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Deruta Records opens its catalog with “Dela Secu” ,a two- track EP from acclaimed Romanian producer Cezar Lazar. The EP stands out as a musical manifesto, challenging the techno-house scene’s drift into mainstream quicksand.

“Solo 2305” introduces the EP with orchestral strings and a polymetric woodwind theme anchored by a steady groove, crafting a soundscape where tension and release unfold with precision. The woodwinds’ evolving motif lends a lyrical contour that completes the arrangement. “Yaka Yaka” turns toward intricate syncopations, its rhythmic complexity enriched by subtle orchestral inflections. A central polyrhythm drives the track, heightening its tension while adding depth to the groove.

Mastered by Vlad Caia and cut to lacquer by Mike Grinser, the tracks are crafted for the dancefloor, shaped by Cezar’s signature lyrical motifs that define his standing in minimal and experimental techno.

This debut sets the tone for Deruta Records: boundary- blurring and unapologetically underground.

Eudemonia marks a significant milestone with its 20th release: Cerebral Waves, the debut EP from Irish sound engineer and producer Kevin O'Reilly, known under his alias Otherend. This four-track collection dives deep into the electro continuum, weaving together cerebral rhythms, acidic textures, and cosmic atmospheres.

The EP includes three original tracks built around crisp drum patterns and spacious synths, offering a thoughtful take on electro with subtle cosmic touches. It closes with a remix from Sound Synthesis, who brings a smooth melodic drive while keeping the release’s spacey character intact.

Cerebral Waves is a bold introduction to Otherend’s sonic universe and a fitting landmark for Eudemonia’s evolving catalog. Electro heads, space voyagers, and acid lovers—this one’s for you.

After a successful album on DJ Hell’s legendary International Deejay Gigolo Records, Berlin-based but globally-minded Tunisian artist Skatman returns to his own ever-evolving label, Cognitive Prophecy, with Temples, a four-track EP steeped in the spirit of Detroit and laced with its own boundary-pushing vision.
The title track, ‘Temples’, channels a number of timeless Detroit cuts like Rolando’s Knights of the Jaguar into something deeply personal. It feels like stepping into a crowded, smoke and sweat-filled dance floor at 3 a.m., only to emerge into the sunrise hours later. ‘Can It Last Forever’ shifts the mood with pure euphoria, the kind of track that makes strangers grin at each other when the night is ending but no one’s ready to leave. Swiss techno mainstay Deetron steps in with two heavyweight reimaginings of ‘Temples’. His main remix is pure peak-time club tackle, big, propulsive, and precision-crafted for the moment when the night slips into another gear. The Dub strips things down to the bare essentials, locking you into the groove with relentless, club-sharpened focus.

Tesfa Williams' La Clique EP is a masterclass in house music's evolution - a sprawling, intricate journey that seamlessly connects the genre's past, present, and future.
Drawing from a well of deep musical knowledge, the Londoner continues to push things forward, offering a stunning five-track release that moves effortlessly through Deep, Afro, Bassline, UK Funky, and everything in between. He's also brought a few friends along for the ride: Zansika, Obi, and Tendai, each adding their own unique touches to this sonic exploration.

Opening track 'Beat & Break' is a perfect introduction to what the La Clique EP has in store, Tesfa leans heavily on a classic house sound and keeps the momentum with 'Don't Stop' featuring Obi Franky. 'Brain' is a rich and bass heavy swinger while 'Gonna Get Through' featuring Zansika hits all the right notes for an anthem in the making. Last but not least there is 'Shake It Up' featuring Tendai, a pairing that is a good as it gets when Tesfa's signature Uk house goes full into swing.

Each track stands as a distinct creation, unique in its flavour and style, but all delivering the same high level of quality we've come to expect from Tesfa Williams.

Marcel Dettmann's 'My Own Shadow' is the latest chapter in the Berlin-based legend's illustrious career. The live project is, in his own words, "a space where all of my artistic expressions meet," blending techno with film, sketches and photography. The shows are less club sets and more immersive experiences, where the audience gets lost in a "full sensory narrative." "My solo work has always been open, evolving across records and remixes," Dettmann added.

My Own Shadow's first official release, Approaching, is a five-track EP landing on !K7 Records in November. Complemented by his own photography on the artwork, the music spans techno and ambient, fizzing with a madcap funk and energy quite unlike any of his previous productions.

VITAL SALES POINTS
Renowned Berghain resident and contemporary techno stalwart Marcel Dettmann introduces his brand new project and alias My Own Shadow - after his latest releases on Running Back and Dekmantel. EU, UK and US tour dates during the campaign.

Pioneer of the electronic scene and co-creator of iconic projects like Age Of Love and BBE, Bruno Sanchioni returns with the fourth installment of his acclaimed series: Capture EP 4.
This new chapter delivers four powerful and hypnotic tracks, each crafted with the precision and flair that define Sanchioni’s legacy. With deep grooves, acid-tinged lines, and a finely tuned sense of progression, the EP invites listeners into an immersive and energetic sonic journey.

Capture EP 4 further cements Sanchioni’s reputation as a master of electronic storytelling—pushing boundaries while staying true to the spirit of the underground. A compelling addition to his ever-evolving discography, and a must-have for those who seek depth and intensity on the dancefloor.

French:

Pionnier de la scène électronique et co-créateur de projets emblématiques tels que Age Of Love et BBE, Bruno Sanchioni revient avec le quatrième volet de sa série acclamée : Capture EP 4.
Ce nouvel opus dévoile quatre titres percutants et hypnotiques, façonnés avec la précision et la sensibilité sonore qui font la marque de Sanchioni. Entre grooves profonds, lignes acidulées et constructions immersives, cet EP embarque l’auditeur dans un voyage aussi intense qu’élégant.

Avec Capture EP 4, Bruno Sanchioni confirme une fois de plus son statut de maître de la narration électronique — explorant de nouveaux territoires tout en restant fidèle à l’ADN de l’underground. Un disque incontournable pour les amateurs de sons authentiques, profonds et puissants.

SUBURBAN BASE RECORDS PRESENTS BOOGIE TIMES TRIBE – ‘THE DARK STRANGER’ – REMIXES

The Dark Stranger by Boogie Times Tribes is one of the most iconic anthems from the evolution of Drum & Bass. The Dark Stranger now returns for Halloween 2025, with an incredible new double-vinyl package featuring brand new remixes alongside long-lost classics. Pressed on a stunning glow-in-the-dark vinyl and housed in a specially illustrated sleeve depicting the mysterious Dark Stranger character, this release is as collectible as it is powerful.

The package contains eight mixes of this legendary track, cut loud for maximum DJ impact with just two tracks per side to ensure the heaviest playback. Brand new 2025 remixes come courtesy of Crissy Criss (mixed and mastered by TC), Marvellous Cain & DJ Choppah, Metrodome & Sl8r, Exile & Mark XTC, AKAS, and Freeze UK, all reimagining the anthem for today’s dancefloors.

To complete the set, the original 1993 remixes from QBass and the classic Origin Unknown Part 2 Remix are included, both made available here for the very first time since their original release in 1993, having never been repressed or released digitally until now.

This release is already generating massive buzz across the scene. At the recent D&B All Stars event, Andy C dropped the Crissy Criss remix, sparking the only rewind of his epic set. Other versions are already receiving huge support on Kool FM, Rinse, Pure FM, and across clubs and festivals nationwide.

A true piece of legendary Drum & Bass history reborn, The Dark Stranger returns this Halloween 2025! A must-have for DJs, collectors, and D&B fans worldwide.

Tell me something that makes a difference’ demands Gaia Weiss in Tenashee’s debut single. Something that immerses crisp melody into stodgy bass, collides warm dub with icy sound design, all the while slowly expanding like a supernova. ‘Tell me something’ takes the sounds and styles of the past and places them in a gravity-free future, while evoking an ethereal and precise atmosphere.
Gaia Weiss is an actress - not a singer by trade - and summons Charlotte Gainsbourg & Brigitte Bardot to deliver the spoken words as a fractured monologue, guiding us through splintered visions, and detuned chord progressions, in pursuit of the seemingly unattainable; ‘something that can make a difference’.
With this six-chapter journey on the newborn Street Cinema label, Tenashee (DJ Tennis and Ashee, Manfredi Romano and Joseph Ashworth) have crafted and refined - like two artisans from another era - a unique creation: a creature that reconnects electronic music with complexity and richness, fully aware of hyper-contemporaneity, yet capable of resisting surrender to it.
“Blink To Check It’s Real” featuring artist Campbell King - poet and beautiful soul - immediately immerses us in an electronic reality check, with 90s-inspired tweaking and glitching, all woven together with a poem from Campbell that contrasts the dizzying intensity of lust and connection with the comfort of being able to ‘loosen their grip’ and ‘make it safe.’
In ‘I Can See Now,’ Aurelia Ray (the stage name of pop-music-writing powerhouse Caitlin Stubbs) evokes a sense of serenity, pure love, and trust within a refined, spacious piece of minimalist electronica. “Blindsided” is a journey through pure, airy abstraction, a dance floor companion to the glacial trip-hop instrumental “Cold Logic”.
Finally, in “Memories,” the last track in the setlist but actually the first song the duo worked on, conceived and developed five years ago in 2020, the voice of Chinese German artist Mona Yim transports us to a place that is both emotionally introspective and intense, balancing on the edge between desire and reality.
“You should know where I go when I dream,” she states.
Over the course of five years, through exchanges, writing sessions, and fine-tuning in Paris, London, Saint Martin, and Ibiza, the world evolved, but Tenashee’s musical mission remained unchanged. The mini-album reflects the musical backgrounds of its two creators, their unique sensitivity to the present, and their desire to challenge each other with sharp, emotional, yet weightless styles and sounds. It is no longer just DJ Tennis; the successful DJ touring worldwide, organising events, and founding influential labels like Life & Death; nor only Joseph Ashworth with his scientific approach and creativity as a
producer and writer in the competitive world of pop; nor Ashee, with his releases on Circoloco and Aus Music. No, Tenashee is something more.
It is a duet searching for a thread that connects electronic music—past, present, and future—through experimentation, craft, and artistry. The moment has truly arrived for Tenashee to ‘tell us something.’

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

The prolific, party-starting Det Gode Selskab collective continues to strengthen its wax artillery with another spaced-out exploration from label affiliate A:G. Based in Oslo, the label and artist have built a strong affinity over the years, with DGS regularly releasing his music and inviting him to perform at a host of events. His “Time Factor” EP is essential electro listening, wandering between rippling shades of acid and tripped-out minimalistic movements, synonymous with the Norwegian beatmaker’s sound. It’s a hazy quest through four original cuts, packed with raw and gritty attitude.

The slinky first outing of the EP goes by the name “Crash.” Anticipation builds as the winding bassline and quirky drum patterns create a sense of retro gaming exploration. “Sleepwalking” is another diverse entry from the talented producer—a pensive yet driven motion propels the track’s energy, laced with slick hi-hats and acid-laden beats.

On the B-side, outer-galaxy transmissions go full steam ahead with the title track “Time Factor”, animated grooves and continuous evolution, climaxing with bright, uplifting synths. Plucky, tight drums lead the way in the final frontier, “Cognitive Resonance”—another classy dance floor outing from A:G, once again showcasing why he’s a producer to keep close tabs on.

Striking while it’s hot, A:G delivers another heater on a label that shows no signs of slowing down in the years to come, and if their previous releases are anything to go by, this one will be moving fast!

Klur (Patrik Kindvall) has quickly become one of the most exciting names in melodic and progressive house. Since his breakout debut, Summit / Odysée, the Swedish producer has captivated listeners with his signature blend of organic textures, meticulously crafted synths, and evolving melodies, garnering over 100 million streams across DSPs and a loyal fanbase of over 1 million monthly listeners on Spotify.

His music across labels including Colorize, Anjunadeep and This Never Happened, has found global resonance, earning radio support from SiriusXM Chill, where he is one of the most-played artists in the last few years, and DJ endorsements from Lane 8, Madeon, Tritonal, Above & Beyond, Black Coffee, Sultan + Shepard, and more. Recognised as one of Sweden’s fastest-rising songwriters (+100! by STIM), Klur continues to push boundaries, proving that electronic music can be both deeply emotional and sonically cutting-edge.
Beyond the studio, Klur has taken his immersive sound to stages worldwide, with performances in New York City, ADE, London, L.A., San Francisco, Seattle, Phoenix, Denver, Austin, Toronto, Montreal and beyond. His music is more than just sound—it’s an invitation to explore a world where the digital and natural coexist in harmony, stirring emotions and inspiring connection.

Klur drops his sophomore album ‘After The Rain’ on Colorize this October, followed by an album tour across Q4 and into 2026.

Arriving two years after the first chapter, Absurd Matter 2 isn’t just a sequel, it’s an evolution, redrawing the boundaries established by its acclaimed predecessor. The Berlin-based Italian producer tempers his confrontational sonics with rare moments of introspection, shifting seamlessly between blown-out noise, warped hip-hop, mutant club experimentation, and weightless ambience. Textures disintegrate and reassemble, rhythms flex and crumble, and every detail balances on the edge of fantasy. It’s a poetic, layered response to Nino Pedone’s changing physical reality: the gradual hearing loss and perceptual renegotiation triggered by Ménière’s disease, which struck him in 2022. At first, the experience felt like betrayal, a brutal disconnection from the very sense that had shaped his life. But over time, the disorientation turned into a strange kind of focus. The silence between sounds became as expressive as the sounds themselves.
The first Absurd Matter was a visceral reaction to trauma; the second is more reflective – an ambiguous chronicle of sensory recalibration. Pedone doesn’t represent his altered inner reality through extremes, but through depth, zooming in on illusory distortions, tense rhythmic fluctuations, and fragmented sonics. Dense, immersive, and mystical, the album mirrors Pedone’s evolving relationship with perception itself.
Tinnitus-like feedback wails and noir-ish strings introduce “Repeater”, making it immediately clear that Pedone is painting a more delicately finessed image this time around. Fleshed out by raps from cult MCs billy woods and E L U C I D, the track is marked by subtle, sophisticated contrasts: the blurred, inverted rhythms that couch Armand Hammer’s haunted back-and-forth, and the glitchy interference that offsets the lavish orchestral phrases. Backwoodz associate Fatboi Sharif lends his Lynchian drawl to “Bandage Chipped Wings”, grounding Pedone’s lysergic rhythmic distortions with syrupy, horror-inspired couplets. Pedone also invites discomfort into “Crash Landing”, with droning, metallic tones that contradict South Central rapper ICECOLDBISHOP’s elastic flow. “Bitch, I don't give a fuck about anybody,” he squawks over Pedone’s incongruous rasping textures and time-warped beats, “cash out at any party.” Working alongside London’s Loraine James on production, Pedone reunites with Moor Mother on “I Saw The Light”, blending James’ soft-focus atmospherics with soundsystem-damaging, overdriven bass hits and rusted percussive snips. Moor Mother’s assertive words hover over the wreckage, tightening Pedone’s themes of overstimulation and altered awareness as they stutter and veer off course, vanishing into the backdrop.
Contrasting his more pensive experiments, Pedone’s dancefloor deviations are more concentrated on Absurd Matter 2 than ever before. He torches a stuttering dembow structure on “X”, obfuscating the rhythm’s familiar energy with disturbing audio hallucinations. On “Splintered”, he reunites with Kenyan prodigy Slikback, mangling neon-lit trance arpeggios with dissociated trap rhythms. He sharpens his skills to a fine point on “Oblivion Step”, observing 2- step through a lens of distortion and personal abstraction, shaking blipping synth leads over neck-snapping drums and counteracting the momentum with airless sci-fi soundscapes.
Perhaps the album’s most surprising moment arrives with “Viel”, which features vocals from Los Angeles-based composer Kaitlyn Aurelia Smith. Together, Pedone and Smith chance upon their notion of dub techno, fogging synth stabs and ghostly vocal traces into eerie harmonic distortions. On some level, it’s almost pop music, a far cry from the bleak dissonance of Absurd Matter and a hopeful way to reframe turbulence as transformation. Absurd Matter 2 doesn’t simply document a process; it enacts one. It doesn’t offer clarity; it invites disorientation. It’s not a map of the labyrinth, but a foghorn piercing the darkness.

Interception, the second long player from Jensen Interceptor following 2018's Mother, is something of a state-of-the-nation that finds Melas consolidating several eras of his career, past and present, to form a distinct new sound that is the most experimental work he has produced to date.

In 2024, a freak accident at an event he was playing left him with multiple broken bones in his foot. The forced downtime became an opportunity for introspection, allowing him to revisit earlier projects and explore new musical territories. Blending his signature electro with genres such as IDM, footwork, and baile funk, Melas used this recovery period to fuse old influences with fresh global sounds. "Since I started making music I've always made music geared towards use in my DJ sets but there's always been an urge to explore the deeper side of electronic music.
That time off after the accident gave me the space to dive into genres and really experiment.
" The accident came at a time when he had already spent time, like so many others though the COVID-19 pandemic, assessing his next move. A full tour schedule had left him feeling constrained by the limitations of working in a single genre. As such, Interception is the end point of this reassessment and the start point of what Melas sees as the next stage of his musical evolution.
"I really wanted to challenge and, I guess, prove myself in other spheres, to take my music to a new place. I've never wanted to be too repetitive and found that expectations, imagined or real, were forcing me to get stuck on a specific sound both in my productions and DJ sets." This renewal is reflected in the title of the album, which eagle-eyed fans will note is the same as the first EP that was released under the Jensen Interceptor moniker, and the emotional and personal nature of the LP is likewise mirrored in the abstract impressionism of the artwork created by fellow Australian, Brodie Kaman, the artist behind the visual look of Lady Gaga's recent Mayhem LP as well as works for FKA Twigs, Nine Inch Nails, and more.
The design-resembling oil drifting across a microscope slide-uses a mix of vivid pastels and moody darks to express the album's emotional depth: a collection of distinct elements coalescing into something richer and more evocative.

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

For Martin Gretschmann, the ever-evolving Berlin artist known as both Acid Pauli and Console, music has always been a deeply personal journey.
His new imprint, All Is Acid, is the destination, a creative home for his uncompromising and experimental sound. Breaking from the cycle of trends, the label is a return to the essential, offering just a few curated releases a year. Each is intended as a timeless artifact for deep listening, primarily showcasing Acid Pauli's own intricate and intimate productions.
The label debuts with a newly remastered version of his classic 2010 EP "Den Mahlstrom rauf." But the release is given a powerful new dimension by a standout remix from Italian artist Adiel. Their collaboration was sparked by pure serendipity: a fan video of Acid Pauli playing her music in Milan reached Adiel, who responded with a short film for Vogue. In it, she revealed that "Den Mahlstrom rauf" was a formative influence and one of the very first records she ever bought.
Inviting her to remix the track that helped shape her sound was a full-circle moment, artistically and emotionally. Her bold, reverent reinterpretation honors the original's spirit while imprinting it with her own unique signature. With this release, All Is Acid launches not just with music, but with a story of connection, community and a shared artistic lineage

Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout.

‘Le Piante di Elena’ is a dreamlike homage to a primordial world — untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form. Devianza appears to be evolving into a higher, more spiritual dimension, where spirituality itself becomes the guiding force behind his musical production.

The single side opens with ‘Betullae’, a hypnotic ride between deep and leftfield, characteristic of Devianza’s sound, but this time enriched with an Indian tonal and modal flavour. Forest landscapes are traced by piano motifs that evoke interstellar journeys among endless birch trees.

‘Sunflower Sunset’ continues the hypnotic drift with a melodic crescendo that conjures the image of a sunflower field bathed in the warm glow of a summer sunset without wind. Here, where everything stands still yet everything is, this eight-minute piece becomes proof of the rarefaction of time — an instant that, though fleeting, feels infinite.

For fans of: Donato Dozzy, Voices From The Lake, Luigi Tozzi, Claudio PRC.
Related labels: Spazio Disponibile, Hypnus, Semantica, Silent Season.

Georgian artist and FACTION co-founder Uvall debuts on Conundrum Records with the Vertigo EP - a tightly crafted collection of four techno cuts built for the club.

With previous releases on WSNWG, FLOAT, INGUMA, OECUS, and CANTICLE, Uvall brings deep low-end pressure, precise percussion, and atmospheric tension across a versatile set. From driving grooves to slower, chugging rhythms, Vertigo delivers a dynamic snapshot of his evolving sound.

Following on from 2024's "Distant Landscapes EP" alongside Tensal, Amorphic returns (solo this time) to James Ruskin's Blueprint Records with a new ten-track album released digitally and as two four-track vinyl EPs released simultaneously.

Amorphic is a pseudonym of Scottish artist Vince Watson to explore more raw and hypnotic signatures. Launched in 2022, Amorphic has featured on labels such as Token, Symbolism and Modularz as well as the two labels Vince runs himself: Amorphic and Morph.

With almost 30 years in the industry, Vince has released over 1000 tracks, which has allowed him to work and gig with some of the very best in that time including Laurent Garnier, Richie Hawtin, Carl Craig and inthis year, Vince will release an LP with Carl Cox on his label Awesome Soundwave. As a touring musician has been able to play at some of the world's best clubs as both Amorphic and Vince Watson, including a residency at Tresor Berlin, DC10 Ibiza with Carl Cox, Berghain and Womb Tokyo as well as being a current resident of 909 Festival in Amsterdam.



earth had been watched by the keepers of the secrets for millennia.
the human experiment had evolved into chaos.
the subjects had destroyed themselves and the planet they were gifted.
a few were taken, leaving a dying planet behind.
the rest of human history was deleted.
the gods sought a new order.
the year zero...

Following on from 2024's "Distant Landscapes EP" alongside Tensal, Amorphic returns (solo this time) to James Ruskin's Blueprint Records with a new ten-track album released digitally and as two four-track vinyl EPs released simultaneously.

Amorphic is a pseudonym of Scottish artist Vince Watson to explore more raw and hypnotic signatures. Launched in 2022, Amorphic has featured on labels such as Token, Symbolism and Modularz as well as the two labels Vince runs himself: Amorphic and Morph.

With almost 30 years in the industry, Vince has released over 1000 tracks, which has allowed him to work and gig with some of the very best in that time including Laurent Garnier, Richie Hawtin, Carl Craig and in this year, Vince will release an LP with Carl Cox on his label Awesome Soundwave. As a touring musician has been able to play at some of the world's best clubs as both Amorphic and Vince Watson, including a residency at Tresor Berlin, DC10 Ibiza with Carl Cox, Berghain and Womb Tokyo as well as being a current resident of 909 Festival in Amsterdam.



earth had been watched by the keepers of the secrets for millennia.
the human experiment had evolved into chaos.
the subjects had destroyed themselves and the planet they were gifted.
a few were taken, leaving a dying planet behind.
the rest of human history was deleted.
the gods sought a new order.
the year zero...

Doc Pavlonium – Quattro EP marks the artist’s fourth release on La Sabbia and the label’s tenth overall. Blending electro, house, and techno influences, the record highlights the continuous evolution of his sound. Recorded entirely live and drawn from performances during the 2024/2025 season, the tracks capture the raw energy of Doc Pavlonium’s sets, translating the stage experience into an authentic and powerful listening journey.

WEorUS has long been synonymous with forward-thinking electronic music, and their upcoming vinyl release further cements their reputation for sonic innovation. Featuring four distinct tracks from Anushka, Dragosh, Fabrizio Siano and Kaitaro, this record presents a nuanced exploration of groove, minimalism, and jazz-infused experimentation.
The release opens with Anushka’s “LVOE” a track that radiates warmth and rhythmic fluidity. Built upon a foundation of deep grooves and hypnotic layers, it embraces organic textures that evolve subtly throughout the arrangement. Expect an inviting bassline, shimmering synth work, and a rhythmic interplay that beckons dance floors into motion.
Dragosh delivers “Lampone” a groovy minimal cut that balances intricate percussive elements with a refined sense of space. There’s an air of elegance in the way this track unfolds—tight drum programming meets delicate sound design, resulting in an immersive experience that feels both intimate and expansive. A staple for selectors who appreciate understated yet compelling compositions.
Fabrizio Siano’s “What is Jazz” a contemporary minimal jazz experiment that defies conventional genre boundaries. Jazz-inflected chords weave through delicate electronic structures, resulting in a fusion that feels both nostalgic and futurist. A celebration of improvisation and groove, this track adds a sophisticated touch to the vinyl.
Dark, introspective, yet strangely hypnotic, Kaitaro’s “Nightmare” introduces a deep minimal aesthetic that veers toward atmospheric intensity. Layers build with eerie precision, each element strategically placed to create an evolving soundscape that feels cinematic yet firmly rooted in club dynamics. This is minimal at its finest—moody, unpredictable, and meticulously crafted.

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

Following the debut album Only Skies Stay Eternal, the Remixes EP takes a bold step forward. These reinterpretations reshape Fille’s introspective sound into more club-oriented territories, signalling a new phase in her sonic evolution.

Rico Casazza opens the release with a standout electro remix - fluid rhythms, a wavy bassline, and catchy vocal hooks push Fille’s sound into elevated, high-energy territory. Alienata follows with a deep, broken-beat techno version that’s both shadowy and hypnotic, crafted for dark rooms and powerful systems.

Sestrica delivers a rolling breakbeat interpretation with a pulsing low end - engineered to move peak-time floors with force and precision. Closing the release, Clouzer’s remix of Thistles blends dreamy textures, trancy momentum, and broken rhythms, adding emotional depth to the club experience.

Ani004 marks a pivotal moment for Animism Records, delivering a versatile VA that captures the label’s evolving sound.

Thoma Bulwer opens with a breaks-and-garage-infused cut, setting a crisp and percussive tone. Tommy Vicari Jnr follows with a bassline-driven house stomper, primed for peak-time floors, while US producer John Manhard brings a deep, rolling groove to B1.

Closing the VA, Tred Benedict shifts the energy with a warm ambient piece, rounding off this finely balanced release.

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

SCALER are the electrifying Bristol-based band hailed as the city’s “next national breakthrough” thanks to their pulverising live show and meticulous, mind-warping sound. Now they’re back with ‘Endlessly’, a sublime and stylistically expansive new album. 10 potent tracks written and recorded more collaboratively than ever before, as SCALER explore what it means to make music with no ceiling.


Building on what they know and taking it in new directions has been a constant throughout the three-year journey behind ‘Endlessly’, which came together in the studio beneath Bristol’s legendary The Louisiana. Inspired by time apart, the album finds them reconnecting with their diverse sonic touchpoints – many tangled in their city’s much-mused-on musical heritage – and the creative energy of collaborators around them. Close friends and long-admired peers, including Akiko Haruna, Art School Girlfriend, Tlya X An, Shadow Stevie, Thomas Ridley and Cold Light’s ELDON add colour to SCALER’s darkened palette and point to the left-turns they’re leaning into. The intense softens into introspection. The blistering becomes a balm.


‘Endlessly’ is the second album from SCALER, a.k.a. Alex Hill, Isaac Jones, James Rushforth and Nick Berthoud, alongside visual artist Jason Baker. The record follows 2022’s acclaimed ‘Void’ and marks their debut for Bristol’s revered Black Acre, a longtime champion of genre-defying electronic music.

Metallic Life Review is the sound of two people who have collected field recordings of metal objects from around the world for years of their lives together, collaging their magpie hoard into rhythmic patterns, sometimes writing melodies and basslines, but sometimes just letting sound be sound. Patient gathering yields to ADHD editing. Painstakingly made but blink and you"ll miss it. Is it music or is it noise? It is without a doubt exceptionally beautiful music wrought from metal detritus. Metallic Life Review features Susan Alcorn"s pedal steel, Owen Gardner"s glockenspiel, Thor Harris" drumming, Jason Willett"s (Half Japanese) guitar, and Jeff Carey"s aluminum cans, which were melted, molded into custom aluminum rods, and then bowed and struck. The most dramatic difference from any previous Matmos album is that side two was recorded "live in the studio", ala Throbbing Gristle"s Heathen Earth. For the first time on recording, Matmos capture the evolving, shifting, slithering dynamic that happens when they play live and let patterns emerge out of chaos and then collapse and then re-form. Their playful blend of compositional brilliance and improvisational playfulness meld perfectly, truly capturing ecstatic moments in a way that can only happen live.

For their first album as Gilla Band (formerly Girl Band), the
foursome have redrawn their own paradigm. ‘Most Normal’ is like
little you’ve heard before, a kaleidoscopic spectrum of noise put in
service of broken pop songs, FX-strafed Avant-punk rollercoaster
rides and passages of futurist dancefloor nihilism.
Lockdown robbed Gilla Band of any opportunity to try the new
material out live, but the pandemic also incinerated any idea of a
deadline for the new album. They were free to tinker at leisure, to
rewrite and restructure and reinvent tracks they’d cut, to, as
drummer Adam Faulkner puts it, “pull things apart and be like,
‘Let’s try this. We could try out every wild idea.’”
The group also fell under the spell of modern hip-hop, “where
there’s really heavy-handed production and they’re messing with
the track the whole time,” says Fox. “That felt like a fun route to go
down, it was a definite influence.”
‘Most Normal’ opens with an absolute industrial-noise banger that
sounds like a manic house party throbbing through the walls of the
next room as a downed jetliner brings death from above. What
follows is unpredictable, leading the listener through a sonic house
of mirrors, where the unexpected awaits around every corner.
The common thread holding ‘Most Normal’’s ambitious Avant-pop
shapes together is frontman Dara Kiely. Throughout, he’s an antic,
antagonistic presence, barking wild, hilarious, unsettling spiels,
babbling about smearing fish with lubricant or dressing up in binliners or having to wear hand-me-down bootcut jeans (“It was a
big, shameful thing, growing up, not being able to afford the look I
wanted and having to wear all my brother’s old clothes,” says
Kiely).
‘Most Normal’, then, is a triumph, the bold work of a group who’ve
taken the time to evolve their ideas, to deconstruct and reconstruct
their music and rebuild it into something new, something
challenging and infinitely rewarding. It’s a headphone masterpiece.
It’s a majestic exploration of the infinite possibilities of noise. It’s a
bold riposte to your parochial beliefs on whatever a pop song can
or should be. It’s the best work these musicians have put to
(mangled) tape.

Braiden, an artist synonymous with the UK’s underground continuum, makes a powerful return after his hiatus with Raindance, a four-track EP of original productions on his own Off Out imprint. First emerging during the post-dubstep era with standout releases on Joy Orbison’s Doldrums and iconic Dutch imprint Rush Hour, Braiden carved a unique path as both DJ and producer through long-standing residencies on Rinse FM and NTS, where his boundary-pushing selections became essential listening.

The record channels the energy of the club and the scene he emerged from, blending freshly explored influences into a focused yet diverse body of work.

The EP opens with its title track, an unruly and visceral cut that channels early grime’s skeletal power into a hypnotic techno landscape. Clattering claps, cascading strings and a guttural bassline drive it forward, shimmering with movement and wired with an unpredictable edge. Touch The Sky, featuring a vocal contribution from multidisciplinary artist KESH, follows as a meditative centrepiece — a weightless, emotional interlude hovering with restrained melancholy and awe. X5x ramps up the energy again, urgent, euphoric, and devastatingly effective, its acid-licked synth line and thunderous kicks recalling the vastness of late-night warehouse catharsis. Lagrangian Point closes the EP on a different axis altogether; a time-dilating drone that strips away the percussion entirely while retaining the physicality and ethereal tone that runs through the EP.

Also a visual artist and photographer, Braiden’s finely tuned aesthetic runs through the record, with him self-designing and photographing the artwork printed on a full colour sleeve. Raindance arrives as a meticulously crafted statement: fierce and cinematic, a notable evolution from his earlier single-led releases, with additional mix engineering support from friends Joy Orbison and Objekt.


b A2. Touch The Sky ft. KESH

We met Volen through a tip from our friends at Cyclone as a Los Angeles-based DJ who was also a natural with production. In 2021 we released Volen's Distortion mini-album on Rhizome Forms. Those heady productions stuck with us and we knew a vinyl would soon be ready. Four years later, with countless hours spent in his Arizona desert sound lab, we present four acidic dancefloor interventions on wax.

“Validation” is immediately lively with a cascading acid groove. Spinning through inversions, the vocal refrains frame the kaleidoscopic dance floor energy of the title track.

The record's a-side finds completeness with the twisted anthem “I've Got to Shower".
Wobbly chords simmer under that famous sample while a slick breakbeat delivers the rhythm.

Side-b arrives with swagger as "Left & Right” rolls in with a mental acid and breakbeat powerplant of a groove.The track's breakdown billows atmosphere while the lower frequencies growl.

Volen saves the starry ecstasy for the final track. “Pump Their Dump” is an upbeat and dreamy acid house journey evolving into a collage of ear candy samples that'll satisfy dancers looking for that positive vibration release.

Two years after a debut EP that left a strong mark and defined his raw, distinctive sound, DJ Physical returns with Guess Who's Back, a powerful new chapter in his sonic journey on Molekul. This second EP is a bold and hybrid project, blending high impact influences from Techno, Rave, Breakbeat, UK Garage and Brazilian Phonk into a style that's both unapologetically wild and deeply authentic.
Comprising five explosive tracks, including a standout collaboration with rising artist Thelma, Guess Who's Back is as much a statement of intent as it is a natural evolution of DJ Physical's artistic identity. It's built for the club, full of energy, attitude, and unmistakable character.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

Hard Times welcomes back Alex Arnout and his BLACK LOGIC project, following their recent ‘Pull Up’ EP with a second installment of new music from collective - The Illusions EP.

Hailing from West Yorkshire, Arnout spent his formative years on the Hard Times dancefloors, absorbing the beats and vibes that would later shape his own productions. His journey with the label reignited when he was invited to remix Michael Watford’s classic 'Love Change Over' and Steve Silk Hurley’s fresh hit 'All I Need'. Now, he returns with something truly special.

“Black Logic was born out of the pandemic,” says Arnout. “I wanted to move away from drum machines and synths, getting back to sampling jazz and the deep house sounds of the ‘90s - taking inspiration from artists like Bugs in the Attic, Jazzanova, and Ernest Saint Laurent.”

What began as a solo project soon evolved into a collective effort. Bassist and guitarist Alan Riggs, a former member of Delta 5, joined the sessions, bringing warmth and groove to the productions. Vocalists Tempo O’Neil, Anthony Beckford, Mariana Orsho, and Sophie Barker added their distinct voices, completing the vision

Across four tracks, The Illusions EP pulls us deeper into Black Logic’s rich, live-wired universe. The title track pairs Tempo O’Neil’s vocal with a grooving, low-slung bassline, whilst “Dusty” drifts in on brushed snares and ghostly Rhodes, its saxophone lines curling through the mix like smoke. “Chasing Daze,” analog synth shimmer and Tempo’s velvet tones, is a track suspended between head-nod groove and astral lift.

The curtain falls with “Disco Down,” a jubilant ensemble of Hammond organ, flute, guitar, bongos, and horns locking into joyous conversation.

2025 Repress

After a year of deep studio exploration, KUSS & Sicion make their highlyanticipated debut on Molekul with an EP that pushes the boundaries ofmodern techno. Blending tribal rhythms, futuristic FXs, and cinematicscores, the duo crafts a hypnotic journey into consciousness.
Built for the dancefloor, each track is a high-intensity trip designed to makeyou lose yourself in the rhythm. This release marks the beginning of theirartistic journey on Molekul, setting the tone for their unique vision of techno.

Having established a reputation as one of the most versatile and respected producers in the game - with over a decade at the forefront of UK bass music, spanning UKG, grime, bassline and drum & bass, Flava D needs no introduction. Now, with her debut drum & bass album Here & Now, she levels up once again, channelling years of dancefloor know-how into a project that's as weighty as it is emotionally dialled-in.

A self-proclaimed fan of Hospital Records from the age of 14 - the first drum & bass CD she ever bought being 'Hospital Mix Vol. 1' - Here & Now marks a particularly paramount milestone for the Bournemouth-born beatmaker. Across 15 tracks, Here & Now captures the breadth of Flava D's musicality, offering a bass-charged, genre-spanning statement that's rooted in experience but tuned into the present moment. With a star-studded bank of collaborators, including MPH, Anais, Unglued, SOLAH and more, the album highlights Flava D's curatorial ear and the strength of her network across the scene.

At its core, Here & Now is a meditation on presence - a fresh, fearless chapter from one of the UK's most consistently innovative producers. The album is equal parts masterful and functional, giving fans what they came for while revealing new layers of Flava D's ever-evolving sound. Through its stacked line-up of collaborators, Here & Now also connects voices who are helping shape the future of dance music, from the underground up.

Berlin-based Japanese DJ and producer Hisashi presents his debut EP on Snapout, The Snapout's Squad Day3 called The Place 2 B. A sonic snapshot of his unique world, the release blends deep grooves, playful textures, and emotive layers that reflect both the dance floor and the introspective moments beyond it. This EP marks Day 3 in the ongoing Snapout’s Squad series — each edition capturing a new chapter in the evolving narrative. Joining him is long-time friend and fellow artist Riku Sugimoto, who contributes a warm and trippy remix, adding his own perspective while staying true to the original spirit. A heartfelt first step, crafted between Berlin nights and nostalgic memories of home.

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Swarm Intelligence, entitled "Radiance". Mastered by Alain Paul and cut by Simon at The Exchange Vinyl. Record Sleeve and labels printed to premium specification, featuring artwork by Kaan Ulgener.

Born in Dublin and now firmly based in Berlin, Simon Hayes aka Swarm Intelligence has cemented his place in the Techno underground with critically acclaimed LPs and EPs on labels such as 47, Instruments of Discipline and Voitax. He returns to Natural Selection, after releasing his track "Generative" on the label's latest VA release; "Natural Selection: Selected Works Vol. 1" in 2024. Featuring amongst an extensive list of heavyweight label affiliates such as SHXCXCHCXSH, Charlton, ASEC, Nørbak, MAEDON, Annie Hall & more. After further connections with the label via live performances at their regular label nights at FOLD London, it was inevitable that Simon would be invited to release a solo EP on their imprint.

His distinctive sound comes from over a decade of releases spanning multiple genres and tempos and oscillates between rhythmic noise, tense atmospherics, uncompromising levels of distortion, and stark, astute beats. This resolutely non-conformist approach to his productions has earned him a reputation as a true trailblazer in the realm of Techno and has led him to perform at some of the world's finest institutions including Berghain, Tresor and Basement NY.

For "Radiance", Swarm intelligence delves further into the sonic unknown, presenting a bold evolution in his uncompromising vision of Techno. Deep, fragmented textures form the backdrop for thunderous, distorted rhythms and IDM-laden drums and percussion, fused with meticulously designed cinematic soundscapes and powerful low-end muscle. Fierce, unrelenting, and deeply conceptual, all rules and boundaries are smashed to pieces and all tracks are equally suitable for blasting through the world's biggest club systems and rigs as they are for home listening.

Acclaimed British artist Leon Vynehall presents is highly anticipated third album, In Daytona Yellow, via Ooze INC. Marking the next stage in the Ivor Novello-nominated producer and DJ’s evolving sound, In Daytona Yellow showcases Vynehall’s experimentations with fringe electronics, pop, and R&B, and his growing confidence through collaboration and live vocals. Across 10 hypnotically off-kilter tracks, we hear Vynehall at his most deft and diaristic.

Over the past 13 years, Vynehall has built a formidable reputation through his genre-defying artistry. From his early days as a leftfield house producer releasing on labels like Aus Music, Running Back, 3024, and Rush Hour, to his critically acclaimed debut album Nothing Is Still (2018) and the boundary-pushing Rare, Forever (2021), he has continually redefined his creative limits. While Rare, Forever was a bold step away from dance music—melding post-punk textures with experimental electronics—In Daytona Yellow pushes these experiments into a more traditional songwriting framework, inspired by both contemporary and 80s avant-pop.

In Daytona Yellow is set to be a career-defining release, cementing Leon Vynehall as one of electronic music’s most innovative and thought-provoking artists, part of a vanguard expanding the ambition of electronic music.

The sixth vinyl release from Goodbye Royalty, titled "No Script," is a vivid embodiment of multifaceted creativity. The album is filled with conceptual experiments that reflect the artist's years of experience. The genre palette, ranging from minimalism to Electro-Breaks, will surprise both seasoned diggers and casual audiophiles, offering a unique musical journey. The title track "No Script" is infused with an atmosphere of universality and depth. Acusmouse creates a ritualistic immersion, a whirlwind that draws the listener into the depths of consciousness. The contours of percussive spaces are repeatedly revealed from new angles. Music becomes more than just a collection of sounds; it transforms into a genuine experience that leaves a mark on the soul. "Alfa" by Interpolarm embodies mysterious and simultaneously mystical imagery, where the main strength lies in harmony and balance between rational canvases. The fresh dance form and recognizable sound of the duo provide a better perspective on their evolution from early Minimal Techno with Acid House to romantic Micro House, where the collective liberates itself from heavy energies. On the B side, Information Ghetto takes the lead. Through an equal blend of psychedelia and humor, the artist creates a cohesive concept for fans of broken rhythm based on two tracks. The formula is simple: a mix of trip-hop, electro, and breaks, analog synthesizers, and soft bass that brings dusty mechanisms of the eternal engine to life. The graphic design has been developed by the unique artistic collective Recycle group. Vinyl owners can expect a true surprise-a secret message that can be revealed by focusing a smartphone camera at the main image of the apple. This serves as an additional portal into the world of the future. Just install the Recycle Group APP on your device beforehand.

Jeroen Search delivers Nautilus Lost, a forward-moving techno record built on precise, evolving structures and minimal repetitive rhythms. Somewhere beneath the surface, where sunlight barely touches and time loses its shape, lies a world once known... now forgotten. Faded memories echo in the currents -?? glimpses of colors, whispers of movement, shadows of a life beneath the waves. Dive into the unknown. Reclaim the forgotten. And awaken what sleeps beneath.

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

Spiritual World's first archival 12" vinyl release from the UK’s free festival dub pioneers.

The Ullulators, an experimental dub and world music ensemble from Bath, UK, have long been associated with the UK’s free festival movement, tracing their creative lineage back to the mid-1980s. For the first time ever, two pivotal tracks from their early cassette-only discography—“Simply Conscious Dub” and “Eternal
Now”—are being issued on 12” vinyl, marking the first archival release on Spiritual World.

The A-side, “Simply Conscious Dub”, originally featured on the 1986 cassette Beyond the Gates of Ull, exemplifies the band’s signature fusion of weighty dub rhythms with expansive and euphoric electronics.
In contrast, the B-side, “Eternal Now”, drawn from the 1985 cassette Share a Calm with the Ullulators, ventures into more introspective sonic territory. Built on minimalist structures and ambient textures, it evokes the kosmische tradition and aligns with the spatial sensibilities of Manuel Göttsching’s E2-E4.

Together, these tracks not only showcase the group’s wide stylistic range but also underscore their forward-thinking approach to genre hybridity. This release stands as a unique document of a formative era in the
evolution of UK underground, dub, and ambient music.

On point, until it hurts. With a decade-spanning discography, several bands and half of SHXCXCHCXSH this restless creator presents himself. SSTROM embodies the calmly bold. Building a version of the modern disco that nobody asked for. SSTROM is the capsule that shocks and comforts, gathers and spark a new thought. The robust shell acts as a camouflage for the wild and wicked bleakness of the music he produces. If the contemporary club urge could be described as a helmet waiting to brake this experience is what you are after; surprising, uplifting and changing. With 'Avvik' SSTROM carves out 6 somatically clear scenes articulating diverse textures, densities and states of aggregation. The constructions evolves as fractious rhythms strives for another order. Trial and errors bungys droughty, moist, stiff and tensile. Sstrom forces us to flicker in twitches between layers and dimensions beyond the given three.

Grandbrothers are internationally regarded as one of the key acts redefining the intersection of modern classical and electronic music.
Elsewhere is their fifth studio album and marks their most transformative work to date.
The album sees a bold creative evolution: expanding beyond their signature grand piano sound into analog synths, drum machines, and a more physical, rhythm-driven aesthetic.

Gwenan Spearing, known for her perceptive, groove-oriented DJ sets, and more recently as a live performer working with hardware improvisation, launches a new imprint, Phase Space, with Degrees of Freedom, a debut album diving deep into generative electronics, modular systems, and real-time response. Composed and recorded in 2019-2020, the album treats constraint as creative fuel, floating between ambient,
sonic sculpture, and improvisation, mapping Gwenan’s path from rural Wales to Berlin’s outer zones of experimental sound.
Sync opens with a theme on a slow triangle wave, expanding the space as it evolves. Some Pluck explores generative counterpoint using LFOs and Euclidean rhythms. Generator I unfolds in an oscillating time where keyboard and bass circuits cross-modulate. Sleep Pressure is a lullaby for grown-ups, capturing that eerie threshold before sleep, followed by Loper, where time flows fluid and unstable. The closer, Generator II, holds machine heartbeats in delicate equilibrium before unraveling into graceful decay, a soft farewell. (That’s the Universe waving.) Degrees of Freedom is algorithmic music with a pulse: visceral, hand-wired, and built for deep listening.

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation.

Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of “Adam Nana”. Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare.

The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market

Black Truffle is pleased to announce Melopea, presenting two new pieces highlighting the incredible voice of Amelia Cuni (1958-2024), the great Italian singer, based in Berlin in later life, whose mastery of the classical Indian dhrupad developed in parallel with a commitment to contemporary experimental approaches. After two stunning archival releases documenting traditional dhrupad performances in India in the 1990s (BT079 and BT092), the two side-long pieces here embody the freedom with which Cuni explored new contexts and settings for her singing.

Both make use of a long recording of Cuni singing the pentatonic Raag Bhoop (or Bhopali) made in 2012 by her partner Werner Durand in Berlin. ‘Melopea’ began from Cuni and Durand’s superimposition of this recording with violinist Silvia Tarozzi and cellist Deborah Walker’s performance of Éliane Radigue’s ‘Occam River II’. Inspired by the beauty of this chance encounter (and other experiments with non-synchronous collaboration during the pandemic years), Tarozzi and Walker recorded independently, without hearing Cuni’s voice but ‘having her present in memory’. Tarozzi and Walker’s bowed strings places Cuni’s magisterial performance in a new context, emphasising, as Radigue commented upon hearing the initial layering of her piece with Cuni’s voice, a shared ‘searching toward the partials, overtones, these natural constituents of acoustical sounds in their richness’. Beginning with whispered bowed harmonics, the violin and cello swap the stability of dhrupad’s traditional tanpura drone for a slowly evolving, uneasy web of harmonic interactions recalling some of Harley Gaber’s work, sometimes sitting on dissonances for long periods or allowing changing interference patterns to come to the fore. Primarily focusing on her lower register, Cuni’s performance demonstrates her mastery of microtonal pitch subtleties, elegant sweeping glissandi and meditatively unhurried pacing.

The continuation of the same recording by Cuni forms the foundation of ‘Bhoop-Murchana’, with Anthea Caddy on cello and Werner Durand on soprano saxophone. In contrast to the randomised layering of the first piece, here Durand and Caddy have carefully selected pitches based on the raag Cuni sings, using the ‘Murchana’ form, which uses the constituent notes of the raag as tonics of new raags, retaining the same interval structure. Both players who have developed tones of striking depth and harmonic purity on their instruments, Caddy and Durand’s patient long tones are simultaneously rigorously grounded in the physical properties of sound and possessed of an immaterial, floating quality. Combined with Cuni’s voice and, near the piece’s end, her contributions on hammered and plucked tanpura, the effect borders on miraculous. To surrender to this music is like slipping into an onsen pool, feeling the instantaneous release of every tension. Accompanied by liner notes from Durand, Tarozzi and Walker, Melopea is both a moving tribute to the profound art of Amelia Cuni and, for the uninitiated, a perfect introduction to it.

Jay York is up next for the third release on Toca with his first solo EP, Viaje. This release marks a significant evolution in his sound, with elements of a deeper and headier approach to his infamous tool driven production style.

Written & Produced by Daniele Serraino (D/n), and Carlos Pineda (Linear Phase) all rights reserved

"Static Rite" is the result of a sonic dialogue between two producers-D/n and Linear Phase-united by a deep, hypnotic, and physical approach to techno. The EP unfolds within the realm of hypnotic/RAW tech- no, where repetition becomes a perceptual language and sound turns into ritual.

Italian-born, Berlin-based D/n contributes the A-side with "Resonant Shift" and "Blind Motion," two tracks built on dub textures, dark atmospheres, and broken rhythmic structures. His magnetic, slow-burning sound reflects years of evolution from the underground acid scene to immersive techno sets in venues like Tresor and Zur Klappe. D/n's tracks have garnered support from renowned artists.

On the B-side, Spanish producer Linear Phase offers "Mandatory" and "Silent Widow," showcasing his refined modular synthesis and deep sound design. With over 50 releases on labels like Drumcode LTD, Planet Rhythm, and Edit Select, his style fuses ambient depth with raw, hypnotic intensity.

Fuse resident Downside delivers the ninth release on Fuse Imprint, showcasing his sharp and emotive sound signature. Traces Of Spring forms a powerful yet delicate journey, balancing intensity with subtle detail. A perfect reflection of his evolving artistry within the club.

A favourite selector for many within the underground, UK-born, Ibiza-based Miller has built a reputation for his hypnotic, low-end-led productions and seamless ability to weave obscure rhythmic patterns into immersive DJ sets. Founder of the Real Gang collective, he honed his craft as a resident at Ibiza institutions The Zoo Project and Ibiza Underground, where his dynamic, vinyl-focused style earned him recognition as a key player in the island’s grassroots scene. This natural progression has since led to the launch of Tomodachi, his new club, an intimate space that refl ects his artistic ethos and evolving infl uence on the island.

Harley Maxwell, meanwhile, brings a raw energy to the project, blending his sharp vocal delivery and lyrical edge with Miller’s meticulous production style. Their collaborative debut at fabric, during Miller’s all-night set, showcased a shared ability to push conventional boundaries, as they provided a fi rst glimpse into the music that would in turn become ‘Caviar’.

The EP opens with the title cut, a stripped-back yet infectious roller that glides between deep basslines, textured percussion, and subtle melodic fl ourishes. ‘How It Runs’ follows with its sharp drum work, zippy synths, and a playful groove built for the dancefl oor. Rounding off the release, the vinyl-only ‘Dreaming Experience’ sees Miller step out solo as he delves into deeper territories with hazy atmospherics, creating a tripped-out late-night journey. Arriving at a pivotal moment for both artists, their ‘Caviar’ EP signals a bold debut on FUSE – a label celebrated for its commitment to forward-thinking club music.

An elusive cult gem resurfaces through Glossy Mistakes. Originally released in 1986, L'Empire Des Sons is an otherworldly blend of synth pop, folk experimentation, and cinematic percussive layers-dreamlike, poetic, and wildly ahead of its time. L'Empire Des Sons was a fleeting yet powerful transmission from the fringes of the French underground-an album that blurred genre lines and evaded easy classification. Fusing experimental folk, lo-fi synth pop, and avant-garde textures, the record exists in its own sonic universe: poetic, layered, and fiercely independent. Formed in Saint-Étienne by percussionist and composer Dominique Lentin (Dagon, Fille Qui Mousse) and first-time vocalist Bipé Redon, L'Empire Des Sons emerged from the vibrant DIY spirit of the early 1980s. Their paths crossed during the interdisciplinary project L'Opéra Quotidien, and what followed was an intuitive, deeply collaborative process. "I would bring in lyrics and my voice," Bipé recalled, "and Dominique would shape the music around the atmosphere or rhythm suggested by the words." The result is a collection of songs that feel both meticulously constructed and completely free. Ethnic percussion, marimbas, xylophones, and synthesizers dance around Bipé's surreal, fragmented lyrics-little sonic postcards from imagined worlds. There's a theatricality here, but it never feels forced; rather, it's playful, intimate, and raw. Despite their inventiveness, L'Empire Des Sons remained a well-kept secret-circulating only in select avant-garde circles and eventually becoming an extremely sought-after collector's item. Now, thanks to Glossy Mistakes, this lost artifact returns to the world with new life: remastered from the original tapes, pressed on vinyl for the first time with extended liner notes. L'Empire Des Sons was never meant to be boxed in. Like the quote from Brian Eno that opens their liner notes-"For the world to be interesting, you have to be manipulating it all the time"-their music resists stasis. It evolves, shifts, surprises. And now, it finally gets the audience it always deserved.

What began as a simple follow-up EP to Luna Ludmilas acclaimed has evolved into the Utrecht-based artists debut LP on BERG AUDIO.

Known for her flawless deep pads and dubbed-out sound design, Luna expands her sonic palette here-fusing deep and dub techno foundations with ambient textures and subtle progressive influences.
While staying true to her aesthetic, the LP explores more raw, dancefloor-ready territory. The release also features two tracks that delve into dreamy ambient and classic dub realms, highlighting her range and versatility.

A1 - Course Of Action
Opening the EP with a thoroughly entertaining, unique breakbeat workout of the ilk we've come to appreciate from Eusebeia, we are treated to sharp snares ripping into the mix backed by a lethal apache break dripping with old school appeal. An ever-evolving atmosphere is guided by intense vocal samples and shimmering synth backdrops, interspersed with intense melodies and darkly effects to complete a mesmerising collage of sound.

A2 - Embracing Imperfection
Next up we see Embracing Imperfection, a sci-fi inspired track littered with a detailed myriad of synthwave-esque melodies, transporting you to an ethereal episode of the X Files as Eusebeia flexes atmosphere and breaks intertwined with synths and whooshing FX. The breaks are superbly effective as ever with distinctive cymbal hits and echoed samples adding flecks of detail to an impressive composition.

AA1 - Point Of Isolation
A tense introduction punctuated by a reverberating melody evoking enigmatic mystery slowly unfolds, as Point of Isolation displays Eusebeia's diverse repertoire of breakbeat editing techniques. Darting metallic snares and deep kicks & basslines ebb and flow, a tangled maze of rippling energy lifted straight from the soul. This track is equally suited to the headphones and the dancefloor, causing ructions to both.

AA2 - Soul Searching
Closing the EP, Soul Searching sees Eusebeia release a gradually enveloping system of seductive breakbeats, twisting and intertwining with a whole host of vivid soundscapes delivered through pulsing synthwork and jostling micro-melodies. Throughout the track, the distinctively thick breaks are the true star of the show, encompassing the sensibilities of Spatial perfectly. Until the next time.

Words by Chris Hayes (Spatial / Red Mist)

Next up on Butter Sessions Records: a two-track 12" from founders Sleep D, blending elements of dub, techno and ambient sound worlds. 'Gummy Drop'—long-evolved in the duo's live sets—lands in its peak form. Designed with bass bins in mind, a hefty lowend carries the track through a fog of glassy-eyed atmosphere and SFX. The B side goes deeper with 'Dreamhole'. Driven by rich melodies and a broken rhythm, it's an exploration into a more cerebral dimension.

The Armenian electronic underground has been quietly brewing something visceral. After years navigating the labyrinth of electronic production from his Yerevan studio, Dave N.A. strips away the excess to reveal six raw, uncompromising cuts that pulse with quiet intensity. Not the manufactured urgency of algorithmic dance floors, but the honest tension of someone who’s spent years refining his craft while the scene evolved around him.

Following his debut ‘Altura EP’ on no•id, where collaborations with freq444 showcased his ability to merge Armenia’s electronic scene with Brussels’ underground pulse, Dave N.A. returns with ‘Echoes EP’ after the label’s necessary creative hibernation. This isn’t about comebacks or grand statements. It’s about persistence. About the kind of restless creativity that emerges when you’ve been grinding in relative obscurity, releasing on labels like Uppers and Downers, Typeless, and Elicit Records, slowly building a sound that refuses easy categorization.

The EP opens hard and unexpectedly with “BLINK,” delivering a throat-cutting and all-consuming bassline. “ECHOES” builds around atmospheric sounds and percussive elements, driven by a straightforward yet effective drum sequence. “SHADO” ventures into darker and faster territory with sparse drum programming and heavy sub-bass emphasis. Both “RUSH” and “ORB” unleash torrents of unrelenting breaks, each percussive hit landing with surgical precision as sub-bass currents pull everything forward into hypnotic repetition. “HUNTER” closes the journey, stalking into frame with predatory low-end and razor-sharp hi-hats slicing through dense atmospheric fog.

The no•id ship continues to chart its course through Brussels’ underground, prioritizing artists who value craft over hype. With Dave N.A.’s return, the label reinforces its commitment to electronic music that functions on multiple levels: cerebral yet visceral, local yet universal.

When The Style Council’s debut album Café Bleu was released in 1984, Weller and wing-man Mick Talbot unveiled a cosmopolitan blend of jazz, soul, and pop that felt effortlessly sophisticated and daringly fresh. Café Bleu was more than a debut—it was a statement of intent, redefining what British pop could sound like in a new decade.

Since then, fans have been waiting for a deep dive into the Style Council vaults eager to hear any unreleased material. And now the wait is over.

The Café Bleu Special Edition is a treasure trove for Style Council devotees and music lovers alike - an immersive journey into one of the most inventive eras of Paul Weller’s career. This lavish release unveils a wealth of previously unheard material, including early demos, alternate takes, and unreleased songs that showcase the band’s restless drive for experimentation and evolution.

2026 Repress

On Explorations 03, Sam Goku continues his journey into deep, left-field club music, delivering four tracks that drift between dubby house and finely tuned electronica. Warm basslines, spacious rhythms and subtle melodic details form the foundation, while his unmistakable Sam Goku twist adds an emotional, exploratory edge throughout. Designed for late-night floors as well as introspective listening, Explorations 03 captures a fluid, forward-thinking sound that feels both grounded and otherworldly—another refined chapter in Sam Goku’s evolving sonic universe on Permanent Vacation.

2026 Repress

Augusto Taito makes his mark on Renegade Methodz with Rough Skin - a raw, powerhouse Techno record that confirms his place among the genre's most exciting talents. Known for his unfiltered, high-octane approach to techno, Taito has already captured the attention of the scene, with respected releases on labels like Mord and Tar Hallow. The sound of 'Rough Skin' is a fearless fusion of techno's physicality and dynamic rhythmic patterns, with each track a testament to his constant evolution while staying true to the genre's roots.

With the title "Treatise On A Narcissist" hinting at the EP's thematic exploration, the four originals by Shaleen are a masterclass in atmospheric, driving techno-built on powerful basslines, intricate percussion and an unnerving emotional intensity. This formidable body of work is then subjected to four distinct and high-calibre reinterpretations, each pushing the originals into new sonic territories.

Fiedel delivers a masterclass in raw, functional Berlin Techno. His "Treatise on a Narcissist" Remix builds on a foundation of caustic percussion and echoing metallic textures to create a journey into the machine's heart, powered by monolithic kick drums and pulsating, hypnotic sequences. This is peak-time, strobelit intensity-a dark, unforgiving lesson in rhythm and propulsion.

Mareena's sophisticated version of Shaleen's "Treatise On A Narcissist" strips the original back to its essential hypnotic core. It locks into a precise, relentless rhythm with characterizing sharp hi-hats, a focused, pulsating kick drum and creates a sense of deep,
foreboding atmosphere by utilizing subtle, filtered synth drones and echo effects.

Rosati's Remix of Shaleen's "Nymphomaniac" layers hypnotic elements, leading to a massive, euphoric breakdown and creates a captivating, almost obsessive mood. This track demands movement. It's an unrelenting sonic journey characterized by a hard-thumping rhythm section that maintains relentless forward momentum.

JakoJako steps up to deliver a nuanced and immersive re-imagining of Shaleen's "Fused in Desire". Moving away from high-impact euphoria, this remix focuses on dark, driving Techno.
The textural soundscape features a powerful low-end as well as lush, evolving pads and shimmering, modulated synth textures that create a vast, emotional space to establish a profound, steady pulse. Designed for total immersion, this track serves as both a
high-energy peak-time weapon and a hypnotic journey for early-morning dancefloors.

Check The Description Before Asking For A Track ID is a thoughtfully curated four-track journey through modern deep tech house, balancing forward-thinking sound design with emotional depth and dancefloor functionality. The release unfolds across two distinct yet complementary sides, guiding the listener through evolving textures, moods, and states of energy.

On Side A, A1. Overt – Annular and A2. Third Echo – 31th Session introduce a spacious and immersive atmosphere. Built around shimmering arpeggios, airy melodies, and fluid progression, both tracks explore a subtle interplay between progressive motion, trance-like elements, and dub-infused textures. The result is a weightless yet driving experience — refined, hypnotic, and perfectly balanced for setting a tone that feels both futuristic and deeply engaging.

The B-side shifts into more introspective territory. B1. Eric Louis – Grooving In The Future and B2. Severin – Shiti bring a melancholic edge, focusing on emotive melodies and transitional energy. These tracks are crafted for pivotal moments within a set — where the atmosphere deepens, emotions unfold, and the narrative takes a new direction. Warm, bouncy grooves intertwine with cooler, more restrained tones, creating a contrast that feels both elegant and expressive.

Spanning a wide emotional and rhythmic spectrum, NRP006 is a versatile tool for selectors — designed to navigate the subtle shifts of a dancefloor with precision, intention, and depth.

NOREPRESS is a division of MixCult Records. Limited Edition.

Designed for her 5 Hour extended sets and refined on dancefloors worldwide, "Can't Stop Loving You" - out today on slash - captures KI/KI's signature nostalgia-meets-future sound. Self-written and produced, it's an emotive trance burner built for peak time joy, unity and release, a sound that has defined her rise across global rave culture.

"Can't Stop Loving You" has become the closing moment in KI/KI's 2025 sets. From her Radio One Essential Mix, her two 5 Hours at the Woolstore, Melbourne - the only artist to ever do two back-to-back - to her AMF headline set to 40,000 fans at the Johan Cruijff ArenA! "Can't Stop Loving You" has been the emotional closer all year long.

On the track KI/KI says:
I wrote this track during the biggest heartbreak of my life. Back then I was working on music for my liveshow, and needed a track to close the show with. Can't stop loving you was the result.
Every note, every sound, every vocal helped me through how I was feeling and listening back now reminds me that eventually things will be okay again. The song evolves from an emotional track to an optimistic 172bpm banger and this perfectly describes my process - and maybe the story of almost every heartbreak?
This record is living proof to me that music can be healing. I hope it does the same for you

In just a few years, KI/KI has become one of the most exciting and influential voices in electronic music. She's sold out 20,000-capacity shows and graced the cover of DJ Mag. In 2026, she'll headline London, Dublin, Belfast, Paris, LA and NYC - all selling out in minutes.

With new music coming and her fanbase surging, "Can't Stop Loving You" now closes both her sets and her year - the emotional full stop on 2025 before an even bigger 2026.

To mark 25 years of Tsunami Records, Wunsch delivers a landmark release that celebrates the label's legacy while looking firmly toward the future.

For this special anniversary project, Wunsch brings together a powerful lineup of artists who embody the spirit and evolution of the sound: Black Forests (Arcanoid and Wunsch), The Rare Breed (Regis and Wunsch), Broken English Club, Giving Ground (Function and Wunsch), Microcorps, Rumenige, and Sabotak. Each contribution reflects a distinct voice, yet together they form a cohesive statement - raw, uncompromising, and deeply rooted in the underground.

This release is more than a milestone; it's a testament to 25 years of dedication, vision, and sonic exploration. From driving, industrial textures to immersive and atmospheric moments, the record captures the essence of Tsunami's identity across decades.

A celebration of past, present, and future - this is Tsunami at full force.

SUNANDBASS Recordings proudly presents its next release, welcoming rising artist Napes with a brand new single: Hit The Corner / Clamber. This release marks the exciting introduction of a new artist joining the SUNANDBASS Recordings roster, signalling a bright future for both the label and its evolving sound. With previous releases on Shall Not Fade and Alix Perez’s 1985 Music, Napes is a promising name within the modern jungle scene. This release is a clear statement of his pushing boundaries combining grime influences and old school jungle, giving us his fresh sounds and melody-led drum and bass music, reaching new horizons while staying rooted in foundations. On the A-side, Hit The Corner showcases acid-tinged synths that meet a UK grime edge, driven by energetic beats and rolling breaks. In 6:20, Napes lets us travel through all the facets of a SUNANDBASS Recordings journey, with his ever-changing arrangement that evolves from heavy, club-focused energy into a euphoric jungle-inspired middle section, before concluding with driving arpeggiated synths. On the B-side, Clamber offers a deep, darker contrast. Between the atmospheric strings set intro which is dropping into a heavy, bass-driven groove, easily imagined shaking the dancefloor during an Ambra Night indoor session. The track reveals a more introspective side of Napes, blending refined sound selection with classic, weighty basslines built for the dancefloor. We’re honoured to welcome Napes to the SUNANDBASS Recordings family, an artist whose sound reflects our love for all corners of the genre while paying homage to the music that brings us together in Sardinia year after year. SUNANDBASS Recordings continues to push the boundaries of drum & bass, fostering connection through music that transcends borders, unites listeners, and celebrates rhythm, movement, and culture.

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.

A sonic journey that feels both intimate and expansive, Inigo Lunani drifts between late-night introspection and dancefloor euphoria. The album blends minimal grooves and warm tones into a cohesive narrative that feels alive—constantly evolving, yet grounded in emotion.

Each track unfolds like a fragment of memory: hazy, rhythmic, and slightly surreal. There’s a tension between control and spontaneity, where tight percussive patterns meet playful, almost careless melodies. The result is music that invites movement but rewards deep listening—equally at home in a dark club or through headphones at sunrise.

Inigo Lunani isn’t just about sound; it’s about identity in motion. It captures the feeling of searching, of becoming, of existing somewhere between who you were and who you’re about to be.

Deep! atmosphere, groove and timeless dancefloor architecture. SYSTEM257 returns with a truly exceptional statement as N07 unveils November Morning, a stunning double pack overflowing with depth, elegance and underground precision. This is the kind of release that instantly commands attention, subtle yet powerful, deeply immersive yet undeniably effective, and crafted with the confidence of an artist who understands exactly how to create lasting impact.

r.hitect opens a new chapter with a refined vinyl release that signals both evolution and intention. Exploring subtle textures, intricate rhythms, and a deeper, more introspective sound, this record marks a shift toward a more personal sonic identity.

The release also introduces Croquis, a new label concept focused on capturing music in its purest form — raw, spontaneous, and essential. More than just a label, Croquis is a space for stripped-back expression and meaningful sound.

This vinyl sets the tone for what’s to come: minimal, emotional, and deeply authentic.

A snapshot of UK tech house in its formative years, OLC002 finds Rob Pearson laying down the blueprint for a sound he’d continue to refine through Evasive Records. Released on Online Collective—the label arm of South London’s Online Studios—this EP captures a raw, forward-facing moment in underground dance music.

The title track Slipstream leads with intent: tight tech drums ride alongside a chopped breakbeat groove, underpinned by weighty sub bass and warped melodic textures. A fluid lead synth drives the track forward, locking into a hypnotic, evolving flow built for the dancefloor.

Vortex channels early Detroit techno through a South London lens—crisp edits, filtered drum machine rhythms, and a hypnotic vocal loop combine for a stripped, late-night roller with serious intent.

On Metaphor, Pearson taps into the spirit of early bleep and warehouse house, fusing it with late ‘90s tech house sensibilities—raw, swung, and deeply functional.

The Metaphor (Bonus Beats) rounds things off as a pure DJ tool, primed for layering and extended blends.

A sharp, authentic document of a pivotal era, Slipstream EP showcases Pearson’s early command of groove, texture, and dancefloor dynamics.

Hitting back with another 2-tracker, Jay Tripwire delivers two more timeless pieces.

“Incantation” homes in on tribal drums and innate patterns, teeming with abstract chants, noise and other such oddities. Building tension through cleverly structured beats and carefully crafted sounds, spellbinding stuff as ever from Mr. Tripwire.

Over to the other side, “HEAR ME OK” embraces the light as it paints prettier pictures with hypnotic arpeggios, techy drum patterns and intricate plucks that evolve and meander before giving way to some wiry lines that usher in a darker side. A tale in two parts that culminate for an intense ride.

With great pleasure we welcome on board ADSR. This is not a standard EP but more a collection of 5 tracks made in the years between 1989 and 2001.

“Kicked” (1989) rides a driving dance groove with subtle Depeche Mode–influenced melodies, fueled by rolling arps and crisp string plucks. “Unit 3” (2001) hits with tough basslines and hard pads over a relentless beat, nodding to mid-80s EBM in the vein of Nitzer Ebb, Skinny Puppy, and Front 242. “Unchained” (1990) drifts on a late-night 808 groove with glassy pads and house-leaning chord stabs, sliding into early techno territory.

The EP closes with two well known tracks but those versions of them have never seen the light before today. “Windswept (Desert Mix)” – 1994 is a pounding early-session track built on tripped-out SH-101 leads, evolving arpeggios, long sweeps, and a steady 909, made for getting completely lost in.“Suboceana (Early Version)” – 1991 serves seductive chord progressions and drawn-out, reflective melodies, a liquid journey for both listening and the dancefloor.

Det Gode Selskab presents its latest vinyl release, DGS10Y2. This exclusive drop continues the label's 10th-anniversary festivities, encapsulating the sound that has shaped Oslo’s underground house music scene. DGS10Y2 brings together a standout selection of tracks, each crafted to capture Det Gode Selskab's unique blend of dance floor energy and rich musical storytelling.


Label founder, Tod Louie opens Side A with Trixie, a playful, modular-heavy progression that shifts between intense stabs and melodic synths, embodying a “devil on the shoulder” vibe. Mike Shannon’s Data Missive follows, blending crunchy modular tones with evolving percussion. Side B features Since Day One by Ohm Hourani, adding hopeful synths and trippy vocals, while Karl Fraunhofer’s Protect The Party closes with a low-slung groove and distinctive vocal effects, telling a well-known late-night tale.


With 200 copies only, this limited edition release stands as a piece of the label’s history. Make sure and don’t sleep on this.

Following the release of his fifth studio album ‘Magickal’ at the start of the year, Damian Lazarus now opens a new chapter in the project’s evolution with ‘Magickal Remixed (Part I)’, this first instalment of the two-part series features bold reimagining’s from Harry Romero, Jonathan Kaspar, THEMBA and Mëstiza, offering four fresh takes on standout cuts from the acclaimed long-player.

The package opens with Harry Romero’s ‘Raw Dog’ remix of ‘R U Dreaming?’, originally a deeply introspective cut featuring Canadian maestro Mathew Jonson. Here, the New York favourite dials up the low-end pressure and rhythmic weight, bringing raw tribal energy and heavyweight swing to the original’s dreamlike tones. Jonathan Kaspar’s ‘Sunrise Remix’ of ‘Falling Down’, Lazarus’ collaboration with TEED and A-Trak, comes next. Channelling radiant euphoria through rising pads and sweeping melodic phrasing, it leans into the emotional intensity of the original while transforming it into a full-blown moment of sunrise transcendence.

On the B Side THEMBA delivers striking remix of Damian Lazarus and Jem Cooke’s ‘Searchin’.
THEMBA’s remix builds on that foundation and takes it into expansive, Afro-infused club territory, layering hypnotic percussion, deep rolling grooves, and subtle atmospheric shifts that heighten the emotion and push the track into new late-night spaces. Closing out the release, Spanish duo Mëstiza return to reinterpret their collaboration with the Crosstown head honcho, ‘La Hija De Juan Simón’. Expanding on the track’s flamenco-inspired roots, they layer hand-played percussion, haunting vocal flourishes, and dense atmospheres into a hypnotic, slow-burning groove, bridging folklore and futurism in their unmistakable style.

From Turin to the World: Neon Reflections Marks 5 Years of Early Reflex with a Genre-Defiant Club Compilation Featuring Pépe, Emily Jeanne, Sonia Calico, Sobolik, & More.

As Early Reflex turns five, the label marks this milestone with a landmark 30th release: a global-minded, rhythm-forward compilation that captures the spirit and evolution of the imprint since its inception. This 12-track release features a cross-section of cutting-edge producers shaping the contours of contemporary club music.

From Seoul to Valencia, New York to Milan, Taipei to London—this collection brings together a constellation of artists whose sonic identities reflect the genre-defying ethos of Early Reflex. Propulsive yet detailed, physical yet intricate, the compilation traverses bass-heavy terrains, syncopated percussive structures, and otherworldly textures, acting as both a retrospective and a projection of what’s next.

Whether you're locked into headphones or immersed in a full club system, these tracks carry the uncompromising, future-facing energy that defines Early Reflex.

Alec Pace said about Neon Reflections:
“It’s incredible to think that six years have passed since our very first Early Reflex event here in Turin—featuring Sonia Calico and Hence Therefore alongside myself—and now we’re celebrating five years of the label with our 30th release. Watching the project evolve from local nights into a platform connecting artists across the globe has been nothing short of surreal. This compilation brings together an outstanding lineup—featuring established names like Pépe, Emily Jeanne, Sonia Calico and Arecibo, longtime collaborators such as Sobolik, Capiuz, Martini, and Ikävä Pii, as well as exciting up-and-coming and new-born talents from across the club spectrum such as Aeery, Biased and Natsumi Hirota. It feels like the perfect way to mark this journey: a milestone release that reflects our identity and community, pressed into a special limited-edition vinyl piece. I couldn’t be more proud.”

Limited repress!

What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).

Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.

As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.

"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."

At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.

Move recordings continue the relaunch with this wonderful MV06 from By:Them, new duo former by Ludwig Buez & Jerome Lipani. Including a fantastic remix from the sound designer, DJ & Producer Hermanez. A 100% Belgian product!

"Never too old to dance," evolves with a big intensity, layering elements that cultivate an incredible atmosphere. The track unfolds through melody songs, progressing towards rich, deep chords punctuate, the experience with a sense, till a melodic break.

The Hermanez remix for Move recordings is an amazing sunny tune. Following his refreshing style, Hermanez remixing "never too old to dance" with grace and unequivocal individuality. With his captive melodic, he empowers the atmosphere, with a high-energy and a sexy flavor. A pure track to rock the summer.

Through defined grooves and rolling bass lines blends, "Rising away" melodic and atmospheric sounds to create a transcendent listening experience. With an energic groove, this track showcases an exceptional range, to craft atmosphere that goes beyond the dancefloor.

By:them truly strikes for his first ep and presents us with two dance floor weapons with a fantastic Hermanez reinterpretation.

Support by, Timo Maas, Joris Voorn, Alex Neri, Nick Varon, Just Her, Paco Osuna, Danny Howells, Ilario Alicante, Sahar Z, Nhar, Michel De Hey, Sasha, Adriatique, The Micronauts,

It's time for a new compilation in our house and we have some good music to fill it up. This collection of talent is going to be served in two flavours, the physical one a four cut vinyl EP featuring previously only digital tracks and the second one a ten track selection from our back catalogue featuring some of the best producers in our family.

Asier Morillas ( A4 ) is probably one of the most original sci fi specialists out there and he's been part of our sound since his first steps into production. His track Kynosoura is a perfect example of hi tech jazz.

David Reina is also a science fiction specialist, also featured with a full length work in our catalogue, our pick for this collection is Autoscopy, a mental and complex sonic voyage into the best outer space techno.

From Mod 21 we have selected one of his most played tools, Escalation of Violence, the perfect hypnotic drill to boost your mixes properly.

Vertical Spectrum brings us to hyperspace in BALN006 combining a distorted groove with floating alien bleeps in a sci-fi techno masterpiece.

This four cuts will be pressed on wax, let's talk about the next eight:

From his Idle Ep we have chosen Temudo's Spiritual Song, a merciless floor weapon heavily tested on the best clubs and big stages out there.

Next comes BiiBii by Null Forms approaching a more abstract and sci-fi terrain, maintaining the danceable pulse and well-managed distortion. The result is more mental and synthetic. A kind of controlled chaos.

Axial Rotation from Translate starts with a fast paced groove, heavily bass fuelled with a continuous synth line moving across the basement. All sound elements are constantly mutating and evolving although the mood is linear and loopy.

Eight cut comes from Dutch veteran Dimi Angelis, the third from his
A Journal of Impossible Things EP from 2023. The hypnotic bleep penetrates your mind while the dirty sound of the old drum machine sets the pace for your feet. Special mention to the occasional resonant sweep that appears from time to time creating the required tension.

On the ninth, Ruman's Lizard from Where The Ring Ends LP, mental and hypnotic, perfect for adding tension to a mix, again heavily tested on the best dancefloors extensively.

Closing the release, CONCEPTUAL with Red Sun a magnificent closing anthem, no more words needed here.

With this collection you get a tiny snapshot of the sonic palette of Warm Up Recordings sound. Check our full catalogue to get the proper picture.

Backspin's new release comes from Obscure Shape, delivering a deep and versatile techno EP that lives up to its title: 'Zwei Gesichter' (German for 'Two Faces'). Across five tracks, the EP explores the tension between raw force and emotional depth, marrying the label's Hardgroove roots with a more introspective edge.

The A-side presents Obscure Shape's first face: It opens with 'Zwei Seiten', a no-frills banger that hits with immediacy and drive. 'Im Angesicht Der Zeit', the single, leans into groove and movement, offering a more fluid, time-aware flow. 'Die Haut In Der Ich Wohne' pares things back into a minimalistic, loopinghypnosis, evoking the idea of inhabiting one's own skin. On the B-side, presenting the producer's second face, 'Spuren Des Werdens' features producer AMIYE and introduces more melody and saw synths, a reflection on growth and transformation. The closer, 'Von Hoffnung Getragen' - also a collaboration with AMIYE - lifts off with ethereal vocals and a bouncing rhythm, embodying the hope that carries us forward.

With the 'Zwei Gesichter' EP, Obscure Shape crafts a powerful narrative through groove, form and feeling, perfectly aligned with Backspin's evolving reinterpretation of early 2000s techno.

- Originally released in 1993, 'The Brown Album' marked a significant evolution in Orbital's sound - and was met with widespread critical acclaim. NME awarded it 9/10 in their review, and it was chosen as one of Mixmag's best albums of all time.


- Standout track, "Halcyon + On + On", became an instant classic, known for its ethereal atmosphere and haunting vocal sample from Opus III's It's a Fine Day. The track's dreamy progression and uplifting yet melancholic tone made it a staple in film soundtracks and DJ sets, embodying the emotional depth electronic music could achieve. "Impact (The Earth Is Burning)" is another defining moment, an evolving journey of layered breakbeats and dynamic synth arrangements, reflecting the duo's ability to create both club-ready and introspective music. Meanwhile, "Lush 3-1" and "Lush 3-2" demonstrate Orbital's knack for crafting intricate, evolving grooves, balancing pulsating rhythms with melodic flourishes that keep the listener engaged.


- 'The Brown Album' 2LP reissue has been cut at half speed, to ensure maximum audio fidelity for this landmark release, and is the first time the album has been pressed on vinyl for over ten year

- The Brown Album' 2CD includes a 2nd disc of rarities, including the full 11:09 version of Halycon and the 13-minute Underworld mix of Lush.

Red Snapper co-founder and drummer Rich Thair to release a solo album on Acid Jazz, under the name Dicky Continental. 'Un…' is out 7 April, 2023 on LP/CD.

'Un...' was recorded, mixed and produced by Rich in his Welsh
Studio. Un, Welsh for ‘one’, features 11 tracks which all fell together in the right shape. Often the first, simple ideas were the best and weren’t
overthought or convoluted. 'Un...' is about moods and atmospheres, edges and angles, light and darkness. Downbeat soul to take you on your own journey.

Acclaimed Swedish multimedia artist and electronic music visionary TOBIAS BERNSTRUP returns with his highly anticipated new 7th studio album, “Shadow Dancer”, on German indie label Nadanna Records.

Known for his fusion of visual art, retro-futuristic aesthetics, and Italo-inspired synthpop, BERNSTRUP’s latest offering dives deep into the shadows of the dancefloor—where desire, danger, and digital nostalgia collide. “Shadow Dancer” marks a bold evolution in BERNSTRUP’s sound, channeling pulsating analog synths, icy vocal hooks, and cinematic atmosphere into a darkly euphoric collection of tracks. The album explores themes of identity, transformation, and nocturnal seduction, blending BERNSTRUP’s signature 1980s stylings with a sharply contemporary edge.

“This album explores the tension between appearance and reality—how we perform identity, desire, and memory in a world flooded with simulation,” says BERNSTRUP. “It’s both a personal and cultural reflection, rooted in the shadowy edges of nightlife, surveillance, and performance.”

Standout single tracks like “Chiaroscuro”, “Legend”, “And The Smile” and “Jackie 60” showcase BERNSTRUP’s unique ability to fuse melancholic nostalgia with dancefloor-ready energy. The album’s visual aesthetic is just as striking, featuring dystopian glam imagery, gothic noir, and sleek, gender-fluid costuming.

Prolific duo Years of Denial return to Veyl with another genre bending, dance floor ready EP titled Love Cuts.
Acting as a transit between 2023’s Suicide Disco 2 and the forthcoming Suicide Disco 3, Love Cuts explores the various angles of love - ranging from the digital to the forbidden, toxic to erotic and beyond. A blend of death rock, future goth, EBM and rave, we once again find the project’s poetic, powerful lyrics fusing with motorized beats and 4x4 rhythms.
Kicking things off is the shadowy, death rock inspired, "Devil In a Skirt", an infectious ballad about a temptress that may not be what she seems. Next up, "Affaire de Coeur" delivers body fuelled stabs which elegantly bleeds into "Hide & Sick", a more high energy cut, set to scorch the floor. "We Are The Party" keeps the pulse pounding with your next EBM anthem while "In Your Bed" shatters sonic boundaries and leaves things drenched in acid rave. "AI Lover" closes things out with more future goth rave energy which acts as both a warning and a desire for more.
Love Cuts builds on Years of Denial’s previous work while setting the stage for what’s to come. Commanding vocals and dominating beats transmit a powerful message of both the dystopian and euphoric. Remaining uncategorizable, the project continues to evolve their unique sound while burning a path toward the future.

Makhunik Records Presents: "Withdrawals" - A Bold New Vinyl Release by RAKANS Withdrawals, the highly anticipated follow-up to Emergence EP and Deep State (Midnight Stallion) EP, marks a bold new chapter in RAKANS's ever-evolving sonic journey.

Set for release on I Makhunik Records, Withdrawals explores the tension between desire and detachment, featuring five tracks that blur the lines between electronic, experimental, and club sounds. Available on vinyl, Withdrawals invites listeners to experience the raw and intimate emotions that inspired its creation. Following the success of Emergence EP (Gently Leftfield Techno from a Core Dresden Artist - Resident Advisor/Single Review by Andrew Ryce) and Deep State (Midnight Stallion) EP on Boudica, which gained recognition for their atmospheric intricacies and deep, immersive textures, Withdrawals delves deeper into personal and societal themes, paired with the artist's signature ethereal soundscapes and captivating beats. Each track carries a narrative, from late-night reflection to hedonistic encounters, with a pulsating intensity that mirrors the artist's own process of creative and emotional release. With Withdrawals, RAKANS continues to push boundaries, creating a profound listening experience that resonates both in its melancholy and its intensity.

Description of the Title: The title Withdrawals reflects a state of emotional and mental transition, where one is caught between the craving for connection and the unsettling effects of isolation. It symbolizes the artist's inner turmoil and process of reclaiming personal agency after experiences of burnout and separation. The tracks are an expression of that journey-tracking the highs and lows of life in a world that constantly demands more. Through these melodies, RAKANS has captured the intensity of longing and the aftermath of desire, inviting listeners to confront their own internal conflicts. The narrative is personal yet universally relatable, and the title speaks to the often painful but necessary process of letting go, detoxifying from past habits, and learning to be at peace with oneself. "With Withdrawals, He wanted to channel the emotions that often come from the struggle between desire and self-preservation, between the drive to connect and the need to retreat. he's journey, both as an artist and as an individual, has been filled with moments of intense reflection, self-discovery, and sometimes, disconnection.

These tracks are the culmination of that inner conflict, a raw exploration of what it means to both lose oneself and find a deeper, often painful, form of clarity. Like the music he's created before, the sound of Withdrawals speaks to the space between tension and release, the liminal space where truth is often revealed in its most vulnerable form. He's always believed that music is a mirror to the soul, and in this EP, He's tried to reflect that feeling of being both pulled in and out of something greater. It's a raw and intimate look at the way we navigate modern life, often feeling like we're running toward something that we can't quite reach, yet constantly pulled back into our own personal truths.

This EP is personal, but it's also for anyone who's ever felt caught between two worlds, the one they want and the one they need. I hope it resonates with listeners who are experiencing their own form of withdrawal, whether it's from people, places, or even from themselves.

Dave Davis, a legendary name in Belgian electronic music, made his mark with classics on Bonzai Records, including the iconic "Transfiguration." Known worldwide for his DJ sets and as a vocalist under the alias JD Davis (Chab’s "Closer to Me," David Guetta’s "The World Is Mine"), he now teams up with ID10-T, a Swiss producer making waves with his raw, no-compromise techno style.

This release features two tracks crafted for peak-time dancefloors:

• "Insane": A dark, powerful underground techno bomb with deep basslines, sharp textures, and relentless energy. Built to shake the walls and ignite the crowd.
• "RDH": A groovy jackin’ techno weapon, combining bouncy bass, funky patterns, and infectious rhythms. A fresh yet respectful nod to classic techno foundations.

With this electrifying collaboration, Vibes Addikt continues to push boundaries, showcasing a cross-generational vision that fuses rave culture heritage with modern sound design.

Français

Vibes Addikt, le label de N.O.B.A reconnu pour sa ligne artistique mêlant techno et trance de manière percutante et novatrice, présente sa nouvelle sortie : un single explosif signé Dave Davis & ID10-T.

Dave Davis, figure incontournable de la scène électronique belge, connu pour ses classiques sur Bonzai Records — notamment l’intemporel "Transfiguration" — et pour ses prestations aux quatre coins du globe, s’associe ici au producteur suisse ID10-T, talent émergent dont le style se distingue par une techno brute, percutante et sans concession. Dave Davis est également connu sous son alias JD Davis, voix emblématique de titres cultes tels que "Closer to Me" de Chab ou "The World Is Mine" de David Guetta.

Ce single comprend deux titres taillés pour les dancefloors les plus exigeants :

• "Insane" : Un banger techno underground, sombre et puissant, construit pour retourner les clubs à coups de basses profondes, de textures métalliques et d'une tension hypnotique. Ce morceau capte l’essence même de la rave moderne : brut, direct, sans artifice.
• "RDH" : Une véritable arme jackin’ techno, groovy et irrésistible, mêlant rythmiques incisives, bassline bondissante et arrangements funky, qui captiveront autant les puristes que les amateurs de sonorités plus organiques. Un hommage contemporain aux racines du genre, avec une touche résolument actuelle.

Cette sortie marque une nouvelle étape dans l'évolution de Vibes Addikt, toujours en quête de projets audacieux et authentiques. Avec cette collaboration intergénérationnelle, le label affirme une fois de plus son engagement envers une techno de caractère, entre héritage rave et innovation sonore.