmarks of Zanetti’s late-’80s aesthetic: lush melodies, smooth, flowing arrangements and high-energy grooves built for the dancefloor. In Europe, where house music was rapidly taking over, this sound faced tougher competition, but in Japan, where Eurobeat was exploding into the mainstream, these productions were untouchable. Felici’s rich, throaty vocal delivery gave the tracks an unmistakable emotional weight and identity.

Responding to long-standing requests from fans, Vintage Pleasure Boutique now revisits the most melancholic and emotionally charged of these three recordings: “I’m Singing Again”, a bittersweet tale of lost love told through the language of Italo disco. It’s a perfect fusion of Savage’s late-’80s sonic elegance and a truly distinctive vocal performance.

For this new release, the story is pushed one step further with a fresh remix, slightly faster in BPM and clearly nodding to Robyx’s classic Eurobeat instincts, a version built to move bodies while keeping the original’s emotional core intact.

An’archives presents 'sensitive', a new album, and the first solo vinyl release, by Japanese keyboardist and synth player, Mitsuhisa Sakaguchi. A deftly assembled suite of glistening electronic tonalities, 'sensitive' is the latest in a lengthy run of excellent, idiosyncratic albums by Sakaguchi. A low-key yet productive artist, Sakaguchi has released banks of solo titles via his own Bandcamp page, and is also an in-demand improvisor for electronics: see, for example, recent collaborations with Yoshiki Ichihara ('TO(R)RI INFRANTA', 'Ftarri', 2025), Tatsuhisa Yamamoto ('non equal mad', self-released, 2020), and the - trio with Yamamoto and Uchihashi Kazuhisa ('self-titled', Modern Obscure, 2023).

'sensitive' is a startling album for many reasons, not least its rich attention to detail. Sakaguchi’s ear is sensitized to the complexity of electronic sonority, something he’s developed through decades of performance and improvisation, though he’s not limited to that language. “I mainly use multiple synthesizers and process the sounds with effects,” he clarifies, detailing his approach to his music. “I also use a lot of acoustic sounds such as field recordings and percussion; sometimes I also use sounds such as prepared piano.”

Indeed, you can hear this see-sawing balance between the electronic and acoustic written across 'sensitive' – see the activated cymbals that twist and stutter through the first half of “metatoxic”, which are soon replaced by a similar stream of burbling synth-flow. The opening “sensitive rot” folds field recordings into Sakaguchi’s electronic kit to such a degree that the differing forms dissolve into each other; on “green shrine”, the field recordings are more present, yet still poetically framed, taken as they are “from the mountains of my hometown, Yawata City, Kyoto,” Sakaguchi explains.

The tender balance achieved by Sakaguchi as he moves between practices, tonalities and temporalities helps manifest the guiding conceptual force behind 'sensitive', where Sakaguchi explores a cleansing reverie. “What I wanted to portray with this album was to create an album of sounds that shattered and reassembled my current ‘sense’ and ‘toxins’,” he nods, “along with the ‘nature’ around me. Electronic sounds, our bodies, the environment around us, and nature all blend.”

From there, Sakaguchi attempts a transformation, or transmutation – an alchemical process of exchange. “I am attempting to explore whether it might be possible for the sounds to come closer to each other,” he concludes, “or perhaps even to interchange places.” On the five pieces that comprise 'sensitive', you can hear this fusing and exchange. Inhabiting similar spaces as the music of Nuno Canavarro, Asmus Tietchens, Omit, and other like-minded visionaries, 'sensitive' traverses curious, quixotic terrain between electronic composition, electro-acoustics, and improvisation.

In discotheques and dark rooms across Europe, Boys’ Shorts have earned the trust of the queer and wider clubbing communities as generous stewards of a timeless sound that, like themselves, never stops moving forward. The duo of Vangelis and Tareq initially met at an underground club in their native Greece. Sensing a rare sonic connection, the pair became friends, forming Boys’ Shorts to meet again and again, travelling from their adopted cities of Thessaloniki and London to appear as far afield as Berlin’s Panorama Bar and New York’s Le Bain, as well as supporting Goldfrapp and Hot Chip on tour. Their motivation? In their own words, “we make people dance!”

Following years of gradual, thoughtful studio sessions, and EP releases on tastemaking electronic labels including Phantasy Sound and Live At Robert Johnson, Boys’ Shorts establish their own imprint, ALL SORTS, in order to deliver a fantastically ambitious debut album, ‘What Does It Take To Make These Men Happy?’

The LP opens with the grandiose, cosmic vista of ‘The Space Between Us’, a classic passage of strings and synthesis, before the shared Boys’ Shorts vision falls back to earthier territory with deep groove of ‘Let’s Fall In Love’, mixing universal sentiment with a patient vision of human potential and the voice of Greek electronic pioneer, K.BHTA. ‘Come’ aligns with NYC’s Michael Cignarale, offering an excitable invitation to the mind and body sculpted by the way of a throbbing, warehouse-sized statement of nineties house sensuality. Channeling heroes Lowe and Tennant at their most introspective, ‘Short Life’ maintains the dance, yet dares to ask, “what if the parties aren’t enough anymore… Can you ask for something more?”

Out of the pet shop and straight into the strobe lights, ‘Disco Romantica’ makes true on the promise of its title, a lovelorn monologue giving way and slipping into rave stabs and whirring synthesis that looks forward to a memorable, emotionally-charged night ahead. Underpinning this feeling of anticipation, ‘Going Out Hoping To See You’ introduces the voice of Justin Strauss to Boys’ Shorts' musical world. A certified icon of club culture, spinning from The Mudd Club to modern day DJ booths, Strauss’s generation spanning experience of nightlife leans into the fundamentals of human connection and the pleasure of musical discovery, wrapped in irresistible chug.

Another transformative figure in club music, Fischerspooner’s own Casey Spooner dips into French for the Motorik cyber sleaze of ‘MECANIMAUX’, their own vocals pitching up and down with playful EBM abandon. ‘Montage’ offers a different kind of composition, conjuring an ecstatic club banger that finds inspiration in nineties indie rock motifs alongside the rave scene, while ‘Run’ promises to blow out sound systems before its weighty electro bassline succumbs to waves of glistening synths.

Such bombast into beauty perfectly sets up the record’s blissful conclusion; ‘The Stars Are Out For You’ is electro-pop so delicate as to heal aching feet (and mend broken hearts), while offering the final tender moments of the album as a form of tribute on ‘Untitled (For Mitsi)’. It’s a thoughtful ending to a thrilling trip through a shared passion for electronic and pop music in all its glorious potential. What does it take to make these men happy? It’s a pleasure to find out.

Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.

London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.

‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.

With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.

This 12" introduces Maajo Soundsystem, the electronic, dancefloor-focused sub-project of Maajo, presenting stripped-down, club-ready versions of their 2022 album 'Water of Life' that go beyond standard remixes through newly recorded balafons, percussion, and vocals from Senegalese artist Ismaila Sané and Mauritian vocalist/drummer Gilbert K. Sané began his career in the 1970s as a percussionist and African ballet dancer before relocating to Finland in 1999, later becoming the first emigrant to receive the country's Citizen of the Year award. While Maajo tours as a six-piece live band, Maajo Soundsystem offers a flexible electronic configuration that retains live vocals and percussion. The group has released multiple LPs and EPs on Queen Nanny and Permanent Vacation, scored the silent film Lost World, received remixes from Luke Vibert and Call Super, and toured internationally, with strong radio and press support from BBC Radio 6, Worldwide FM, KEXP, Resident Advisor, WFMU, and more.

Phantasy transports back to 1982 for a faithful reissue of the highly sought after ‘Fools Are Friendly’ from Xclusiv, carefully re-mastered from the original tapes.

The alias of sisters Karen and Maxine Berlinski, Xclusiv emerged inconspicuously from the London borough of Croydon with a sophisticated vision of cosmic disco pop, linking the suburbs with Soho’s neon-tinted nightlife. Decades later, and in close collaboration with the sisters, this highly sought-after record arrives lovingly reissued by Phantasy in its original, sensuous form.

Originally self-released on Le Maitre Music, a record label spun-off from their family-run fireworks and pyrotechnics company, ‘Fools Are Friendly’ has the irresistible sense of a radio hit that never was. A brilliant DIY reflection of the disco and soul that dominated the charts of the time, its glossy, primitive electronics echo the synth experiments of Giorgio Moroder or Didier Marouani, pioneers that were transforming pop music.

The extended mix provides an overture to the sisters’ twinned vocals, unfolding with delectable disco drama. In contrast, the Instrumental Mix lets the record’s blend of elements truly breathe, a synthesised version of Xclusiv’s irresistible vocal hook holding court between timeless arpeggios and subtle modulation.

Benge is the influential electronica artist who launched the Expanding Records label in 1995. Polyrythmic Electronica is one of the underrated gems from Benge's discography, opening the series of re-issues from digital to vinyl on the new System Of Objects imprint.

“An irresistibly narcotic sonic palette… Low-lit sounds for blissed-out ravers.” FACT LA electronic artist Holodec debuts on Phantom Limb with hypnotic new album TRU FOLK, a subtle and environmentally sensitive documentation of everyday life for distant synthesis, interwoven field recordings, and urban haze. Described as “both a folk record and an audio document” by Holodec - aka West Coast producer Jieh - TRU FOLK draws from 15 years of field recordings that capture a range of environments from city life to the domestic everyday. These audio narratives form the foundation of the considerately textured representation of the same spaces that make up the record - full of earthen, grounding synthesis, semipresent melodies, and smogged-out tonal palettes. It occupies a zone somewhere between tangible and dreamlike, treating sound as evidence of living rather than an escape from it.

Soda Stereo is a band that never made the same album twice. After the commercial success of Canción Animal, singer Gustavo Cerati went deeper into the art of sampling, electronic music, the Madchester scene from the UK, shoegaze and neo-psychedelia. This change in sound led to some confusion among fans, but also gathered a lot of praise for embracing modern genres. Up this day Dynamo is seen as an essential classic in the Soda Stereo catalogue and also a must have for 90s shoegaze fans.

Dynamo is available as a limited edition of 2000 individually numbered copies on transparent vinyl and includes an insert.

Sueño Stereo is the final album recorded by Argentine rock band Soda Stereo. By 1995, it was clear that the band was the most important Argentinian group of the decade. The album went platinum in 15 days and Rolling Stone considered it the fourth-best album in Latin rock history.

The album is a true reflection of the times, blending Britpop, dream pop and electronic music. Next to that the band named The Beatles as a major influence on the album's structure. Inspired by The Beatles did the band end the album with a medley on the D-side. This gives the album a strong conceptual feel.|

Sueño Stereo is available as a limited edition of 2000 individually numbered copies on transparent vinyl, is packaged in a gatefold sleeve, and includes an insert.

Anané’s colourful life in music has seen her do everything from singing at the famous pre-game show at Super Bowl XLI as part of the group Elements of Life, DJ at hotspots like Hi Ibiza, Pacha NYC and Ushuaïa to name a few, while also curating her own monthly residency Nulu Movement, now ten years strong at Le Bain NYC, release unique blends of Afro, house, and pop on labels like Vega Records, and head up her own imprints, Nulu Music and Nulu Electronic. The Cape Verdean-born DJ, producer, vocalist, and songwriter has had countless club hits and has released acclaimed albums like ‘Ananésworld’ and ‘Chapters Of Becoming’, often with a lush, live, and orchestrated style that is truly unique.

With this release, Anané steps forward with her first solo production to date. Here she serves up the sumptuous ‘It Looks Like Love’, a poised, elegant house sound with her own smoking, soulful vocals and classy strings bringing colour to an Afro groove packed with infectious bounce. Neat guitar riffs and silky synths all enrich this most sophisticated sound. The first mix sees Anané link up with veteran Italian Christian Mantini, who has hosted Sunset Ritual parties with Anané and Louie Vega since 2013. Their dub is rooted in warm, rubbery drums that are even deeper and more immersive than the original.

Manda Moor & Sirus Hood are a red-hot contemporary pair who run the Mood label and are defining the contemporary underground. Their remix is more driving, but it retains the soulful vibe with breezy pads and jazzy motifs drifting in and out above the swaggering groove.

Rotterdam-based Chicagoan Jamie 3:26 is a master at blending disco, soul, and house into timeless sounds, and here he delivers a loopy rework that pairs deep drive and sun-kissed vibes with funky, Chic-style bass guitar motifs.

lovetempo is the solo project of Mattie Safer, former member of the beloved New York electroclash band The Rapture, now channeling his club-rooted background into contemporary disco and electronic soul. The album features a strong cast of collaborators including Dougie Stu (Brijean), Toribio, Kate Mattison (79.5), and multi-instrumentalist Izaak Mills, with mixing and additional production by Carlos Truly (Ava Luna, Juan Wauters, Frankie Cosmos). The project has received tastemaker support from Gilles Peterson and Laurent Garnier, airplay on BBC 6Music, KEXP, and KCRW, and editorial placement on Spotify playlists including Pollen, Metropolis, and Jazz House.

After a five-year hiatus, Basic 7 returns to Tripmastaz "Respect The Craft.Enterprises" sublabel with his highly anticipated new EP. Renowned for his dynamic live sets, he delivers a solid four-track release that fuses quirky electronics with infectious dancefloor beats.

2026 Repress

Producer and bassist Huw Marc Bennett presents ‘Tresilian Bay’, a new project that draws from artists such as Tim Maia, Augustus Pablo and Idris Muhammed as much as the jazz scene and community he has found in south-east London. The languid, sultry sound fuses both modern and vintage, travelling from South London electronica, to Brazillian groove, Nigerian Afrobeat and Ghanaian Highlife along with a streak of Welsh psychedelia.

‘Tresilian Bay’ is a nod to hedonistic summer nights, whether spent on the Glamorgan coast or the hot Lewisham streets. The album is titled in honour of the bay near where Huw grew up, an area steeped in stories of ancient Welsh royalty, smugglers and pirates.

The album started out as a lost live session recorded at the Total Refreshment Centre studios, featuring Chelsea Carmichael (sax), Rosie Turton (trombone), Shirley Tetteh (guitar) and Jake Long (drums) with Huw at the helm on bass and compositions. With glorious vocal contributions from Miryam Solomon; Huw utilised his human style of production and multi instrumentality heard in his Susso project (Soundway Records, 2016) to mold these recordings into this mature and emotional debut.

The album was mixed and mastered by Albert's Favourites co-founder Adam Scrimshire with artwork by Jonny Drop.

XKatedral Anthology Series II (An Anthology Of Slowly Evolving Timbral Music), featuring exclusive music from Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, and Maria W Horn.

"XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.

The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019.

Closing side A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked version of a piece originally commissioned by Semibreve in 2020.

Side B contains the work ‘Hands Melt In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.

Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional practice usually combines acoustic and electronic source material and in this piece he molds the sound of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth.

The second piece on side B, Inertia, is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.

Closing Anthology II is Maria W Horn's work ‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics."

Fresh Hold Releases presents Helen Ripley-Marshall's mysterious Australian ambient electronic album "Green Chaos", reissued for the first time on vinyl LP. Originally released in 1988 on Sydney based private press label Freefall, "Green Chaos" marks the sole release from Ripley-Marshall.

In the late 80's Ripley-Marshall lived a Bohemian lifestyle in inner city Sydney; "surrounded by musicians, actors and artists, there was an amazing creative experimental vibe going on". While playing in new wave/art rock band "D Face" she began Green Chaos as a personal project to counteract the creative friction sometimes experienced within a group dynamic, heavily inspired by Arnold Frolows' "Ambience" radio show on Australia's Triple J and particularly the music of Tangerine Dream, Harold Budd and Brian Eno.

Initially a solitary endeavour, once she decided to record in a studio Green Chaos morphed into a somewhat collaborative, improvisational project with other musicians invited into the studio to improvise and add their own interpretations and ideas, additional layers and dimensions, resulting in a work that combines a clear influence from the electronic repetition of the Berlin school with a meandering, futuristic lyricism. Although influenced by the long form sonic journeys of artists like Tangerine Dream, Ripley-Marshall's background in art rock and new wave brings a more concise approach, each song a self-contained universe that says only what is necessary in the arrangement.

After completing a sound engineering course Ripley-Marshall recorded the album at Sydney's Exeter House Studio over several months alongside studio engineer Andrew Knight, met through a fellow member of D Face. Knight ran Freefall, a private press recording label releasing folk and bluegrass music, which had Green Chaos as its sole ambient release. Ripley-Marshall self distributed the album to local inner city record stores and dropped a copy to Triple J, where it became a regular staple of Arnold Frolows' show.

These days Ripley-Marshall has moved away from music and is predominantly focused on visual art. "Green Chaos" stands as the only released product of her musical years, both a personal window into the vibrant experimental art scene of late 1980s Sydney and a deep, timeless anomaly of Australian electronic music.

Nitai Hershkovits and Daniel Dor return with Found & Found, their second collaborative album and a natural continuation of the musical dialogue initiated with The Garden Suite.

Born out of pure curiosity - "there was more to say, more to explore," explains Dor - the album expands the duo's sonic language beyond the synth-only framework of their previous work. While the Moog remains central, Found & Found introduces clarinet and acoustic guitar, gently dissolving the boundaries between electronic and acoustic sound.

Each composition unfolds through interlocking, mantra-like patterns. Repetition becomes a space for transformation: melodies circle, textures shift, and subtle harmonic movements invite the listener inward. The music is structured with care, yet it feels open and fluid. intimate, spacious and quietly immersive. If their previous record explored orchestral depth through synthesizers, this new chapter embraces air and clarity. Acoustic gestures emerge within electronic landscapes, creating a sound world that is both grounded and weightless.

Nitai Hershkovits brings with his fellow partner Daniel Dor a refined harmonic sensitivity shaped by both jazz and classical traditions. Together they continue to refine a shared language that moves between structure and freedom, precision and emotion.

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

“duo,” a collaboration between norwegian jazz heavyweight bugge wesseltoft and german house visionary henrik schwarz, is finally being reissued. it stands as one of the finest albums in the history of club music to so beautifully fuse jazz and electronic music. deep and experimental yet irresistibly melodic, this gem of a record possesses a captivating sensibility that draws in listeners of every kind. newly remastered by kuniyuki, this long-awaited reissue comes pressed on 180g vinyl. the refreshed artwork has been created by emerging japanese artist joji nakamura

happy 15th anniversary!

„Duo“, eine Zusammenarbeit zwischen dem norwegischen Jazz-Schwergewicht Bugge Wesseltoft und dem deutschen House-Visionär Henrik Schwarz, wird endlich neu aufgelegt. Es gilt als eines der besten Alben in der Geschichte der Clubmusik, das Jazz und elektronische Musik so wunderschön miteinander verbindet. Tiefgründig und experimentell, aber dennoch unwiderstehlich melodisch, besitzt dieses Juwel von einem Album eine fesselnde Sensibilität, die Zuhörer aller Art in ihren Bann zieht. Neu gemastert von Kuniyuki, erscheint diese lang erwartete Neuauflage auf 180-Gramm-Vinyl. Das überarbeitete Artwork stammt vom aufstrebenden japanischen Künstler Joji Nakamura.

Herzlichen Glückwunsch zum 15-jährigen Jubiläum!

*Brand new Emika LP ‘Fountain’

* Part of the Kickstarter campaign ´´How To Make Music Immersive``

*Intimate lyrical songs with piano and synths, the blueprint for a follow-up immersive album in Q4 2026.

*Moody Electronic heavier songs in between the piano.

*For listeners who are tired of presets.

*Handmade, hand-played, honest-craft, 40 year old grown-up Emika. A mother of two, who lost her mother in 2025.

*Grief as a train on the way to the station of understanding love. A record written about the artist's personal life (Not a genre sound).

*If you like number drawings, you can draw on the artwork.

Repress 2026

We’re very happy to announce the vinyl release of kuniyuki’s masterpiece “all these things”.

Originally it’s released on only cd in 2007. it was his 2nd album but it’s substantially his first album because the first album was a col-lection of kuniyuki’s early productions.

The first track “the guitar song” is one of our most favorite song of kuniyuki,it’s like a real good mixture of jazz, fusion, world music and electronic music.

The second track featuring african vocalist and percussionist “omar guaindefall”,we still love amazing henrik schwarz remix.

The third track “you get me” featuring our favorite singer “josee hurlock”,we’ve knew about her from the fantastic album “residue” by hefner in 2000. she is featured to the fourth track “all these things” too. we’re hoping to repress an amazing joe claussell remix.

The fifth track “flying music” featuring our good friend “alex from tokyo” as poetry reading and shuichiro sakaguchi( a popular trumpeter in tokyo) as a trumpeter. this long version was put to single cut release on 12inch.

The sixth track “the session” is a collaboration of song with henrik schwarz. they have met at mule musiq’s party in tokyo and clicked immediately.

The seventh track “touch” sounds very nostalgic african jazz or spanish fusion which is popular these days as balearic music.

The last track “rain of ocean” is a primitive african minimal deep house.this song is put to the single cut from this album(not put to the album) and we almost forgot this song but when we’re compiling the vinyl edition of album, we noticed how this song is beautiful.

Here are the collection of eight timeless and genreless music.

DJ Support: Paul Woolford, Machinedrum, Kettama, LDLDN, Sinistarr, A.Fruit, Machine Woman, Octo Octa, Paco Osuna, Bradley Zero, Tzusing, Lefto, Synkro, John Tejada, 12x12 and many more

BBC6Music - Gilles Peterson

NTS - LDLDN

BBC6Music - SHERELLE - DJ Mix and Interview

NTS - Ross Allen
Enter the kaleidoscopic world of Lone - returning to Greco-Roman for his first album in five years, ‘Hyperphantasia’

An artist who has been soundtracking dancefloors since the early 2000s, Lonemade his production debut in 2008 with “Lemurian”, a hip-hop inspired release before moving into the vibrant future-facing soundscapes we have come to know. His back catalogue ranges through house, rave, ambient and electronica, and on ‘Hyperphantasia’, Cutler sets himself the challenge to bring all of those influences together for one body of work that he describes ‘like an album in my mind’. Referring back to the album title, the definition of hyperphantasia is a condition characterized by exceptionally vivid and detailed mental imagery and for this album he tested himself to see how close he could get the music to sound exactly like what he was hearing in his imagination.

On Hyperphantasia, Lone deepens his relationship with vocals. Having previously relied on vocal samples or more abstract live vocal treatments, this latest album marks a shift toward richer, more pop-leaning sensibilities. Cutler makes a clear lyrical statement, enlisting a diverse and carefully chosen cast of collaborators: London-based artists and fellow Greco-Roman affiliates Ell Murphy and Lou Hayter, Barcelona’s breakthrough singer Bikôkô, cult Nottingham rapper Juga-Naut, and Hong Kong-born, London-based musician Merry Lamb Lamb. Together, they contribute to what stands as a career-defining project.

The end result is a cinematic experience exploding full of colour. You are introduced to the album with an old school rave anthem ‘Life Spark’ and an interlude welcoming you into this musical world. Like chapters in a novel, the album ebbs and flows beautifully between stripped-back melodies ‘Opening A Portal’, ‘Photographs That Don’t Exist’, ‘Sickly, Sweetly, Summer Movie’ and ‘Fruit Rots, Water Floats Downstream’, bubbling feel-good house ‘Affinity (Cloud Four Four Mix)’, ‘Triton’ and ‘ Wemove’, the rap-influenced ‘Throw The Ember’ and epic future-pop tracks ‘Miracle Mile’, ‘Big World’, ‘Scattergun’ and ‘Home’. The album ends with a full circle moment, back to the early hardcore and jungle rave scene, on ‘Ascenscion.png’.

Drawing from traditions of musique concrète and ambient synthesis, The Vertical Luminous creates a world of textural depth and microscopic wonder. Across its tracks, bubbling tones, processed field recordings, and shifting electronic layers intertwine, evoking the sensation of listening in on the hidden rhythms of atoms, molecules, and micro-organisms.
'While grounded in experimental technique, The Vertical Luminous avoids the academic or austere, instead embracing a mischievous sense of melody and curiosity - a reminder that exploration and joy can coexist in sound.
'The result is a record that is both meditative and playful, equally suited to deep listening or casual drift.'

Entering into the portal once again, The Black Lodge releases its 9th offering, this time a full EP from Russian hardware wizard LVRIN. 6 tracks of dark psychedelic electronics traversing through Jakbeat, Techno, Industrial and Krautrock sonics - guaranteed to take the dance floor to the beyond!

The eight long play on the label comes from none other than UK electro royalty – Transparent Sound. If you have been following the music world for a while, then you would know this name as it’s been on the radars since the 1994. From the beginning it was a synergy between two artists Orson Bramley and Martin Brown, now the project solely run by Orson and he is presenting us Potent Mystery, an electro album in the best possible execution of this genre filled with melody and mystery. For the remix duties stepped up Acidulant the Maltese based hardware guru and the master of live sets from Bristol – Ben Pest. Each of these men and stellar artists have spent numerous years perfecting the craft of the electronic music which have resulted of this album being born as we can hear it now. Electro. Magnetic. Radiation.

Between flesh and silicon. “Under My Skin” (2026) is the first album by IADI, released by Neo Life. A record like few
others, highly conceptual, cover art included. Its essence lies in the folds of the increasingly ambiguous relationship
between man and machine, where the former designs the latter and, perhaps without fully realizing it, is gradually
destined to adapt and be reprogrammed by it. Each track of “Under My Skin” is, in fact, a sort of interface, connector, or
any other imaginative point of contact between two creative phases, amid emotional impulses and binary calculations.
The sonic architecture oscillates between analog warmth and algorithmic coldness, constructing landscapes in which
pulsating synthesizers and mechanical rhythms seem to question each other. There's no linear narrative, but rather a
progressive immersion in a zone of near-friction, where the comfort of technology coexists with more than a faint
musical uneasiness, like a background noise that never ceases to remind you who's truly in charge. In “Under My Skin”,
the machine is neither an enemy nor a simple instrument: it's a real presence, intimate, even tactile, amplifying desires,
fears, and dreams of dawns beyond the digital realm. Intelligent dance music. Less noise, more sensations. Electronic,
but profoundly human.
The final result, then, is a music project that speaks to the present, yet sounds like an X-ray of the future, capturing that
fragile moment when humanity and technology stop observing each other from afar and begin to merge, track after
track. It's no coincidence that IADI's album opens with “Impulse”, an immediate expression of an electrical impulse, for
both humans and machines, which is also the language of the nervous system, as fast as it is vital—pure energy and
rhythm, a track as intense as it is irregular. And after this introduction, it's the turn of the equally erratic “Axon”, whose
title describes the neuron that transmits the signal over distance, telling the listener to sit back and relax for a new
journey through the notes toward the more melodic “Cortex”. The cerebral cortex, the ultimate seat of thought and
memory, becomes the source from which the musical flow of the first part of the work is drawn.
Then, suddenly, an automatic, or instinctive, response to the constant succession of impulses: “Reflex”, or zerotemperature techno, with a fragmented pace, featuring vocal samples, breaks, and restarts. In the producer's
imagination, the subsequent, and conversely placid, “Neuron” represents the emotional core of the second part of the
work, providing a kind of respite from the seething vibrations. While the neuron is the basic unit of the nervous system,
the synapse is the functional connection point between one neuron and another effector cell, essential for the
transmission of nerve impulses and communication in the nervous system, enabling functions such as learning and
movement. Likewise, a track like “Synapse” once again illuminates the path traced by IADI. The more experimental and
streamlined “Static” instead suggests true ordered chaos. “Dreamstate” is the conclusion suspended in the void, relating
to that dreamlike state between waking and sleeping, where consciousness fades toward infinity and visions begin. Pure
fading into the subconscious. Eternal return to where it all began. Dancing is a form of consciousness. Every beat is a
question. IADI, however, holds all the answers you need.

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.

mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

Evighet proudly unveils its fifth release, EVIGHET005, featuring the Sky City EP by Dave N.A., the prolific producer from Yerevan known for his refined sound design and emotionally resonant compositions. With a catalog that spans labels such as Typeless Records and Uppers & Downers, his work continues to bridge precision and sensitivity, exploring the borders between rhythmic architecture and ambient introspection. On Sky City EP, Dave N.A. constructs an intricate sonic landscape where lush atmospheres coexist with fractured breaks and IDM-inspired rhythms. Rooted in the traditions of Jungle and Breakbeat yet unbound by genre, each piece reveals a narrative built from texture, movement and space. His music invites reflection while maintaining a dynamic forward energy, evoking the sense of motion through memory and dreamlike transitions. A central moment in the release is “Bloom”, which features a collaboration with Hayk Karoyi on flute. His performance adds an organic depth and melodic fluidity, weaving through electronic layers with warmth and clarity. The result is a delicate interplay between human breath and machine pulse, blurring the boundary between the natural and the synthetic. Sky City EP marks a new chapter for Evighet, reaffirming the label’s dedication to sound as a medium of exploration and storytelling. Through this release, Dave N.A. captures both emotional immediacy and compositional detail, expanding the label’s evolving narrative with a vision that feels deeply personal yet universally resonant.

2026 repress

On his sixth album, The Arc of Tension, the Berlin based DJ, label owner and producer OLIVER KOLETZKI yet again presents his remarkable vision of contemporary electronic music, while he assumes the role of a storyteller. The Arc of Tension speaks to its listener as a singular, self contained work, which communicates by way of its natural flow and arc of suspense. The latter is mirrored not only in the multifarious narrative of the actual album, but can also be understood as evidence for its creator's long musical history. While Koletzki focussed on a diverse range of vocal collaborations on his previous long players, he now moves on to a different form of storytelling, rooted in the quiet confidence of a veteran musician, as well as the hectic lifestyle of a globally in demand DJ. The Arc of Tension is the psychonautic journey through the various continents of Oliver's consciousness. The quiet chirps and warbles, which initially unfold on the opener 'A Tribe Called Kotori', thus act as a loose associative bridge to 'Der Muckenschwarm', Oliver's big breakthrough hit of 2005. The first minutes of the album leave no room for doubt - we are immediately locked into an autobiographical world of sound that knows how to captivate from the get go. The dreamy, exotic timbres of the downbeat tracks 'By My Side', Tankwa Town' and 'Byron Bay' penetrate our minds in a subtle yet purposeful manner. But soon the tension tightens and organic sounds one by one evolve towards a sterner, electronic cadence.