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2026 Repress

ANNE and Sera J close their Symbiosis series on Mutual Rytm with third and most refined EP yet.

This final chapter reflects everything the collaboration has stood for across a trio of inventive techno releases on SHDW's imprint. Creative and life partners ANNE and Sera J have been two voices growing in parallel, evolving separately but moving with the same pulse. ANNE is well established thanks to standout EPs on the likes of Soma and Hardgroove, while Sera J has released on the likes of Life in Patterns and Renegade Methodz, and both have featured on Mutual Rytm's 'Federation Of Rytm' series before now. 'Symbiosis III' is the moment where everything comes full circle: the culmination of a journey built on respect, creativity, and the freedom to explore their own paths while lifting each other forward.

Sera J kicks off with 'Ransomware', a commanding and driving techno cut lit up with flashy synths but always moving with urgency. 'Phosphate' keeps the energy levels high with stripped-back drums and bass designed to perfection, while 'Anthrax' has an anxious edge. The synths are wispy but evocative as bass kills and swiping filters bring the drama.

ANNE then ups the ante with the acid-tinged 'Dementia', which is loopy and unrelenting before 'A Taste of a Real Woman' gets more seductive with a sultry spoken word and sustained chords that bring the paranoia. 'Heart Rate' is propulsive with Detroit-style synth soul and an aching vocal, before Sera J returns with 'On the Run' - a percussive, trippy and eerie roller. His final Cut 'Similar Minds' has a searching synth surveying a desolate landscape, before ANNE then closes the EP with the punchy drum patterns and icy hi hats of 'Primal Howl Of Ego' and a blend of deep drums and evocative synth work on the 'Analog Heartbeat' - which proves potent techno can be beautiful.

In the realm of Swedish melodic rock from Skövde, few bands command the attention and admiration quite like NIVA. With their signature blend of soaring melodies, powerhouse vocals, and infectious hooks, the band has established themselves as a force to be reckoned. Now, with the release of their highly anticipated 7th full-length album ""Stratospheric,"" NIVA once again proves why they are considered among the elite in the genre.
From the opening chords of the title track, it's clear that ""Stratospheric"" is an album that aims for the stars and reaches new heights of sonic excellence. Led by the Swedish powerhouse vocals of frontman Tony Niva, the album is a tour de force of melodic rock anthems that resonate with passion, energy, and raw emotion.
Throughout ""Stratospheric"" NIVA demonstrates their mastery of the melodic rock genre, effortlessly blending elements of classic rock, melodic rock, and AOR to create a Nordic sound that is uniquely their own. With its larger-than-life production and infectious energy, the album is a testament to the band's evolution and growth as artists, while also paying homage to the rich legacy of melodic rock and AOR that has inspired them along the way.
For fans of NIVA and lovers of melodic rock alike, ""Stratospheric"" is a must-listen experience that promises to transport listeners to new heights of musical ecstasy. With its unforgettable hooks, powerhouse vocals, and electrifying performances, the album is a fitting tribute to the band's enduring legacy and a testament to their status as one of Sweden's most beloved rock acts. So, strap in, turn up the volume, and get ready to embark on a journey to the stars with NIVA's new upcoming release ""Stratospheric"".

- Seventh studio album by the Swedish Melodic Rock group
- Feat. members of Master Massive, Lion’s Share, Wolf, Starchaser
- Produced by Tony Niva & Jan Strandh; mixed & mastered by Thomas Plec Johansson.

For fans of: Niva, Lion’s Share, Treat, Imperium, Eclipse

With »The Future Is Futuristic«, the fifth album for Haleiwa (and third with Morr Music), Stockholm’s Mikko Singh draws from a deep well of nostalgic feeling, while making music that feels razor-sharp, on point, and full of hazy dream-pop pleasure. After 2019’s »Cloud Formations« and 2022’s »Hallway Waverider«, which imagined psychedelic post-shoegaze and mantric pop songs into being, »The Future Is Futuristic« feels like both consolidation and magnification; the noise-drenched songs feel thicker, heftier; the electronic interludes playful and kinetic; the rhythms boundless. It’s as though Singh has truly found his metier, his voice, a place from which he’s comfortable to indulge in the kind of home-recorded worldmaking that has always marked Haleiwa out as something special.

»The Future Is Futuristic« passes by in a rush of whiteout tones and scurrilous energy; the whole thing is over within half an hour, Singh ensuring his songs say exactly what they need to say – no more, no less – before bustling through into the next ecstatic pop moment, pushing the music further into the zone. While his music often has a similar, drenched quality to shoegaze, on »The Future Is Futuristic«, Singh seems to be settling in alongside other spirits – there are touches of the experimentation of both A.R. Kane and Flying Saucer Attack here; the more motoric tunes recall New Zealand’s Snapper; the glitchtronics have a City Centre Offices sensibility, while the sparkling folksiness of the melodies can recall Bristol bands like Light or AMP.

But it’s ultimately not about influence, beyond perhaps Haleiwa nestling alongside some like-minded souls in perceptive listeners’ minds. Instead, thrill to the rush of rhythms that float between jungle and punk on »Flourishing« and »96«, the latter a reference, from Singh, to moments of early revelation – »it’s about being thankful for having found punk rock and skateboarding at a young age, in 1996.« There’s also the hypnotic dream-rush of the opening »Smoke Will Rise«, the beautiful Cure-esque guitars swimming through »Sunset Street« and »Strange Notes«, the tumbling rhythms and heady, elated chord changes that grant lift-off to »Wave Chaos«… A real panoply of pleasures, in fact.

»The Future Is Futuristic« was recorded solely by Singh on four- and eight-track in his home studio, with a quick trip to Telefonstudion to record drums. Recording at home grants a certain intimacy to »The Future Is Futuristic«, even as the songs, at times, bliss their way off into the skies; there’s something both expansive and intimate about the music here, as though Singh is grappling immensities into intimacies. It also feels deeply personal for Singh, a summation of much of what he’s done over the years; as he says, simply and clearly, »The album is in my interpretation a mix between punk, electronic music, and dream pop.« The threads that connect these creative phenomena? Energy, texture, melody, tone, sensuality; pure pop pleasure.

Across time and beyond genre, this is an audio component test record that continues to earn universal acclaim. Drop the needle and unleash the fateful grooves etched into its tracks.

The rediscovery of this album—originally produced as a test record for high-end audio systems—stands as one of the great rewards brought about by the rare groove movement. The project was led by the visionary Katsunori Ishida, who would later become renowned as a producer, composer, and arranger for numerous television and film soundtracks. Gathering an exceptional line up of musicians including Shuichi “Ponta” Murakami, Akira Okazawa, Mikio Masuda, Kenji Ohmura, and Tantan, Ishida crafted a sound that is both tight and sophisticated.

Tracks such as “Cool Head” and “Son Of Pin Head” showcase grooves that are at times as powerful as a hammer blow, and at others as thrilling as a rushing torrent. The musicianship, precision, and dynamic energy throughout are simply outstanding. Today, thanks to its remarkable level of craftsmanship and commanding presence, this album is recognized as a true masterpiece, admired and celebrated far beyond the boundaries of any single genre.

Trentemøller's new untitled album explodes with the force of a supernova before dissolving into swooning vocals. Across 10 songs, maximalist guitar-noise blowouts collide with some of the most bruising shoegaze you'll hear this year. "The noisy got noisier, the dreamy got dreamier," says Trentemøller. "I was ruthless this time."
Opener "Swerve", recorded with Vienna-based singer Sakura, crashes into searing walls of sound - a stark contrast to 2024's haunting Dreamweaver. The album's radically intuitive energy persists on the anthemic "Visceral" and the industrial fuzz of "Your Love Walks Alone", featuring Sune Rose Wagner of the Raveonettes. "Coyote" deconstructs synths into feedback and brutal guitars, while "To Mist" and "Halved" (featuring Midwife) offer nocturnal respite - nugaze ambience reduced to fractals of fragile beauty. For the first time in Trentemøller's history, vocals appear on every track - contributors include Sakura, German-British singer Anika, Midwife, Tan Cologne, Sune Rose Wagner, Jonas Bjerre of Mew, and Danish singer-songwriter Emma Acs, among others. "I knew early on exactly who I wanted. We never met in the studio; everything was exchanged remotely. I'm pretty shy, and it gave the vocalists the privacy to really open up," he explains. Songwriter, multi-instrumentalist, producer, and mixer - Trentemøller did it all himself. "I don't follow trends or think in algorithms." The reward: playing the album live, start to finish, for the very first time on the upcoming live tour.

Trentemøller's new untitled album explodes with the force of a supernova before dissolving into swooning vocals. Across 10 songs, maximalist guitar-noise blowouts collide with some of the most bruising shoegaze you'll hear this year. "The noisy got noisier, the dreamy got dreamier," says Trentemøller. "I was ruthless this time."
Opener "Swerve", recorded with Vienna-based singer Sakura, crashes into searing walls of sound - a stark contrast to 2024's haunting Dreamweaver. The album's radically intuitive energy persists on the anthemic "Visceral" and the industrial fuzz of "Your Love Walks Alone", featuring Sune Rose Wagner of the Raveonettes. "Coyote" deconstructs synths into feedback and brutal guitars, while "To Mist" and "Halved" (featuring Midwife) offer nocturnal respite - nugaze ambience reduced to fractals of fragile beauty. For the first time in Trentemøller's history, vocals appear on every track - contributors include Sakura, German-British singer Anika, Midwife, Tan Cologne, Sune Rose Wagner, Jonas Bjerre of Mew, and Danish singer-songwriter Emma Acs, among others. "I knew early on exactly who I wanted. We never met in the studio; everything was exchanged remotely. I'm pretty shy, and it gave the vocalists the privacy to really open up," he explains. Songwriter, multi-instrumentalist, producer, and mixer - Trentemøller did it all himself. "I don't follow trends or think in algorithms." The reward: playing the album live, start to finish, for the very first time on the upcoming live tour.

After a stellar debut on the No Guestlist label Blay steps back into the light with an ambitious new record Wave Formations. This record finds Blay pushing further into the space where afro-centric jazz and deep house collide, weaving together synth heavy production with organic rhythms and live instrumentation.

From its opening moments its title track ‘Wave Formations’ holds you captive. From field recordings blurring into a dreamy atmosphere, taking you on a 9-minute spiritual journey across the cosmos.

Its counterpart ‘Rhythm Of Love’ is equally dreamy; A reverb-soaked vocal track with live-band-like energy shape-shifts around its steady and forward pushing rhythm before unwinding into a meandering, melancholic piano outro.

On the flipside, ‘New Teacher’ is an invitation to dance — call-and-response synth phrases on top of driving percussive polyrhythms. What starts off simple and stripped down transforms into a full-on celebration; a boisterous rush of sonic afrofuturism that tries to reach the sun.

Keeping the joyful spirit high, the record closes off with the festive and playful ‘Faith In Us’. This highlife and afro funk inspired record reimagines band members feeding off of one another, switching from recognisable motifs to energetic solos pushing each other further into the light.

Twenty years after forming in Tommy Brenneck’s Bushwick apartment, Menahan Street Band returns with Illusions, their fourth full-length album on Brenneck’s Diamond West Records. The band— Tommy Brenneck, Dave Guy, Nick Movshon, Leon Michels and Homer Steinweiss—have each pursued an array of projects in the years since. Brenneck has produced for Baby Rose, Rogê and Kirby, toured with The Budos Band and runs Diamond West Records and Studio. Guy plays trumpet with The Roots and The Tonight Show Starring Jimmy Fallon and has released his own solo album; Steinweiss has made his own solo record and, with Movshon, has worked across multiple platinum album projects; and Michels continues as El Michels Affair, runs Big Crown Records and has produced Grammy-winning and nominated albums for Clairo and Norah Jones.
Despite their many individual ventures, the group reunited with an energy Brenneck says felt like “the first time.” Recorded quickly and instinctively, Illusions blends Menahan’s signature guitar, horns and drums with arrangements by Brazilian legend Arthur Verocai, taking listeners on an instrumental travelogue that lets the mind wander. Artist Ariana Papademetropoulos contributes original artwork to the album’s otherworldly collection of music.

Four percussion-heavy tribal techno tools on SDM008. Leaf-cutting flutes slice through bone-crushing grooves, royal frequencies rise above the dark, sub-heavy Baltic pulse. High energy on the A-side, deeper cuts on the flip.

Dajusch brings his distinctive sound to Backspin Records with 'Oracle', a five-track EP that showcases his instinct for powerful grooves, deep low end and carefully selected synth work, rounded out by a remix from Dutch techno veteran Sterac. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music, keeping the focus firmly on club functionality.

Opening with 'Boxer', Dajusch immediately strips things down to their essential elements. A buzzing deep bassline provides the foundation while a repeated vocal hook becomes the central motif, surrounded entirely by percussion including a punchy kick, heavy toms and crisp hats. 'Narrow' introduces a saw wave synth that functions simultaneously as bassline and lead, gradually building tension through repetition and a slowly opening filter before a droning pad leads into the return of the drums. Closing the A-side, 'Reeses Piece' is built around a wide gliding Reese bass moving across di?erent notes. A heavy breakbeat, clean claps and hats provide the framework while a high-pitched vocal brings a distinct 90s rave energy, with swinging toms adding movement to an already groovy production.

On the flip side, the title track 'Oracle' shifts the focus towards melody, with Detroit-influenced synth work taking centre stage. A classy melodic motive is complemented by heavily processed vocals transformed into euphoric, drone-like elements, adding another dimension without losing the track's directness. 'Strings' closes the original material with a hefty saturated kick while string synths carry the main theme. Drums straight out of a classic drumcomputer and warm chords build into a more expansive breakdown before returning to the groove. Closing the EP, Sterac's remix of 'Narrow' takes the original saw synth motive into a more hypnotic direction, playing with its pitch and arrangement while reducing the percussion and pushing an already deeper kick further into the mix, giving the synth work more space to breathe.

With 'Oracle', Dajusch delivers a focused statement rooted in classic Techno while remaining connected to a modern sound. Another strong addition to Regal's Backspin Records, this EP balances Dajusch's musical sensibility with his feel for high impact club music', reinforcing the label's dedication to forward-thinking techno with a clear respect for where techno came from.

**BenArt Ensemble ft. Baptiste Herbin** unveil a distinctive debut album at the crossroads of jazz, world music and groove. Led by bassist and producer Ben Artuphel, this eight-piece ensemble brings together musicians from diverse backgrounds and with a wide range of influences: Baptiste Herbin (saxophones), Amina Mezaache (flute), Céline Bonacina (baritone saxophone), Ben Artuphel (bass), Antoine Banville (drums), Alexis Bajot-Nercessian (keyboards), Laurent Avenard-Kohler (guitar) and Nils Wekstein (percussion).

Born from a musical encounter in 2023, the band has developed a unique sound in which intricate bop-inspired writing meets 1970s funk, Afro and Creole rhythms, and the vibrant energy of samba. The album features 13 original compositions, the result of a deeply collaborative process and an exceptional musical chemistry between the eight musicians.

At the heart of the project, saxophonist **Baptiste Herbin** brings his virtuosic playing and extensive international experience. Nominated for the Victoires du Jazz in 2013 for his debut album *Brother Stoon*, he went on to receive the Django Reinhardt Prize and was named Musician of the Year by the Académie du Jazz in 2019. He has released four albums under his own name and has appeared on around fifty recordings alongside some of the leading figures in jazz.

With its finely crafted arrangements, rich melodies and irresistibly groove-driven rhythm section, **BenArt Ensemble ft. Baptiste Herbin** delivers a vibrant and generous take on jazz, where each musician's individual voice shines through while serving the collective. Balancing heritage and modernity, this album is an invitation to dance, dream and travel.

In April 1963, The Beatles stepped into a formal lunchtime ceremony at EMI Studios, where they were honoured with their first silver disc, for Please Please Me. This event, attended by EMI staff and the press, was likely recorded for Radio Luxembourg’s Friday Spectacular. Just one month later, the raw energy of Beatlemania exploded at the Walthamstow Granada. The 9-minute newsreel from this show is a time capsule of wild, full-throated screaming—a stark contrast to the relaxed EMI ceremony.
Fast-forward to 1964 and we feature TV performances from Shindig & Blackpool Night Out plus a Tyne Tees TV Interview where the interviewer tried—and failed—to pin down the band’s voting intentions on 15th October 1964, the day of the UK General Election. Whether you’re a longtime fan or a newcomer, these performances offer a unique lens into the group’s early years.

This album features most of The Searchers’ early hits, along with a selection of album cuts and B-sides—which really come to life in these live recordings. The standout tracks are the ones they never recorded in the studio. What’d I Say was previously released from their 1963 Hamburg Star-Club recordings, but this live version captures even more energy. The album also features radio performances that were never studio recordings, including Memphis, Tennessee, Red Sails In The Sunset, and Let The Four Winds Blow. So, put this record on, sit back and relive the heyday of one of the UK’s finest and most enduring bands: Ladies and Gentlemen, I give you The Searchers!
Sleeve notes by Peter Checksfield

2026 Repress

¡NO PASARAN! is the extension to Extrawelt's DYSTORTION, from brooding tension to playful relief, the album took listeners on a six-year-crafted exploration. Their next EP picks up where this epic chapter left off and is clearly related. It's a hypnotic dive into shadow and dream, darkness and melancholy with subtle flashes of light.
The title track of the EP, already known from the album (D1 - Extrawelt - ¡No Pasaran!) carries a commanding presence, pulses with a rolling, insistent bassline that anchors shifting rhythmic currents and evolving sonic layers. Between tension and release, shadows and melody, it's a track that moves like a living entity.
Arctic Dead Run hits like a surge of raw energy. Acid lines roll relentlessly, building tension that feels alive. Then a melody sneaks in - soft, almost fragile - cutting through the intensity, until hi-hats erupt and the groove snaps into full focus. Maximal yet controlled, every element finds its place.
Clipping Me Softly dissolves the pressure with a dark, playful groove. Precise rhythms meet spacious pads, opening into a dreamlike state where night slowly gives way to warmth and light.
A focused and uncompromising continuation of Extrawelt's sonic language: Dense grooves, acid pressure, and dreamlike relief collide in a release built for deep listening and late-night floors.

Where other bands seem to be hellbent on pushing an energy of exhilaration, London’s premiere grief peddler’s SECRECY seem to be more interested in reminding us all what deep shit we are in. Their debut recorded outing captures the morbid and grandiose power of their successful string of London shows, refining the message to a promising and bewildering first release. Taking compositional cues from THE EXECUTE, SOUTHERN DEATH CULT, and THE CHAMELEONS, the room filling instrumentals carry a bleak and punishing prophecy of moral turmoil and hysteria, opting to drive the notion of post punk off a cliff through force of will alone. The sound is crisp and wide without giving up the austerity necessary to carry the prophetic sense of dire urgency in the vocals, driving and marching drums and bass lines carrying almost danceable guitar parts to climax. Soaring guitars over driving drums push the corpus to blistering movement, restrained by lyrics about fucking and dying, an Eros/Thanatos act delivered with a refreshing lack of irony or sarcasm. Lyrical influences from RIMBAUD and BAUDELAIRE abound, veering from the brink of poetry back down to primitive taunts and cries.

Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.

Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.

There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.

Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.

2026 Repress

clear red vinyl

Djedjotronic blasts us off on an interstellar journey with The Great Red Spot EP, the ninth release on International Chrome. Named after the ancient and gigantic storm on Jupiter (bigger than the Earth), the EP is similarly massive with a swirling, constantly moving energy. Includes a huge Jensen Interceptor remix of EP highlight, Death Clock and comes on clear red vinyl with artwork by Pointless Illustrations.

Aubrey has established Solid Groove has one of the more reliable outlets in the underground and now steps up with his own offering of fresh tracks recorded this year. 'Last Transmission' is a deep techno cut with a shimmering synth line and a subtle sense of hope folded into the futuristic outlook. 'Japanese Drift' is a brilliantly original sound built on a quickly stepping groove with soft electronics and synths infused into the mix. 'The Final Act' ramps up the energy a little more but still stays warm and soft around the edges before 'Diablos Debos' broods with a darker energy, but again stays contained and heady. A tasteful EP.

The highly prolific purveyor of acid electro funk, Acidulant has arrived on Analog Concept with a grand landing of an EP.
Straight to underground lights out business A1 - Run To Survive delivers a dark world of vocoder lyrical style, smoothly concentrated acid lines, and nocturnal melody in the pads for deeper submersion of your sonic attention.
Following up, is A2, “All I Want is Everything You Got” with strikes of melancholy waves, before manifesting a dystopian world of aggressive electro acid bass sure to rock the Place.
A3 - Chordzi takes a detour into lush, and beautiful electro territory, laid down with smooth sunny pads and cosmic acid lines, surely refreshing and satisfying for the body and mind.

On the flip, we shift into the remixes, 1st up with the high talents of EKATA providing an industrial aura and truly unique perspective of “Run To Survive” it's not playing games or taking prisoners with its heavy kicks and dense snares, dark atmospheres, and lysergic arpeggios that hypnotize and own your ears.
The track sees another revision through the hands of Mutex. Moody and warm chords serenade smooth acid basslines and breaks in this emotive number, that dances between IDM, Breaks, and Acid Electro, concluding an ep that is full of both energy and deep personality - This is Analog Concept number 20, Acidulant - Run To Survive….

Juan Atkins returns as Model 500 with I.D.L.E., a transmission rooted in Detroit's original machine language. Pulsing basslines and crystalline sequences unfold with the precision and restraint that have defined the Model 500 signal for decades. The package expands with two reinterpretations from different corners of the electro-techno continuum. DJ Stingray pushes the track into high-velocity orbit, sharpening the rhythms into a relentless futurist propulsion. FJAAK reshape the material with their unmistakable Berlin energy, driving the groove deeper into warehouse territory while keeping the circuitry alive. A meeting point between generations, I.D.L.E. continues the Metroplex tradition: forward motion, mechanical soul, and signals from the future.

The fourth chapter of The Third Room's curator-led series is shaped by Freddy K, one of techno's most enduring and uncompromising voices. Through decades behind the decks, an unwavering commitment to vinyl culture and his work with Key Vinyl, he has helped shape a generation of artists rooted in functionality, precision and a direct connection to the dancefloor. For his curation, the focus lies on alignment. The selection brings together artists who reflect that same discipline: a reduced but expressive approach, stripped to essentials yet rich in detail. With contributions from Toobris and Sons of Hidden, both previously featured on Key Vinyl, the release also reflects the long-standing artistic relationships behind his vision. Bat by Toobris opens the record with a powerful, straightforward statement. Driven by a steady pulse and minimal elements, the track feels alive through its control - direct, efficient and highly expressive without excess. Before Mirrors by Sons of Hidden continues this direction while expanding into a more spheric space. Tension is held consistently, with subtle accents carefully placed to shift the energy and draw the listener deeper into the track. On the B-side, Clouds Cream by Quelza stands out as a more intricate and exploratory piece. Deep and immersive, it unfolds through detailed sound design and evolving structures. Rather than relying on repetition alone, the track develops its own internal logic - balancing complexity with clarity, and allowing each element the space to contribute to a larger whole. Closing the record, Swing of Time by Jin Synth shifts into a rougher, more moody territory. Subtle pitch modulation and shifting textures create a sense of instability, giving the track a distinctive edge while maintaining its functionality. Across all four tracks, the release remains focused and cohesive - built on reduction, tension and control, but carried by small, defining moments that shape its movement. A1 Written and Produced by Lennard Miessner | A2 Written and Produced by Sons Of Hidden | B1 Written and Produced by Leo Na?t A?ssa | B2 Written and Produced by Jin Synth Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

LIMITED RELEASE Originally released in 1991 on the seminal ZoeMagik Records, San Francisco is one of the defining documents of the early Bay Area rave underground. Tasti Box -- the duo of Kelix Williams and Mouse -- brought together house, techno, breakbeat and psychedelic rave music into a sound that was unmistakably their own. Born from the free-party culture of early '90s San Francisco, their music found its way onto legendary sound systems and dancefloors around the city, helping shape the distinctive West Coast sound of the era. More than three decades later, we're bringing this elusive classic back to vinyl.

2026 Repress


New EP from Polish label Kooky is a challenging and ambitious one. Jay Tripwire, Canada's finest DJ and producer, offers a solid set of 3 minimal (techno) tracks, crafted with a unique passion for detail, raw energy and dark soundscapes. Every track differs in intensity and dynamics, but all of them are a feast for the ears to demanding music lovers. If you are searching for the true beauty of minimal and want to escape from modern dance music that is unfortunately more and more generic these days, this release is just for you.

This record was born as a tribute to two great classics of Latin music: “El Reloj” and “Lluvia con nieve”, two songs that have travelled through decades while keeping their popular and emotional power intact.

On the A side, “El Reloj”, composed by Roberto Cantoral, popularised by Trío Los Tres Caballeros and later covered by artists such as Los Panchos and Luis Miguel, is transformed into an elegant rocksteady version, preserving its romantic and melancholic character.

On the B side, “Lluvia con nieve”, a song associated with Mon Rivera, takes the form of an instrumental ska piece, full of bright and danceable energy, led by the horns, the rhythm and the melodic arrangements.

This release is part of Latin Goes Ska, a collaboration between Gatzara Records, Sotasons and STQBlack, together with The Jeggaes, Memi Sillah and Lenin “Güiroloco”. A meeting point between Latin music, rocksteady and ska, conceived as both a tribute and a celebration.

We’re proud to present Further Reflexions, the new EP from our young striker Roto, featuring a closing B2 collaboration with Nulek.

Across three forward-thinking solo cuts, Roto explores a trance-driven language infused with techno energy and hypnotic textures. The EP moves through tension, transformation, and emotional intensity, balancing dancefloor functionality with introspective atmospheres.

“Evolution and change are part of life. Evolution comes naturally; change is an unavoidable force. You either allow it to reshape you, or resist until you succumb to it. This is the philosophy behind this EP.” — Roto

The release closes with a collaboration that has already become a signature within the label’s identity. Nulek and Roto unite once again to deliver a dark, stomping B2 cut where the electron analog power meets the raw pulse of bass guitar. Together they shape a dense and immersive sonic landscape and a warning whispered from within: avoid the devil.

Swiss techno icon Deetron shows his class with a new four-track EP on Mutual Rytm's sub-label, X.

Deetron is one of the most respected producers of his time. From sleek house to deep techno, he brings impeccable sound designs and melodic elegance to his work while remaining true to his authentic signature sound. He always delivers, whether landing via labels like Ilian Tape under his Soulmate guise or via the likes of Axis and Music Man, and that quality is on show once again as he brings the class on this new EP via the sub-label of SHDW's Mutual Rytm.

First up, 'Translate Rhythms' layers jazzy, de-tuned melodies into a quick and slick deep techno groove. It's a colourful and playful sound with a serious impact. 'Cause' is a more heads-down and moody sound with walls of drums and bass rolling beneath raw percussive loops and tight vocal stabs that ramp up the energy levels. The fantastic 'Move' brings grainy pads, inescapable bass weight and bulky drum loops to make for an immovable wedge of serious concrete techno funk. Last is the digital bonus cut 'Orbit', which heads off to the stars with a deepspace
vibe, swirling pads and minimal drums that tap out a rumbling groove.

House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.

Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.

Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.

'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.

Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.

Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.

Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.

Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.

Following their acclaimed collaboration with Mad Professor, Sensible Soccers return to 8mm Records with a brand new remix EP featuring three true cult producers: Tolouse Low Trax, Danilo Plessow and Peaking Lights.

Opening the record, Tolouse Low Trax reshapes “Efeito Zandinga” into a mesmerizing journey connecting the hypnotic afrobeat of Fela Kuti with the raw pulse of Detroit techno. Ritualistic, immersive and deeply transportive.

On “Saravá”, Danilo Plessow turns the original track into a powerful acid house banger reminiscent of his recent Rude Futures productions, while preserving the warm and organic sensibility of Sensible Soccers. The result is an explosive blend of adrenaline, groove and uplifting energy, destined to set summer dancefloors on fire.

Closing the EP, Peaking Lights deliver a stunning reinterpretation of “Rosa Mota”, elevating the post-dub and psychedelic side of Sensible Soccers into a cosmic electronic voyage of remarkable depth. A simply beautiful finale that pushes the band’s sonic universe even further into new psychedelic and electronic territories.

Three remixes, three unique visions: a powerful meeting point between psychedelic dub, afro-futurism and forward-thinking club music.

Following the passing of our dear friend DJ Romain earlier this year, we've spent a long time reflecting on when to share some of the new music he entrusted to Hard Times Records. The incredible response to 2024’s 'The Lost D.A.T.S.' EPs reignited Romain's creative spark at a time when, unbeknownst to many, he was quietly battling serious ill health. After relocating from his beloved New Jersey to Cleveland, the studio once again became his sanctuary, inspiring a remarkable new chapter of music. The 'New Jersey' and ‘Cleveland’ EPs were the first recordings from that period.

Funky Streets completes the first trio of new EPs, but it is also just a glimpse of the wealth of music Romain crafted before his passing. His final studio sessions became an escape from his daily battles, inspiring a remarkable outpouring of new material that he was determined to finish, knowing his beats would continue to warm dancefloors and further cement the legacy of one of house music's true masters.

Opening with the horn-driven swagger of the title track, the EP moves seamlessly into the soulful groove of 'I Like To Boogie' before culminating in the deep, organ-led dancefloor energy of 'This Is Where I Wanna Be’. Romain signs off with 'The Chocolates’ - an uplifting, guitar-laced boogie jam filled with warmth, joy and unmistakable soul.

Beautifully crafted from beginning to end, Funky Streets stands as a lasting testament to DJ Romain's extraordinary talent, timeless musicality, and enduring contribution to House music. His legacy lives on in every groove.

Atlantic Records and Rockstar Games announce Grand Theft Auto VI: The Album, the upcoming official soundtrack album from the biggest, most immersive evolution of the groundbreaking Grand Theft Auto series yet; Grand Theft Auto VI.

Launching alongside the hotly anticipated game, Grand Theft Auto VI: The Album features 34 original tracks that capture the electric energy of GTA 6’s world of Vice City and Leonida, with a genre-defying roster of the most exciting and preeminent artists in the world.

With 34 original tracks that capture the electric energy of Grand Theft Auto VI’s world of Vice City and Leonida, Grand Theft Auto VI: The Album features a genre-defying roster of the most exciting artists in the world.

Acid Pauli's new album "Mystic Meltdown" is hypnotic mystery, textural mastery, all hurtling through your system at peak velocity, unrelenting yet full of mischief and spirit.
The first full-length Acid Pauli album since 2020's MOD, here the artist, Martin Gretschmann, who you might also remember from Console and The Notwist, reaches out to collaborators, unearths new sounds through travel and then brings it all together with one long, sweeping breath - an album to take in as a whole, to ride its compulsive energy to the end and then back to the start, over and over again.
While the album's been brewing for some time, "It took months and months to find the coherency and the story that this album is telling," Gretschmann recalls, "Arranging the pacing, feeling how the tracks come together into one album", it reads as effortless. It draws from Gretschmann's various musical languages, from the techno, house and ambient of Acid Pauli, even reaching back to the electronica of Console, but it places them in new contexts, at new speeds and in rich, giddy contrasts. Mystic Meltdown feels like endless pleasure, unflagging energy.
It's also an album rich with multiplicity. There are many voices that visit us at the Mystic Meltdown, from Hani Mojtahedy's Kurdish vocal on "Goman (Remix)", through to Lhasa de Sela's "Con Toda Palabra" in Spanish. A sample of Kingdom Molongi's voices opens the title track and returns on "Mystic Feedback" - this feels like a particularly profound connection, given the inspiration that Gretschmann has gleaned from the musical community surrounding the Nyege Nyege Tapes label and organisation over the years. He's also appeared at one of their festivals, by all accounts a revelatory experience.
Sometimes Gretschmann reaches back yet further. "Yes, Caroline" hints at an abstract relationship with the Beach Boys' pop masterpiece, Pet Sounds. Yet the way he draws these various influences into his own music always displays more than a touch of transmutation. Releasing the album on his own label All Is Acid which has recently been undertaking a reissue program of some of Acid Pauli's earlier works, "Mystic Meltdown" feels like a complete expression for Gretschmann; from beginning to end, from creation to reflection. "Building up, going into different spheres and emotions," Gretschmann concludes. "Working through some darker shades, trying to find light. Pouring in to get through."

Celebrating 30 years of ‘Filthy Lucre’ Live, the incendiary 1996 recording that captured the Sex Pistols’ explosive reunion tour of the same name, this landmark live album returns for the first time as a 2LP, set on red vinyl. The album documents Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock reuniting nearly two decades after their original implosion, revisiting the songs that transformed punk and the world we live in today. Recorded at the band’s Finsbury Park performance, the release delivers a raw and uncompromising snapshot of the Sex Pistols at full volume, reaffirming their enduring influence and confrontational spirit.

Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.

Initial Interface opens its catalogue with II001, a four-track vinyl compilation bringing together Flits, Justyn Nell, Alessandro and label founder Justine Perry.

Born from years of touring and exchanges within the global underground scene, Initial Interface is an independent techno label dedicated to timeless music shaped by depth, emotional intensity and artistic freedom. Its first release reflects this vision through four distinct contributions, each offering a personal interpretation of deep, hypnotic and driving techno.

From the rolling, immersive grooves of Flits and Justyn Nell to the deep and hypnotic explorations of Alessandro and Justine Perry, II001 moves between subtle tension, rhythmic depth and dancefloor energy. A carefully curated introduction to the label's identity, connecting different voices through a shared commitment to underground techno.

The Forbidden Planet is the new album by Tomorrow Comes The Harvest, featuring Rasheeda Ali. The album explores a wide range of electronic and acoustic improvisational conversations, creating expansive and constantly evolving sound landscapes.

The recording carries forward many of the qualities that have made Tomorrow Comes The Harvest so distinctive from its beginnings. The project originated through the percussive dialogue between Jeff Mills and the late Afrobeat pioneer Tony Allen. When thetwo creative forces first came together several years ago, what emerged was more than a collaboration or musical conversation. They opened a pathway-a way of creating through instinct, exchange, rhythm and freedom. That pathway continues to lead toward new horizons, and The Forbidden Planet is evidence of just how far it can travel.

The album is the result of an intricate creative process spanning nearly two years, connecting a series of recording sessions at notable studios including Criteria Studios in Miami, Soda Sound, and the legendary Studio Ferber in Paris, France.

The Forbidden Planet explores the more cerebral dimensions of the band's vast musical language. An idea is introduced, and almost immediately it begins to transform. Themes are questioned, reshaped and redirected as the musicians respond instinctively to one another.

As Tomorrow Comes The Harvest is known for, the performances were recorded largely through improvisation, often capturing the energy and spontaneity of an almost one-take process. These recordings were later carefully refined and shaped into the compositional structures heard throughout the album.

The creative seeds have been planted in fertile ground, allowing ideas to grow naturally and without restriction. In rhythm and in spirit, each musician contributes an essential voice to the conversation. Within that collective precision lies something even more important: a shared love of musical freedom and the possibility of creating without boundaries.

Prabhu Edouard - tabla and vocals
Jean-Phi Dary - keyboards
Jeff Mills - percussion and electronics

Featuring Rasheeda Ali on flute, with a special guest appearance by Laurent Vernerey on electric bass.

The Forbidden Planet will be released November 20th, 2026 on Axis Records on Double-Vinyl & CD + DVD. The DVD features selected live footage from Tomorrow Comes The Harvest, featuring Jeff Mills, Jean-Phi Dary, Prabhu Edouard and Rasheeda Ali.

Filmed & recorded live at London Jazz Café on September 27th, 2025, the footage captures highlights from the band's unique fusion of electronic music, jazz, percussion and improvisation.

With BALADA, MoBlack continues this journey through a collection of tracks rooted in Afro House rhythms and Brazilian-inspired influences. Across four distinct productions, the compilation explores the meeting point between percussive energy, expressive vocals and melodic detail, highlighting artists who approach the sound from different angles while sharing a common sense of groove and atmosphere.

Demarkus Lewis is known for his ability to deliver house music at a deeper level while maintaining the energy that keeps the dance floors moving, Demarkus Lewis has grown to be one of the most respected dance artists in
underground house music today. With just about 30 years of DJ experience he has has traveled and shared his craft with the world over. His music has found its way onto labels such as Large Music,Subtractive, Moods N Grooves, Kolour Recordings, iRecords, Phoenix Recordings, Viva Recordings, Guesthouse Music, Kingstreet Sounds, Pogo House Records, Plastik People, Spacedisco Records and his very own labels Grin Music/Grin Trax (Just too name a few). His cut "Every Night" instantly draws you in and hold keeps you moving using a thick bassline and kick pattern, key stabs and a vocal that binds it all together. The B remix is by Gil Aguilar who takes the dedepness and adds chug. This record sold out fast and there are only a few remaining copies left.

Reboot Record Label presents Atmosphere EP by Juzel The Argentine producer from Mar del Plata brings his refined touch to Reboot with a release that balances warmth and restraint. Musically, Atmosphere EP sits mainly within the house spectrum, weaving Balearic warmth, progressive momentum and minimal precision into a body of work made for both sunrise terraces and late-night floors. The EP also features two contrasting remixes. Anastasia Zems, the Lisbon-based artist celebrated for her instinct-driven mix of trance, progressive house and experimental electronica, delivers a prog-house reinterpretation full of emotional depth and hypnotic energy. On the flip, Manchester's Aiden Francis, a rising force from the city's underground known for fusing tech, progressive and rolling tribal elements, turns in a techhouse remix built for peak-time release.

For the fifth release on At A Glance, Shabi delivers a four-track collection of groove-driven house music built for long nights and packed dancefloors. Blending rolling drums, infectious basslines, soulful vocal touches and a deep sense of movement, AAG005 captures the label’s love for timeless club records with a fresh and contemporary edge.

Opening with “All Night Stompin”, Shabi sets the tone with a driving rhythm and irresistible swing designed to keep bodies moving from start to finish. “Teach You” follows with warm grooves and hypnotic vocal elements, balancing energy and atmosphere in equal measure. On the flip side, “Dee Vibe” dives deeper into stripped-back, late-night territory, locking into a raw and infectious groove, while “Free Our Minds” closes the EP on an uplifting note, combining soulful textures with a powerful dancefloor pulse.

Groovy, classy and effortlessly effective, AAG005 is a versatile house release that feels equally at home in intimate club settings, peak-time sessions and sunrise moments alike. Another essential chapter in the At A Glance catalogue.

MAXIMILIAN’s records takes listeners on a journey across two parallel paths.
Beginning with the full A-side, it unfolds as a driving, emotional exploration—diving deep into questions of consciousness that have been asked time and time again.
In contrast, the B1 cut delivers a more aggressive energy, pushing you beyond your comfort zone, only to leave you with a sense of release by its conclusion.