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We welcome back Tubbs & Burns on Public Possession offering yet another highly danceable selection of tunes.
The main title on this EP features Paula Tape and has it all: seductive vocals, a mesmerizing acid baseline and the classic hypnotic Tubbs & Burns touch.
It comes in three versions incl. an epic Todd Modes remix. Cheeky Bonus and potentially a secret Deejays favorite is Colter Carsons remix of the previously released „Where were you in 92“ turning it up a few gears, ready for some festival MainStage plays

Skkkrt! Step Ball Chain is officially running redlights and disregarding road rules with Anderson in the driver’s seat. The US born, Berlin based producer and deejay offers up Cut The Breaks, a 5 track EP bursting at the seams with ruff, tuff and techy freakouts, never neglecting the groove. Transcending genre, the low key king of the underground reaches into new realms sprinkling in electro, tech house and bouncy techno with a nod and a wink to hip hop.

Sleek & sexy; the opening title track is as fresh as it gets, a soldering of prize elements from different electronic ecosystems. Whiplash drums and vocal chops that weave their way through the record, also cropping and popping up on the B Side. Pedal to the metal for Giving it All and Visconti Bounce; playfully traversing dancefloors with tongue & cheek turboness and rhythmic exploration that will drive you wild. Smell the rubber burn for STEP15; let Anderson strap you in and take the wheel.

A little background info….



Miss Aranivah was previously released (in 2021) on the Ska Fever vol.1 EP (OGR806). It’s had a slight re-mix / re-master and it’s proved very popular in the live set that I’ve been playing with Junior Dell at Ska and Reggae festivals in Europe.



Likewise, the B-Side has gone down very well live and we re-recorded it with Junior Dell on vocals (he did not appear on the original version which appeared on Reggae Dynamite vol.1 back in 2020).

Das Debütalbum des enigmatischen Kollektivs Danzón El Gato stellt einen faszinierenden Dialog zwischen Jazz, Funk und Roots-Musik her. Gegründet im Untergrund der Madrider Experimentalszene, gehen die Mitglieder vom Groove aus, um Traditionen zu erkunden. "El Sonido Bastardo" ist ein Kaleidoskop aus Rhythmen, Landschaften und Echos aus Nordafrika, den Tropen und Lateinamerika, verflochten mit einer rockigen Rhythmussektion, die gleichermaßen von 1970er Library Music wie dem Hip-Hop inspiriert ist. "El Sonido Bastardo" fängt die Essenz eines kulturellen Schmeltiegels im ständigen Wandel ein, dessen Musik in der Tradition verankert ist, aber gleichzeitig einen kosmopolitischen und überschwänglichen Look aufweist. Die beiden Kernmitglieder Javier Adán und Santiago Rapallo schrieben in der Vergangenheit experimentelle Stücke fürs Kino und das Prado-Museum.

»Reise der Schatten« (»Journey of Shadows«) is the soundtrack to the eponymous debut feature-length animation film by Swiss artist Yves Netzhammer. Composed by Anthony Pateras and released as a stand- alone album through Hallow Ground, the 29 pieces are based on »weird folk melodies ornamented with electro-acoustics to give the film a more fantastical, fairy-tale feeling,« as the composer puts it. His extensive international recording sessions with a slew of guest musicians results in a record imbued with a sense of mystical surrealism, otherworldly and haunting.

»Reise der Schatten« tells the abstracted story of a genderless being coming to terms with its identity and place in a world full of conflicts and systems of control. »The film was made with old animation software that only works on Mac OS 9. So already, we are in a very hermetic, unique space,« says Pateras. Having tried (and failed) to compose something »typically experimental,« he went for long walks in the Australian bushlands and came home with something else: the idea to create a soundtrack that would create »a kind of distance, or perceptual shift, but also a narrative drive and emotional context which is not always clear.«

While recording the album, the tētēma co-founder did not use digitally generated sound, instead workingwith live instrumentation whose sound palette was enriched by the use of feedback, tape delay, analogue synthesizers, and samples from vinyl records. Wanting to work primarily with acoustic instruments suchas the clarinet made Pateras embark on a complicated journey of his own. The initial recording sessions took place in Basel on metallophones that were designed by Domenico Melchiorre’s Lunason company and laid the foundation for everything that came after.

Pateras recorded with musicians such as guitarist Alexander Garsden, viola player Erkki Veltheim, clarinetist Aviva Endean, multi-instrumentalist Justin Marshall and Lizzy Welsh on the viola d’amore among other instruments. He recorded percussion and recorders with Rohan Rebeiro and Natasha Anderson in his hometown of Castlemaine, double bass with Benjamin Ward in Sydney, bass and flutes with Jon Heilbron and Rebecca Lane in Berlin, and electronics in Zürich with Netzhammer. »Reise der Schatten« was thus a literal journey, made with a »big, international electro-acoustic ensemble.«

As a stand-alone album, »Reise der Schatten« opens up a space of its own. Its stylistic diversity makes it atmospherically and emotionally multi-faceted. As its composer notes, »music for screen can be very virtuosic, sophisticated, and variegated!« His own work is a testament to that claim.

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TRSN hits release number 36 with a statement from one of the Netherlands' most promising new names. Groef steps up for his full solo debut on the label, delivering four meticulously crafted originals that twist and stretch the parameters of hypnotic, high-impact techno. Fresh off the back of appearances on Delirium Vol. II and a breakout debut EP on Bipolar Disorder, Groef showcases his signature blend of raw textures, tightly-wound percussion, and heads-down momentum. Rounding out the EP are two heavyweight remixes from French powerhouses Bours? and Ferdinger, adding their own flavour while keeping the energy locked firmly to the floor. A bold and confident six-tracker that marks Groef as one to watch.

More Rice returns with its ninth release and second vinyl drop of the year, delivering a heavy-hitting EP from label cofounder Sarayu. The Don. Mueang. marks his first full solo release on the label since 2021, reaffirming his distinct voice in Asia’s underground dance scene. The A side features two peak-time weapons: no nonsense, bass-driven influenced techno rollers built with the dancefloor firmly in mind and straight to the point. On the flip, trusted More Rice regulars step in on remix duties. O-Wells reimagines Don Vito Bingus with a warm, rolling take that leans into house and tech
house territory, giving the track a smoother, hypnotic swing.

Mogwaa closes out the EP with his Fiesta Mix — an electrified, rhythm-forward version that does exactly what it says on the tin: it bangs. As always, all tracks made for the dancefloor

Acclaimed musician, producer, and multi-instrumentalist Kutiman returns with 'Dreams In Aspamia' - a stunning new 6-track EP of dreamy, instrumental cinematic funk, rich with trip-hop, jazz, and global music textures. Best known for his visionary fusion of groove, psychedelia, and visual art - Kutiman crafts a hypnotic journey here: jazzy guitars, double bass, analogue keys, and otherworldly manipulated vocals flow through lush, panoramic arrangements that recall Khruangbin, El Michels Affair, SAULT, and BADBADNOTGOOD.

This strictly limited one-off pressing comes on deep purple coloured vinyl with a hallucinogenic full-colour sleeve designed by Berlin-based artist Philipp Carbotta. Meticulously mixed by longtime collaborator Obas Nenor, it's a bold yet meditative listen - equally suited for audiophile immersion or chilled late-night sessions.

King Street Sounds are back again with their fourth installment in the King Street Sounds Sampler Series. This release unearths four classics from house music heroes such as DJ Romain, Mike Delgado, Dennis Ferrer, 95 North, Sabrynaah Pope and Louie Vega.

The EP kicks off with DJ Romain’s “All Day, All Night”. Originally released on “Nite Grooves” in 1996, a perfect example of New York house with a memorable vocal sure to keep you hooked hopefully all day and all night.

Next up is Mike Delgado with “Get Ready”. This track is a certified dancefloor filler, with those fast hitting highs and catchy keys. It is definitely a secret weapon that any DJ should use in case of an emergency.

Flipping over to the B side, Dennis Ferrer is returning once again in this series with “Dem People Go (DF's Kicked Out Mix)” Featuring Bola Belo. This Tribal House classic emulates being in the sun for the listeners, effortlessly bringing that block-party vibe.

Rounding off the EP is 95 North featuring Sabrynaah Pope with “Hold On” (Louie’s MAW Club). An already great track by its lonesome, but with house music icon Louie Vega’s magical touch it makes it a must have for any DJ who wants to get the dancefloor bumping.

King Street sounds have done it again! All killer and no filler.

Estado de Bienestar is the bold new solo project from Nico Cabañas, co-founder of the record label Oráculo Records and Ombra Festival. Emerging from a period of personal transformation, the project marks a departure from Cabañas’s earlier ventures — including Synths Versus Me (“So Far”, 22 Recordings) and Almax und Forte (“Nois d’Avui”, Oráculo Records). The latter had already begun shaping the sonic direction Cabañas now fully embraces: a raw, visceral, and fully analog “proto” sound. Chapters 1 and 2 of Estado de Bienestar offer a genre-defying journey through twisted, reimagined darkwave. As if curated by a seasoned digger, subgenres collide and dissolve — EBM blends seamlessly with breakbeat, industrial goth meets trip-hop, and dub-industrial collides with jazz, creating a rich and unpredictable listening experience. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid ORANGE and YELLOW vinyls. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).








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New on Sublease is label boss Steve Bug teaming up with Herve Solar, an emerging talent from Geneva whose debut was featured on Poker Flats Under One Roof series previously. The two artists first crossed paths at the Mixmasters retreat in Ibiza, where Herve participated as a student under the guidance of Steve Bug. Impressed by Herves material, Steve Bug saw potential for collaboration. Upon returning to Geneva, Herve sent Steve a few unfinished tracks, sparking the idea for a joint EP. The creative process involved each artist sending a track for the other to complete, with Steve Bug adding the final touches in his Berlin studio.

No Faith, No Dreams highlights a slinky, sexy sound that will instanty win over other DJs and crowds, and is also shared here via a remix courtesy of Jürgen Kirsch. His rework is a little tougher, stripping the sound down to ist essentials before bringing up the energy with a dubby bassline and intricate percussion. Swamp Frog is the 3rd track of the release, a grooving bassline providing the anchor for the rhythm and detuned chords that lend the whole thing a wonky, loose feel for the heads.

Portuguese based Nørbak returns to Soma with his second single for the label, the Myelination EP. Nørbak is quickly making a name for himself in the global scene and has just completed his debut album to much critical acclaim. The young producer has built a wealth of knowledge on sound design and is clearly represented in his music which is deep and rich in sonic experiments whilst retaining dancefloor focus. This latest EP has Spanish techno maestro Oscar Mulero & fellow Portuguese talent Lewis Fautzi, deliver two fantastic remixes that perfectly compliment the originals.

Nørbak's "Myelination" starts the EP with driving percussive elements that propel the track from the opening. Swamped with light & ethereal FX, dark and droning sounds take the track down a ominous path. Lewis Fautzi steps up next with his remix of Myelination. With a more minimalistic interpretation he manages to continue the dark and direct momentum of the original. On the flip, Mirante rattle hards with steady and precise percussion, bolted together with heavy rolling kicks and sub and a perfectly muted rhythm throughout. Techno don Oscar Mulero closes the EP with his version of Mirante. He immediately ups the ante with driving 909 beats and huge atmospheric FX that guide the rhythms. Mulero always on point with his signature sound design and techno aesthetic.

Mastered By Conor Dalton @ Glowcast Mastering.

Khidi resident Laduka ninua aka Sevda steps into the spotlight with his first solo EP - Relocate My Fantasy, released on Fantastic Planet. Blending an analog touch with the pulse of modern progressive house, Sevda crafts a sound that just might define this decade.

Mr. Face, a four-song EP that's a terrific showcase for Segall's artfully ragged style. He plays everything on these recordings with the exception of one drum part on one song. - NPR Fresh Air / Segall appears decidedly more at ease, or even at peace, on the four tracks, but while they build upon acoustic foundations, the tracks quickly take different shapes filled with sublime guitar (and piccolo!) solos that are utterly transfixing."- Exclaim / The real testament to Segall's growing maturity as an artist, however, comes with closing track 'The Picture', one of the most subtle and moving songs in his entire catalog. Segall's guitar sounds like it's scoring a dazed carnival ride as he lays out a tale of learning to say goodbye. - Consequence of Sound

LTD SPLIT COLOUR TRANSLUCENT RED/BLUE VINYL W/ 3-D GLASSES** Back in 2015, Ty Segall released Mr. Face EP, the fantastic gatefold 2x7" was not only packed with four killer jams but was also quite possibly the world's first playable pair of 3D glasses. Now Famous Class Records is thrilled to release a 10th anniversary 12” vinyl edition. All copies are pressed on split color translucent red and blue-colored vinyl and come with special Mr. Face 3-D glasses to activate the supercharged 3D artwork.

Ode To Native Tongues” attempts to capture the feeling of coming of age between the years of 1989 -1993 (and beyond) while listening and witnessing the legendary Native Tongues crew releasing timeless classic albums and singles. Told through the experience of seeing the early episodes of “Yo! MTV Raps”, a friend sharing De La Soul’s first album, sharing that album with my cousin who in exchange shared Queen Latifah’s music or finding out about “Bonita Applebum” by Tribe at my high school’s homecoming dance. Evoking nostalgia as well as tell a story of how this music served as the soundtrack woven into the fabric of my youth, my coming of age, was the aim.

Everything’s For Sale” was inspired partly by a story of an elderly couple who went brokhaving to pay for their medicine.“Everything’s For Sale” speaks to how the value of money permeates all facets of this modern life, and as such it seemed only natural for it to reach into my creative world. This time however I wanted to make a song that cross examined how this super ficiality has affected music culture, let alone how it has rendered some in our society invisible -- a clear sign of a society void of compassion. The Platurn beat with a moving guitar riff pushed this song further, providing me the cover of a funky beat to dive into a topic that might not normally move an audience. Part cheat code for slipping in a conscious message to the audience without raising the alarm of the listener who may not be expecting anything more than entertainment.

Waking Dreams are Back

Excited to announce our second release, “CHANGES” — a key moment reflecting a shift in perspective and direction. The EP features 3 new tracks from AGELESS and a groovy remix by Panorama Bar queen PARAMIDA.

It’s my first time diving into faster, 90s and early 2000s-inspired sounds. Big thanks to my friend Elliot for pushing me out of my comfort zone.

Thanks to all the people involved
Claudio , José and Marco for the mastering !

London-based DJ and producer Theo Kottis steps into a defining new chapter with his debut EP on Fabric Originals. A respected figure on the European scene, Theo has spent the last decade refining his craft, delivering euphoric, high-energy productions and magnetic performances that have earned him a dedicated following across the clubbing & festival circuits.

Following standout releases on tastemaker labels including Dekmantel - where his track Lighthouse was dubbed "song of the summer" by Resident Advisor - and Fuse London, Theo’s sound has become synonymous with nostalgia-soaked dancefloor moments, seamlessly fusing rave, garage & bassline textures. His tracks have seen support from top-tier selectors like Ben UFO, Francesco Del Garda & Eris Drew - & his sets at Panorama Bar, Lux Fragil, and Robert Johnson further cement his reputation as a selector with deep musical intuition.

Now releasing on Fabric Originals, Theo is on his best form - following a run of acclaimed EPs on Dekmantel and FUSE London, affirming his place as a versatile & vital force in underground music.

This new EP sees him channel his signature sound through the venue’s rich legacy & forward-thinking ethos. The result is a bold and genre-bending body of work, shaped by both personal reflection and creative momentum.

Opening track Drone was born out of angst - heard through the powerful synths, weighty bassline & unrelenting energy, capturing the tension of that moment. In contrast, Momentum introduces lush pads & evolving textures, expressing a sense of release and optimism, a reflection of renewed focus and belief in the road ahead. Together, the two tracks form a deeply personal narrative, blending emotional resonance with club-ready impact. With momentum building across 2024, this release signals an exciting evolution for Theo Kottis as he continues to shape dancefloors well into 2025 & beyond.

Original Gravity Records Ignites the Summer with Latin Fever Vol. 4

Available on Limited Edition Vinyl & Digital Platforms

Original Gravity Records turns up the heat once again with the explosive release of Latin Fever Vol. 4 — the highly anticipated fourth instalment in the label’s signature Latin groove series. Packed with sizzling salsa, fiery guajira, and vintage Latin soul, this EP is a globe-spanning collaboration anchored in the UK and powered by musicians from Peru, Cuba, the USA, and Italy.

From the opening tumbao of El Tumbao Del Solar by Abramo & Néstor, to the irresistible charisma of Chévere Girl by Luchito & Néstor, this record is a celebration of rhythm, culture, and cross-continental energy. Flip the wax, and you’ll find La Vieja Escuela serving up Vacilar Mi Guajira — a classic throwback dancefloor gem — before Néstor Álvarez brings the party home with the brass-heavy burner La Fiesta Se Va.

With drums, bass, and production led by OG’s own Neil Anderson and a tight brass section along with standout soloists from both sides of the Atlantic, Latin Fever Vol. 4 is pure analog fire — recorded with heart, soul, and serious groove.

Whether you're a crate digger, DJ, or just a lover of Latin rhythms, this is one for the shelf and the stereo.

Get it while it's hot. This is Latin Fever — and it's contagious.

2024 Repress

The ever-reliant Deepchord kicks off 2014 in his usual stylish way with two deep cuts in the Luxury EP. After last years jaunt into the ambient with 20 Electrostatic Soundfields, Rod Model return to the world of slick beats and even dreamier synths and atmospheres.

Luxury 1 ebbs in majestically as beautifully crafted layers of synths glide across field recorded drops of water that instantly play with your senses. Pumping sub bass fills the rest of the spectrum as Rod does what he does best by creating an unending slick groove, pieced together by crisp percussion.

Yet more atmospherics come into play in Luxury 2 as otherworldly field recordings are brought to life through the use of Rod's unique processing and layers of dream state synths. A perfectly worked groove seems to come out of nowhere and glides gently under the atmosphere; again subtle percussion ties everything together seamlessly.

The master of Deep Techno strikes again with nothing short of 2 elegant works that typify his skills as a producer.

Pan-Pot - Luxury 1 +++++
Alan Fitzpatrick - digging this! excited to play it!
Steve Rachmad - Luv Luxury 2
Joel Mull - Lovely warm music. Timeless pieces right here.
Jonas Kopp - cool vibes over here , thanks.
Tommy Four Seven - thanks!
Markus Suckut - deepchord as I like him!
Martin Landsky - yep...both tracks are brillant..Deepchord never disapoints....
Nadja Lind/Klartraum - what a luxury indeed :) Happy New Year!
John Selway - into Luxury 2
Stacey Pullen - cool thanks
Shlomi Aber - another cool one from soma
Heron - This deepness is more than impressive. Completely mindblowing!
Manic Brothers - Both tracks are super fat ! Thank you :)
Toma Hades - Epic tracks ! it sounds like real film music ! love it ! :)
Daniel Stefanik - follow them from the beginning. i love it! thx.
Vector Lovers - Lovely mixes, really warm production to chase those winter blues away. Great start to 2014!
The Welderz - Great opener tracks !
Master-H - Fantastic release! I Love DEEPCHORD!
Hermanez - love the sound from deepchord, thank you
Kazumi Ihii - Quality release as usual from Deepchord

The return of Roy Of The Ravers is always a moment for Emotional Response. Alongside, the infinitely heralded debut that was the 2 Late 4 Love EP in 2016 and the later Emotinium ’23 remixes, there has been the While Line Sunrise series examining the ambient, experimental electronics meets braindance techno releases that showcased lost archives from the late 90s to today, here reaching the 3rd installment with 2 EPs of more machine-driven acid funk.

Following the grand expanse of double LP White Line Sunrise II and its subsequent double pack follow up White Line Sunrise II.I (Le Roy Soliel), III (3) aims predominantly for the dance floor. The uplifting techno of opening Primavera Anjo and squelching TB303 of Plant Earth are premier Roy, hypnotic, percussive, psychedelic purity for the feet.

The flip allows head room for the mind, the deep chords and arpeggios of G-Force signal the vortex shift, before the cinematic, rolling breaks and double bass of Glass Knife sweep far and wide. Recording over 25 years ago, the changing time signatures highlight the influence of (modern) classical and even jazz on Roy, pulsing, permeating, and pushing his sound in the moment, music thought lost that is gladly now, again found.

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

We are excited to present you our next release, this time a solo EP by Confusion!

His dancefloor-oriented sound is characterized by highly effective rhythms, minimalist synths, and trippy pads and textures that traverse various tempos and subgenres, always maintaining a consistent energy level.

Journeys are never just about distance. They stretch time, reshape perception, and demand transformation. With its latest vinyl split EP, Standard Deviation presents four tracks by Nastya Vogan and Phase Fatale that serves as a vessel for tracing displacement, memory, and the liminality of return. These melancholic yet powerful techno cuts serve both the concrete dance floor and moments of intimate self-reflection. Two artists--Nastya Vogan and Phase Fatale--approach Kyiv from different trajectories, but they both keep returning to the city. Vogan, a Ukrainian musician and resident DJ of Kyiv, and Phase Fatale (Hayden Payne), Berlin-based producer, Berghain and Khidi resident and founder of BITE Records, share a longstanding musical friendship. They've played B2B sets at K41 and Vogan, appeared on BITE's ''Shedding Skin'' compilation in 2023, and they share a vision for music selection, from aesthetics to philosophy. Vogan's 'Transitioning Territory' and 'This Is Not a Love Song' unravel the psycho-geography of transition. The first track captures the 24-hour journey to Kyiv as a rite of passage where 'time seems to fold; you are profoundly present yet paradoxically far from the world you left.' In this suspended state, memories surface and ordinary life recedes as the train's rhythm becomes its own meditation. Her second track explores Lacanian limerence--consciously falling for something not fully known, filling absences with personal projections as a way to discover what lies within oneself. Phase Fatale's contributions capture movement and distance with mechanical precision. 'Kekkai,' takes its name from the Japanese word for boundary, echoing 'respect my borders' ethos while reflecting on crossing into wartime Ukraine. The term also suggests a protective force field in Buddhist thought--much like Kyiv's current aura of resistance. 'Neosyazhna Rosa' (Unreachable Rose) honors Payne's Ukrainian grandmother Rose, weaving family history into his present connection with Ukraine. Both pieces balance melancholy with light, their sound palette of lush pads and rhythmic breaks crafted with K41's dance floor in mind.

M.in & Steffen Kopp deliver Heartbeat Symphony on Music is the Answer’s 18th release — a four-tracker tailored for the club.



From the deep pulse of the title track to the uplifting Finding Love, the rhythmic flow of Right Love, Right Time, and the raw bounce of The Aaah Groove, this EP brings variety without losing the focus.



Strictly limited vinyl. No digital. For selectors only.

Shiver Records returns with another club-ready whitelabel by Frankfurt based Porco Rosso.
4 track EP with an oldschool vibe, analog feelings and jacking moments all patched together in a serious but not serious manner. Add playful samples, softer keys and casual glitchy whistles - a gliding tool with a powerful spank for the record bag.

Vinyl only handstamped 180g whitelabel with clear outer sleeve.

Logo stamp on one side & graphic stamp on the other side.

Facing Realities releases its first vinyl EP, and it's with the label creator. Sakro delivers 4 tracks on this occasion; the first side features two tracks, one a reinvention of "Midnight Talking" that was released in the digital version, and another original track named The Basement. Side B includes two collaborations with friends of the label, namely Louie Fresco and Chklte.

Spiritual Rhythms by Mix’Elle, the fourth release on Portuguese label angel, is particularly special for a couple of reasons: it’s the artist’s first record (a true triumph at that) plus she is a resident at the night series that originated the label itself. It’s truly an all-connected type of affair. This EP taps, in a personal and intentional way, into the very foundations of jungle and drum n bass, taking us on a soulful ride permeated by Mix’Elle’s influences while incorporating her artistic vision, one that was shaped through hours behind the decks in underground drum n bass parties for well over a decade.

The record opens with title track ‘Spiritual Rhythms’, a 174 bpm mantra-like roller clocking in at 6 minutes with the textured pads and the realness you could expect from a Rufige Kru classic. A fat sub underpins it, urgent spoken words remind us what we’re here for: ‘it comes from the drum. and the drum is something spiritual’ as congas play briskly into the groove.

Things slow down significantly for the second track, ‘Angel nights drop tha bass’ - a signature floaty pad and a drum break maintain a steady continuum. A hopeful chord progression is offset by the sharpness of the drums, the bass gluing it all together with the help of an archetypal stretched vocal. Everything is in its right place - a genre veteran is very clearly at work.

‘Touring’ features a mischievous low end, as if a jazzy double bass were played by a dub experimentalist. The funkiness is infectious, with off-tempo string stabs and a mutating filtered breakbeat that feels alive - a vocal pad chants throughout, adding a layer of wide-eyed enchantment.

Percussion never falls short in this record, and the closing track begins with nothing but a shaker, toms and congas - evolving to an elegant, dreamlike yet crisp piece, led by a prominent bassline, its washes and wobbles re-arranging our chakras. Spiritual Rhythms indeed.

angel is a label run out of Lisbon by Violet. A sister label to naive, angel tries to portray the party series of the same name - a bass-led, smoke-drenched celebration where the main room is dedicated to dnb and the second explores adjacent stylistic fringes like dubstep, trip hop, dub or jazz.

Ricardo Tobar returns to MUSAR with Knitting — a four-track EP blending dancefloor intimacy with raw, analog spirit. A two original cuts from the Chilean producer are joined by standout remixes from synth sorcerer Pye Corner Audio and cosmic rave
queen Nightwave.
The EP opens with Los Siblings, a distilled snapshot of Tobar’s current sound: intricate arrangements, ethereal melodies, heavyweight bass-line and a vintage edge shaped for the club. “I’m embracing the dancefloor,” he says. “This is me doing tunes
I would like to dance to.” On the flip, Knitting unravels from a simple arpeggio into lysergic ‘’Stereolab’'-techno chaos — alive, imperfect, and deeply personal. “It sounds like it wants to eat itself,”
Tobar reflects. Layers on layers of psychedelia and cosmic melody turn this into a trippy journey track like no one else does. Architect of foggy club rituals, Pye Corner Audio transforms Knitting into an eerie, trance-tinged club weapon, while Nightwave turns Knitting into a high-gloss, dreamy club stormer

We reunited for this second EP two best friends who have been shaking up the South of France techno community for a few years now. They started as a duo named Flyov before exploring their solo projects. Tibahuult has since been touring all over Europe with his explosive live set, blending Techno, Electro, and Punk music. Nathanaël, on his side, has grown into one of the DJs you don’t want to miss when partying in Marseille.

We’re thrilled to bring them back together on this project, where you can witness how a shared universe can evolve in two very different ways as each artist grows. To highlight this evolution, we selected for each of them one track produced a few years ago and one track created more recently with this project in mind.

On the A-side, Nathanaël opens the EP with a mysterious, trippy, jazz-infused house track, revealing all his finesse as the bass comes to embrace you like a big warm morning hug. For his second track, Cosmic Messenger, Nathanaël dives into a much darker space with a banger designed to destroy any dancefloor it hits

With Bass in the Sound, Tibahuult expresses his love for Punk music and flawlessly merges both worlds into an addictive ear-worm that will stick in your mind all day long. Tibahuult closes the B-side with one of his all-time festival anthems—the track that made me fall in love with his music. This high-energy piece will make anyone dance like the devil has taken over their body.

Second of two new bass-infected dub EP's with a hint of techno by the Japanese Mystica Tribe. Titletrack ''Stars Are Mine'' and ''His Temple'' immediately set off to deep dub and bass territories in these two typical Mystica Tribe excursions: grooving, but dark with lots of effects and tribal influences. ''Prayer'' evolves around a catchy melodica that won't leave your head for days or maybe even weeks and ''Zen Stone'' tops it off perfectly with this gloomy scifi dubtrip.

Huge Detroit re-issue from Emotions Electric! Motion EP was originally released on Richie Hawtin's Plus 8 label back in 1991, and is considered one of the milestones in techno history. Here we get all the 3 original tracks and also a very nice addition with the Gates Of Heaven track. All in all a must have essential release, BIG TIP!

The much awaited re issue from Peppermint Jam of the Omar Remix EP featuring the highly sought after Henrik Schwarz rework of 'Feeling You' along with 3 other killer remixes including the sublime Andre Lodemann Remix of Lay It Down.

Limited repress so act fast to avoid disappointment!

Originally released following his acclaimed sophomore album, HYBRIDISM finds Ecuadorian producer Nicola Cruz at the height of his exploratory powers. Now reissued on limited editon green vinyl, this expansive EP re-emerges with renewed relevance—blending North African rhythms, ethereal Persian motifs, and vocal fragments that evoke both ancient traditions and imagined worlds. A contemporary take on global exotica, HYBRIDISM is a vital entry in Cruz’s ever-evolving sonic journey.

'Aima’, named after the refrain sung by Igbo girls from Nigeria, creates the illusion that you’ve dusted off a lost LP. The aesthetic details recall expertly produced French exotica from the 70s, an overall feeling of warmth and character rarely pulled off with such panache.

‘Naeku,' in Cruz’s words, is "a sorrowful song in minor tonalities, but with a warrior energy, strength and forward vision: a soul departs, but a new one arrives in the name of Naeku, a maasai child. Not all grief needs to be a suffering; a feeling which I can relate to the place I come from with a Quechua word: Llaquilla - triste, pero feliz (sad, but happy). As always, the 303 adds that heart touching feeling.” If there’s a template for Multi Culti’s ethos, Cruz has synthesized the formula: Masai lamentation filtered through Quechua wisdom with a touch of 303 for the soul.

'Drom Tradisie' is a nostalgic vignette that captures the fantasy of a scenic horizon on a lost beach, a portrait done with the FM domain of synths that somehow associates with tropical imagery.

'Third Eye Dub’ takes things deeper, exploring the fractal realm of concentration, a point where the Oud (played by Nasiri) acts on the pineal gland. This inward journey through the cavernous depths of the subconscious sails on a smooth modular groove that transports the listener across this psychic expanse, a filigree of Persian harmonies (in Shur, to be exact) tracing outlines in the dark.

Finally, 'Kawe’s Dream’ ventures even further into the imaginary spaces of the mind. It is an aural reconstruction of the Tibetan Bardo Thodol, or ‘Book of the Dead’, a sacred text that guides the spirit through the passage out of the body. In Nicola’s words "To paint that depth, I had these Tibetan chants in mind, that I ended up crafting with Ableton's vocoder over a piece of Ayan’s vocals (sung in a made-up language). A few notes, and it gave the gravity I was looking for in the song.” Stuff that only a producer as capable as Cruz could pull off.

Hybridism’s five tracks are sonically diverse, yet all possess an ephemeral quality, a pastoral, transitory feeling that travels through the music - we listen to the sounds pass us by, we might even catch a hook or two, but the feeling is of sand running through our hands, deep, elusive, beautiful.

Plying refracted rhythms with an exacting poise, Aerae arrives on Samurai Music with a fully formed sound that plumbs the depths between techno immersion and D&B beat science.

An accomplished, palpable tension runs throughout Nefanda, Aerae's second solo release. Following up on the meditative pulse of her debut album on Annulled Music last year, the Paris-based artist digs deeper into ominous atmospheres filled with evocative reverb decays and taut, dynamic drum work - tools she wields to Redner tracks with specific meaning, coded by the Latin framing that runs through all aspects of her musical output. Contemplating the ancient language as an inescapable part of her European roots, on Nefanda Aerae ruminates on external trials and inner impulses, and conjures a jaw-clenching soundtrack to match.

'Mons' (translation: 'Mountain') speaks to challenges, strength and spiritual ascent, marked out by an urgent thrum of conga slaps and a 4/4 kick around the 170 BPM mark that finds power in minimalism even at the relatively high tempo.
The title track opts for a more broken framework, pivoting pointed percussion around a deft sub pulse while turning up the intensity with an exacting poise.

'Nefanda' translates as 'unspeakable,' or 'too horrific to name,' and the fraught, synthetic wraiths contorting through the track convey the dread the title implies.
'Fovea' (translation: 'pit') burrows deeper into spatial design with a looming low end rumble and subliminal sound sculpture, shaping out a dark, introspective chasm tipped towards disassociation. It's a powerful statement in any setting, but the all-consuming bass feels especially crafted for full, physical sound system immersion.

'Phrenesis' (translation: 'frenzy') rounds the EP out in fierce form, building up a high-pressure arrangement from ambient beginnings with ruthless control. There's a sense of duality in motion between half-time and double-time rhythmic elements, every incremental shift adding to the intensity of the track with the elegant, impactful touch that has fast become Aerae's calling card.

Finding her own language within the dialogue between techno, D&B and dark ambient, Aerae's music makes a vivid impression thanks to the ideas and intention that drive her in the studio. Nefanda confirms her status as a leading light in deep, psychedelic dance music, making something extremely personal that also reaches out beyond notions of the self like all the best transcendental music.

Kaba & Hyas continue their musical exploration at the crossroads of Rap and House by announcing their 3rd opus “Wooferz Only”, a 7-track EP to be released in early February on H3 Records and Entreprise.

The two comparses establish their club music more than ever, reviving sensations of hectic nights from Detroit to Manchester, and hammering home the markers of the style they've made their own. Like a block party MC, Kaba chants incisive, edgy lyrics, set to the energetic rhythms of Hyas, obviously at the center of the game.

Solid on their feet, Kaba & Hyas have not hesitated to step out of their comfort zone, exploring new styles (Juke, Baltimore...), collaborating with a jazz pianist on a couple of tracks, or hosting their first French featuring with thaHomey on the track “Magic Stick”.

After a spring/summer tour packed with dates including Nuits Sonores, Macki Music Festival and Ed Banger Party, the duo followed up their winter season with appearances at the MaMa Festival and the Transmusicales de Rennes. In peak time, we'll have the chance to see them perform “Wooferz Only” at La Maroquinerie for their first headline show on April 10, 2025.

Big Disco Dub 12″ on the obscure Jahtari spin-off Jahmiga, exploring the sweet spot between funk bass and echo chamber with two certified heaters produced by LA axe master Dubsworth and disrupt.

UK dancehall veteran Speng Bond spins a big heart-shaped tale with ‘Empress’ on the A side, meshing his signature ragga-comedy flow with uplifting lofi jazz funk vibes into a sexy anthem that will put a big smile on faces and Reggae sound systems alike.

On the AA-side the enigmatic voice of Domino Slims takes you to an all too familiar scene: the DJ drops your favourite song – but suddenly someone tries to chat you up! ‘Don’t Talk To Me Now!’ can be the only answer when this thumping slap bass epic hits the floor.

Also watch out for the hypnotic Dub cuts, two groove-focused percussive workouts layered with mystical vocal haze by Kimchi Shocka and plenty of Space Dust sparkled on top.