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The fifth instalment in the label’s well-established Fluid Files series, this new mosaic of sun-streaked joints summons the voices of faces old and new, sewn together with that similar Chicago-typical, laid-back attitude and a thread of unstoppable funkiness.

Diving first with a slice of velvety, looped out piano house boogie on a solid French filtered house tip, Dutch outfit Fouk lays down a proper enticing number for the late summer hours, packed with elastic bass jack, anthemic stabs and a sun-kissed shimmer straight out a blissed out coastal escape. Label alum Danou P follows up with a further bouncy number, dishing out a seriously infectious mix of acid-abraded bass and warped floor dynamics, ready to knock dancers askew with its lush, synth-flooded hooks and fun-loving, oddball swing.

More on the muscular side of things, Ben Diggins clocks in with the steroid-fueled balearic hoodoo of ‘Mascotte’ - a tune built for the undying after vibes, when the sun begins to rise and the crowd’s levels of serotonin hit a new high. Prismatic and powered-up, Diggins’ track injects any heavy-lidded engine with his own concoction of driving percussion, utopian motifs and fluttering, ambient-leaning harmonics.

Rounding off this four-part sonic journey, Colombian vibist DFRA teams up with Argentinian singer Denise Izaguirre on the heavily Latin jazz-informed, ‘Impulse’. Soulful and oneiric, the song taps in both artists’ musical heritage whilst pushing for new directions through the combined use of electronic and acoustic instruments (congas, trumpet, synths, drum machine…) - contrasting and complementary, shaping an entirely new and singular vision that is drenched in a bittersweet blend of warm melancholy and bracing hopefulness

First Principles marks the debut release on Groove Disciples Series, a new DJ-focused vinyl catalogue from 80147, created as a natural extension of the Groove Disciples Podcast. While the podcast has connected DJs and selectors from local scenes across Europe through guest mixes and conversations, the new series continues that mission through carefully curated vinyl releases from artists who are both DJs and producers.

Opening the catalogue, Bloody G delivers four dancefloor-oriented cuts that explore the space between deep house and Detroit-inspired techno edges. From the melodic and melanchonic "Message in the Sound" to the driving "Regroup Reclaim Rebuild" and "Machine Funk" with a reinterpretation by Southbound Sounds, the EP is built with club functionality at its core, favouring groove, analogue warmth and musical restraint over passing trends.

First Principles establishes the philosophy behind the series: music first, DJs at the centre, and vinyl as the medium that continues to connect local clubbing scenes through music, collaboration and community.

Enlazando el número de referencia (el vol8) con la caja de ritmos mítica y clásica de Roland la Tr808,.. qué puede salir mal? 6 Cortes, 6 Artistas, 6 ideas, 6 visiones de este nuestro amado estilo que llamamos Electro.

Vema-Diodes_ Victory lap:
Contundencia y elegancia, ritmos rápidos, pads ambientales que cuentan una historia futurista. Resumiendo, un rompe pistas como ya nos tiene acostumbrado nuestro macarra favorito del Llobregat.

Dark Vektor_ Haciendo el Robot:
Pues esta vez el tito Vektor se ha puesto el chándal de 1984 (de Emilio tutsy ya que es un vanidoso) y nos trae una muy buena producción al estilo old school homenajeando a los mismísimos Dynamik Bass System y EPG.

Univac_Artic Defender:
Qué decir de uno de los mas grandes del electro de nuestro país, oscuridad, contundencia y sonidaco…electro rozando lo industrial rozando lo hipnótico rozando lo mas profundo de nuestro ser.

Multiplexors_Kill Circuitcenter:
Un Honor poder editar su primera referencia de este dúo formado por Sentex y AM/ALF dos friks de las máquinas y del bass, nos traen un corte muy purista super sintético con alma analógica, vocoders y 808 y lo mas importante: intención.

Calagad13_Cosmic Sailor:
Un honor tener a un grande del electro, un pionero del bass en nuestra tierra, temarrako al mas puro estilo Miami bass con una producción exquisita… un revienta pistas.

Negocius Man_Flying on Vega:
El gran Nego, que decir el Man Machine de Madroit, nos entrega un corte contundente, de culto, sonido oscuro y mental donde entras en su mundo percusivo te atrapa y ya no te deja salir hasta que el quiera.

20 Years into the future, we return to you with the world’s illest hard drum n bass beats. In 2006, we released Counterstrike, Identity (BTK Spleen), Corrupt Souls, and Lethal & Khanage, making a 4 continent super weapon of drum n bass.
We arrive in 2026 with the hottest new talent - Rawbreaker, Anika D, paired with legends such as Jaise, Submerged, and inimitable voice of Flowdan. Disciples of the Unreal II is our return to wax also, with a 2x12" mastered hot for the DJs and distributed worldwide.
Each artist contributes a piece of the hard sound in their own fashion - from the roughneck beats of Medium, Rawbreaker, Submerged, and Scartat, to the Sinthetix-fueled neurofunk of Code2 and Anika D, and a foray into industrial techno from Slave to Society’s rework, and landing in the world of original Jungle sound with Jaise. From every corner - we come correct with the drum n bass intellect.

Live performed at the "FREE PARTY GHOST BUSTERS" (Tribu Ktare - Mental Resistance - Poivro Family - Tellurik) 13,14,15,16-05-16 (south France).

Limited & Numbered to 100 COPIES



100 copies/ Ltd Numbered.
Each live set is different... Cannot do it twice. This is Hardware : instrument is a goldmine and everytime you dig another tunnel...
Mental.

With Where We’re At, Tonique & Man deliver a warm and vibrant second album blending indie pop, soul and soft disco. Staying true to the groove that has become the duo’s signature, the record reveals a more mature and personal side of Jean Tonique and Mi Man.


Both recently becoming fathers, the two musicians are entering a new chapter in their lives, one that naturally shapes the album’s songwriting: a more intimate reflection on how far they’ve come, what they’ve built, and what continues to drive them to create.


Recorded at the legendary Studio Ferber in Paris, Where We’re At also features collaborations with Girl Ultra and Rejjie Snow, bringing new textures to the duo’s sound. An elegant and generous album where pop immediacy meets more intimate songwriting, opening a new chapter for Tonique & Man.

Hazy, unhurried ambient escape Hidden Hour feels less like an album and more like a collection of small, deliberate pauses from Los Angeles-based Cynthia Bernard. The 18 tracks add up to an album exactly an hour long, and each one is tied to a specific place, be that a bridge, a mountaintop in Los Padres, a friend's tea hut in Mendocino, and you can hear that groundedness in every choice, from glockenspiel to piccolo guitar to lap steel. Collaborations with Liom and Dimming blend in seamlessly to Marine Eyes' first solo release on her own label, Cloud Collecting, and it carries the mark of someone able to soundtrack stillness with real beauty.

The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.

Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.

1982 4-Piece Demo' is the first official, fully-licensed and unreleased material to be released under the name Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band's mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn't a complete picture. Bryson and McDowall's growing friendship, having met some years earlier on the punk scene, became a creative partnership: Bryson's art school background and McDowall's history in avant-punk group The Poets meant Strawberry Switchblade was a band pitted against many established norms. The band's very first incarnation, an all-female 4 piece, recorded one demo at Glasgow's Hellfire Club and played a handful of gigs. Friends Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry Switchblade would eventually pair down to a duo and go on to chart success but it's in these raw, passionate recordings that the songwriting and vocal elements were being hammered out and explored in real time.


Spanish Song' is a previously unreleased song. With Rose McDowall's instantly recognizable lead vocal dovetailing with Bryson's harmonies and lead guitar, it's the first glimpse at an alternative history of Strawberry Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indie-pop revolution that would take over British bedrooms a couple of years later. "Trees & Flowers" is instantly recognizable, a bona fide classic that would earn the band its first record deal. Here it's given a more forceful rhythm section: Goodlett and McGowan's playing is in fact accomplished and doesn't hint at the bands' youth. "Go Away" would also surface later on the band's debut LP but here it is a moody-garage stomper with a psychedelic, haunting refrain. These 3 songs point to a tantalizing future of the band that was never realized.


Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and new text. Pa

Originally released in 1989 with the tagline “Bringing house music into the living room,” Fade Out is a landmark Japanese pop/club crossover produced by Haruo Chikada. At the dawn of Japan’s club culture, the track became a staple around Tokyo’s legendary Shibaura GOLD scene, widely embraced as a “danceable kayōkyoku (Japanese pop)” classic.

Today, among European diggers, Japanese techno kayō is undergoing a strong revival and growing reappraisal. Positioned at the heart of this movement, Fade Out now sees its long-awaited official release, featuring previously unreleased remixes with Soichi Terada, Haruo Chikada & OMB.

Performed by Kyoko Koizumi - still evolving as a cultural icon in Japan - Fade Out stands as one of her defining works and a key contribution to the Japanese underground music scene. A timeless piece, ready to be rediscovered in 2026.

1989年、「お茶の間にハウスを」をキャッチコピーに、近田春夫プロデュースのもと日本で発表された、小泉今日子「Fade Out」。

本作は日本のクラブシーン創世記において、芝浦GOLD周辺で「踊れる歌謡曲」として支持を集めた重要作です。

現在ではヨーロッパのディガーたちの間で再評価が進み、リバイバル真っ最中の「和製テクノ歌謡」ムーヴメントの中核を成す楽曲ともいえる本作が、秘蔵リミックスを収録し待望の公式リリース！

現在進行形で日本のカルチャーアイコンとして更なる進化を遂げているキョンキョンこと小泉今日子による、ジャパニーズアンダーグランドシーンでの貴重な功績のひとつであり代表的な国宝級ワークスを是非！

2026年のあなたのお茶の間にお迎えしましょう。

Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2, Cosmocities returns with the third instalment of its celebrated compilation series dedicated to the rich and ever-evolving world of Japanese electronic music. Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 3 continues the journey through Japan’s diverse sonic landscape, bringing together pioneering artists, cult favourites and contemporary innovators across ambient, house, jazz-infused electronics and experimental sound design.

A carefully curated snapshot of Japanese electronic music past and present, Denshi Ongaku No Bigaku Vol. 3 showcases the depth, innovation and enduring influence of one of the world’s most inspiring musical cultures.

Since its inception, the Denshi Ongaku No Bigaku project has paid tribute to a musical culture that has profoundly influenced the Cosmocities vision. Where the first volume explored dreamy ambient textures and deep electronic moods, and the second shifted focus towards boogie-laden rhythms and jazz-fuelled dancefloor excursions, Volume 3 finds a natural balance between introspection and movement.

The compilation opens with Yosi Horikawa’s sublime “Bubbles”, an ambient masterpiece whose delicate organic textures gently set the tone. Chari Chari’s “Luna de Ritmos” follows with deep, ethereal house atmospherics before Force Of Nature’s hypnotic “Skyy High” guides listeners further into immersive territory.

The journey continues through the experimental electronics of XTAL’s “Skygazer” and the analogue warmth of Takuya Matsumoto’s “Jump Rope Music”, while regular Cosmocities contributor Yuu Udagawa delivers the sophisticated high-tech jazz house groove of “Little Secrets”.

On the second half of the collection, Kuniyuki’s remix of Slow Didi’s “Follow Me” brings rich jazz-inflected elegance, leading seamlessly into the futuristic techno-swing fusion of DJ Eiji Takehana featuring Yusuke Nakamura’s “Deep Track Jazz”. Tominori Hosoya’s “Summer Dreamers” adds a deeply emotional and dreamlike house moment before Azzurro’s “Just A Touch Of Love” shifts the focus firmly towards the dancefloor with a hypnotic late-night thumper.

Closing the compilation is AcidGelge’s “Fatality 4”, a beautifully spacey and atmospheric finale that leaves the listener suspended somewhere between the club, the cosmos and the imagination.

The unconscious element to the conscious process.

The practice of dub techno and its tendrils is a fundamental for me, both aesthetically and from an engineering perspective.

I start every recording session with a dub inspired jam, the first piece I ever recorded in 1996 was an effort to recreate Phylyps Trak with only a Korg X3 and an Ibanez PUE5 (borrowed from Gary Howell). It was an awesome introduction to jamming, and the footing stones of noise, delay and saturation were explored with my foot hard on the enthusiasm pedal.

These practice jams are in some sense cathartic, the first step taken again & again, which helps me move forwards each session and additionally helps to 'warm the circuits' both of myself and the machines.

After realising the genius of Basic Channel is akin to the genius of peasant food, using every ingredient with nothing left to waste, (up to and including the oft maligned working noise of the machines themselves), this was a watershed moment for my own subjective progression. No longer tied to just emulation of something inspiring, but taking these learned tools into other areas of music helped to break free from a strong current of influence and also to progress into other areas with the new toolbox.

Dub:

The importance of the dub pioneers should never be understated, in modern music and my own practice. Yet with my initial inspiration being two german dudes issuing extreme techno variants with obscured label designs, who then signposted their listeners to their own inspirations (via their Wackies re-issues or nodded to on their Rhythm & Sound/Burial Mix sub-labels), meant that I started late and travelled backwards.

Learning to notice the live mixing of Mikey Dread or Lee Perry when the faders are bleeding through even when turned down, (echoed in BC's Quadrant Dub), or the brash send effects literally thrown into the mix also taught me that 'rough' mixing can inject a recording with life, uniqueness and the most right wrongness. Looking back Basic Channels very few elements helped me realise that the rules to be understood, are also the best ones to be broken.

Push the mixer into the red.

Amp that noise up from the tape delay cos it sounds sick.

Pseudo side-chain effects cos the kicks are way too loud and the mixer can't sum it nicely.

Spam the send knob into the delay units now, now and now.

Carelessness.

Noise:

Once I wrapped my head around the intrinsic 'noise' element that set those records apart, this became a torchlight into the alt noise movements which I was tentatively exploring at the time, and also is evidently a connection or thread into them.

Whether the Industrial/Post Punk UK scene (This Heat, TG, A Tent, F.E.) or the prolific output of the US Noise scene (Wolf Eyes, Live & Shave in LA, and subsequently following the lineage all the way back to Chrome's Alien Soundtracks), I had finally discovered a connection from techno to this 'free for all' corner of music.

This input from the Noise arena of sound is, in my experience, an all important step for a sonic artist, taking it's roots and extending out from Stockhausen/Pierre Henry and utilised/warped/mangled by thousands of adventurous pioneers ever since, I now see the line separating the high brow and the low brow is actually an artery carrying information from the head to the heart.

Vault is a selection of these jams that precede each of my solo recording sessions, for 30 years I've recorded hundreds of these 'workouts'. They are never intended as serious statements, just moments of naive enjoyment, yet most importantly they are time & space captured as practice.

The objective is always a warm up exercise, but sometimes those exercises turn a different corner, with a certain focus or direction dependent on what random samples are left in my machines from the previous session, instead of conscious choices, these unconscious elements can facilitate those 'positive mistakes' that make a piece of sound retain a different feel or colour and thus become special, or at least special to the creator.

I am quite conscious that the 'record everything' aspect of my ethos has been invaluable in cataloguing and saving these jams, while the attitude of carelessness during this process (after all, it's only a warm up jam) invites more enjoyment than seriousness ever could. Even if you don't feel the piece at the time, record it, because some years later it may well fit, or become relevant in a way you never intended.

-Miles

"Ich möchte lieben und geliebt werden, aber ich will mich auch frei fühlen. Die Spannung zwischen diesen beiden Dingen ist die zentrale Frage meines Lebens", sagt Julia Jacklin - und genau diese Ambivalenz durchzieht ihr viertes Album The Gem. Nach ihrem Umzug nach Melbourne 2017 fand Jacklin in einer kleinen Bar namens The Gem einen Ort der Selbstfindung - ein Sinnbild, das dem neuen Album seinen Namen gibt. Acht Jahre später, nach den hochgelobten Erfolgen ihrer ersten drei Platten - Don"t Let the Kids Win (2016), Crushing (2019) und PRE PLEASURE (2022) - schlägt sie ein neues Kapitel auf: Erstmals veröffentlicht sie bei dem renommierten, stilprägenden Label 4AD, das seit Jahrzehnten für künstlerische Vision und ikonische Indie-Veröffentlichungen steht. Ohne äußeren Druck und frei von Erwartungen schuf Jacklin in Melbourne ihr bislang persönlichstes Werk. The Gem entstand im engen Kreis vertrauter Musiker:innen und entwickelte sich über Monate hinweg - ein intensiver Prozess, geprägt von Selbstreflexion, Zweifel und dem Mut, eigene Entscheidungen kompromisslos zu vertreten. Songs wie "Brand New" oder "Real Life" wurden dabei grundlegend neu gestaltet, bis sie sich ehrlich und richtig anfühlten. Der eröffnende Track "Brand New" setzt ein elektrisches Statement zwischen Aufbruch und Selbsttäuschung, während Stücke wie "God Sometimes" oder "The Hardest Thing" von Selbstbestimmung, Verlust und innerem Wachstum erzählen. Klanglich erweitert Jacklin ihre bisherigen Indie- und Folk-Ansätze um kraftvollere, teils nahezu hymnische Momente. Auch die besondere Aufnahmeumgebung - ein Studio über einer lebhaften Kneipe - prägt den Sound: roh, direkt und atmosphärisch dicht. Mit The Gem gelingt Julia Jacklin eine eindringliche Rückkehr zu sich selbst. Zugleich knüpft sie an die Stärke ihrer bisherigen Alben an und entwickelt ihren Sound konsequent weiter - ein weiterer Beweis dafür, warum sie zu den prägendsten Stimmen des modernen Indies zählt.

Gilla Band are happy to announce their brand new album ‘Pugnello’ released on the 25th September 2026 on Rough Trade Records. The album was recorded from 2022 - 2026 across three studios, Hellfire, Yellow Door Music Studio, & Sonic Studios in Dublin, the album was produced by Gilla Band & it was recorded and mixed by Daniel Fox.


Gilla Band never know where they’re going next. For over ten years now, the Dublin quartet (vocalist Dara Kiely, guitarist Alan Duggan Borges, bassist Daniel Fox, and drummer Adam Faulkner) have been redefining what you could loosely call “rock music” in the 21st century, influencing a wide swath of similarly forward-thinking guitar acts along the way. Across 2015’s Holding Hands With Jamie, 2019’s The Talkies, and 2022’s Most Normal, the band perfected a vision that wasn’t quite post-punk, wasn’t quite noise-rock, wasn’t quite anything besides an idiosyncratic, ground-breaking hybrid that could only come from the four of them.


In the four years since Most Normal, each member embarked on other artistic endeavors. Kiely fostered a newfound love of painting, Faulkner played drums for Lankum on the road, Fox became an increasingly in-demand producer guiding ascendant acts like Sprints, Lambrini Girls, and Mandy, Indiana, while Duggan Borges launched his solo project the Null Club with collaborations featuring Mandy, Indiana’s Valentine Caulfield, the Horrors’ Faris Badwan, Miss Grit, and Brooklyn MC Elucid. All their extracurricular activity existed in parallel with the exploratory route towards Pugnello, but also informed the band as they reconvened to crystallize the album’s vision.

Anfang 2026 veröffentlichte Jack White zwei mitreißende neue Songs: ,G.O.D. And The Broken Ribs" und ,Derecho Demonico". Beide Songs wurden von dem kürzlich in die Rock 'n' Roll Hall of Fame aufgenommenen Musiker produziert und wurden von seiner Live-Begleitband eingespielt: Patrick Keeler (Schlagzeug), Dominic Davis (Bass) und Bobby Emmet (Keyboard). Das waren die ersten beiden neuen Songs seit seinem von Kritikern und Fans gleichermaßen gefeierten Album ,No Name" aus dem Jahr 2024 und gaben einen Vorgeschmack auf sein neues Album ,Frozen Charlotte". Hier gibt es die zwei Tracks auf einer 7".

Hailing from the West side of St. Louis, Missouri, Mikahl Anthony’s sonic roots spread far across the global Alt-Soul / Hip-Hop scene. A highly soughtafter multidisciplinary artist (who has collaborated with the likes of Mick Jenkins, Chance The Rapper, Joey Purp, Smino and more), as well as being a founding member of Chicago’s THEMpeople collective, he now prepares to unveil his masterful full-length debut Muse via R&S Records.

Accompanied by several beautiful, self-directed film pieces, Muse is a record with storytelling at its core. Interspersed with commentary from a range of sources telling their stories to Mikhal, whilst collaboratively analysing their personal experiences, it speaks a candid and honest narrative, which reinforce the heartfelt lyrics within. With the project’s name anchored around a dual meaning acronym (1. Ms. Using sensual energy and 2. Making use of seclusion every day). The record is an audio version of docufilm, that creatively interprets the idea of self-therapy, an internal/interpersonal reflection of life experiences that serendipitously connect to Mikahl’s personal romantic relationships. Mikahl explains: ‘I wanted to use a unique style of songwriting, arrangement and filming with the intention of soundtracking my self-development/maturation process’.

On the project’s lasting impression on the listener, Mikahl elaborates ’The exploration of inner truth and vulnerability is key to the future of good music. I want this project to act as symbolism that highlights the mantra that honest approaches and authenticity still has the most value. I also want people to see how important the use of community is when you can connect them to your subject matter...I'd like my audience to observe and engage in their own self-reflections, approaches by way of listening or interacting with the story.’

Drifting to an elevated state of consciousness, Muse is a deeply intoxicating and engrossing listening experience from front to back. From the sliding, kaleidoscopic shadows of opening track ‘La Flare’, via the trepidation-laced atmosphere of ‘Polyamorous’ and the hazy, reverb drenched saxophone notes of LP closer ‘Eddie Kane’ - Mikahl channels moments of joy and pain, infused with spirit enriching instrumentation and gritty textures.

Visual stimuli play an integral role within Mikahl’s music. His songs represent transparency and openness dipped in funk. Layers of soft velvety vocals emerge from jazz harmonies, trap rhythms, and social commentary sourced from voiceovers/excerpts. His creations are the musical representation of documentary films. His art is imagery embodied.

The fifth LP in the long history of the label comes from another Belgian producer who is ready to fly high. After San Soda, Metrobox, Uni Son and label boss Red D it is now time for Tom Smeyers to step up and take us into his universe of warm grooves and sweet house music…with a twist.

Taking in influences from around the full spectrum of electronic music these six tracks represent what Tom is about at the moment. From deepest old school inspired house to more broken beat action right into drum’n’bass territory, with an attention to detail and experienced sound design.

As if that wasn’t enough Tom also took care of the artwork to match his music. We here at WPH call that a 360 artist. Welcome to the family Tom Smeyers!

DTM Funk: Super Dope!

DJ Bone: Really great release. I love every track!

Owain K: Classy grooves for dancefloor moves.

Séa: Lovely!

Simon Caldwell: Beautiful machine house music. Takes me back and takes me forward.

Satoshi Fumi: Really love all!

Severino Panzetta: Great sound.

Ame: Thanks for these.

DJ Merci: Top release!

Red D: So good I just had to release these J

opo’s 666ridims (2020 - 2026), compiled by J.TRIPP, brings together tracks from his 666ridims netlabel, reflecting on the singular sound worlds of some of his solo work. Like a discovery made by neutrino sensors, opo’s tracks research the transformation of rhythm, swing, and structure, aiming for a new grid. Sketchy and raw, processing emotions and experiences, regaling stories, and asking questions, opo relates in trance verse. All tracks here breathe his focus on improvisation, experimentation, and collaboration. Some of the beats featured on 666ridims (2020 - 2026) are outlines for freestyles and songwriting ideas, a practice formed during a long-distance music conversation with illustrator, printmaker, painter, designer, and maker Billy Bigwood. Other tracks are more club-oriented, like speculative genres programmed in odd meters. Japanese Barcelona-based DJ Hanakito contributes to one track, using samples and chops sourced from her vinyl imports.

Through Afroelectronic experimentation and diasporic narratives, opo encodes his soul's past and future through his music. Encoded, activated, returned. Initiate only when you receive permission from all your mental fragments. Keep transmissions in mind and dislodge and follow the command cluster's trail. Strongly influenced by sci-fi, ancestral afro musics, jazz, performance art, and food, as musical lines and shards of meaning cascade, 666ridims (2020 - 2026) is a minimalist dive into strange meters, polyrhythm, and the transcendence of ideas. Fast, slow. Exhilarating. We don’t discover physical laws; we just collaborate on them.

The first transmission from Pink Dolphin arrives on a double-sided 12” – two sides of music following the warmth, movement and possibility of an endless day.

Night Wind moves with the ease of a warm summer afternoon – light, fluid and quietly uplifting. Rhythm and atmosphere flow together with an effortless sense of motion, like a breeze arriving from somewhere just beyond the horizon. There is a feeling of open space throughout: sunlight on water, windows open, landscapes slowly passing by. Nothing feels hurried. The music simply finds its own pace, suspended somewhere between movement and stillness.

As the music unfolds, familiar elements seem to drift in and out of focus, leaving just enough unexplained. It feels less like a destination than a moment – one of those stretches of summer when time loosens its grip and the day seems capable of continuing indefinitely.

Night Wind is a small escape into that space.

Crafting another beautiful experience in sensorial delight, fleet.dreams returns to Vinezza with the label’s 3rd offering “A Voice Without Color” - born from an ever-deepening practice of groove-powered depth tech melded with realms of dubwise kineticism, enchanted cognition, and expressive, dreamlike synthesis.

“A Voice Without Color” finds fleet.dreams’ music in its most rave-activated mode yet, crafting 4 pieces of infinitely mixable spectral matter - all part of their own universe beckoning to be heard under the glow of stars in the night sky, or floating amidst the mesmerizing fog & lights pumping out of the system on your favorite dancefloor.

Awash in kaleidoscopic splendor and psychedelic intrigue, “A Voice Without Color” finds kinship in everything from the best of expansive dancefloor kineticism, time dilated wonder, and the vivid reverbations of the natural world floating in the mix. At once quintessential, contemporary, and ubiquitous is fleet.dreams’ own remarkable production technique, each track unfurling in seemingly endless swells of simmering rhythm and hypnotizing atmospherics - new memories of circadian entrancement in their molten essence, designed to blissfully guide you deeper and deeper towards the primordial exhilaration of movement. Undulating with vivid pulsations and clarion calls for the hips and mind echoing across a spiraling gyre, the sprawling waltz of “A Voice Without Color” glides through dazzling chroma and effulgent radiance greater than the sum of its parts.

Painting with bold, prismatic strokes of iridescent friction amidst the listless gray of our increasingly dispassionate timeline, fleet.dreams delivers another EP of style, substance, and vision for the dancers and DJs alike - a future classic of a possible world ready to be activated together.

*words by Kiernan Laveaux

Early support from: Kiernan Laveaux, Daniel Rincón (NAP), Scott Zacharias & Amelia Holt

Code Zero lands on Dream Nation imprint. This three-tracker EP is the kind of record that appeals most to fans of the late-1990s and early-2000s underground European sound rather.

2026 Repress

25 years after this cult UK label first emerged, we're very happy to present some of their most sought after releases...
Primitive represented a stripped down and sonically heavyweight series of essential DJ tools, winning wide support from Techno an House DJ's alike & enduring - perhaps due to their raw, basic construction - way beyond their original inception.

This is the first compilation EP, featuring some favourites from the catalogue, remastered & repressed on limited, hand-stamped vinyl...


Despite serious demand, we will only be able to access limited quantities of these special 21st century repress editions, so buy or cry !

2026 Repress

Symmetry is proud to announce the arrival of Solid State Vol. 1 - a special vinyl release from Break. Due to popular demand, we’ve compiled four standout tracks, including some fan favourites that until now were only available digitally.

The EP brings together a serious collection: Release Me, which hit number 1 on Beatport; Overstayed, Symmetry’s highest selling tune on Bandcamp; alongside two more heavyweight cuts, All You Gotta Do and Zodiac.

Pressed and presented in physical form, Solid State Vol. 1 is both a collector’s piece and a must-have for DJs - and this time it’s something you can hold in your hands.

Recorded spontaneously in Brooklyn and created entirely without written compositions, this album is an essential release for fans of ambient music, spiritual jazz, meditation, and deep listening. Features ISAIAH COLLIER on drums and tenor sax and produced by SONNY DAZE

Leo Gibbon returns to Mudline with barbed, a six-track suite of dust-worn, sample-driven constructions pieced together from a balcony while travelling. Built from fragments that retain the emotional weight of their origins, the EP finds Gibbon paring his sound back to its essentials, letting cracked loops, negative space and tactile percussion carry a quiet sense of intimacy. There's a subtle tension throughout, music suspended between memory and movement, where worn textures and carefully preserved imperfections become part of the composition itself.

James Massiah appears on the record with a characteristically measured performance, his delivery drawing on the cadence and phrasing of archived poet freestyles, less spoken word than an act of excavation, recalling a lineage of recorded voices whose authority comes from rhythm, restraint and lived experience. His presence folds seamlessly into the EP's weathered textures, becoming another fragment in Gibbon's collage rather than a conventional guest appearance.

The first half drifts through reflective, inward-looking terrain before the second side gradually opens towards the dancefloor, never abandoning the emotional pull that defines the record. Even at its most club-focused, barbed favours understated pressure over obvious peaks, allowing atmosphere and texture to carry as much weight as rhythm. Mastered by Miles Whittaker, every grain, scrape and imperfection is left intact, balancing grit with clarity and reinforcing Mudline's instinct for raw, emotionally resonant club music that feels as honest as it does functional.

Zwei wahre cineastische Juwelen auf einer 7"-Single. Eine Auskopplung aus der beliebten Vinyl-Compilation-Reihe "The Tape Masters", die laufend seltene Rare Groove-Schätze und unveröffentlichte Aufnahmen aus den Archiven des Filmkomponisten Peter Thomas zutage fördert. Exklusiv auf dieser Single – und überhaupt zum ersten Mal auf Vinyl erhältlich – ist die rare deutschsprachige Version des Tracks "Black Power", gesungen von einer gewissen Donna Gaines. Später natürlich weltberühmt geworden als Donna Summer, markiert dieser Song ihre allererste Aufnahme als Solokünstlerin im Alter von gerade einmal 20 Jahren. Zugleich war es ihr erster Auftritt vor der Kamera – prominent platziert im ZDF-Krimi-Dreiteiler "11 Uhr 20" (1969). Sowohl der Film als auch bisherige Sampler verwendeten die englischsprachige Version; der Mono-Mix der deutschen Fassung wurde erst vor Kurzem in Peter Thomas’ Bandarchiv wiederentdeckt. Ein weiteres vokales Highlight aus einer deutschen Krimi-Trilogie ist Senta Bergers frech-laszives "Vergiss mich, wenn du kannst" (aus dem ZDF-Krimi-Dreiteiler "Babeck", 1968). Das Lied basiert auf dem Titelthema der Serie und wird von der Sängerin in ihrer Rolle als geheimnisvolle, vamp-artige Barchefin interpretiert. Unter Liebhabern europäischer Filmmusik hat sich der Titel längst zum Kultstück entwickelt und wurde bereits mehrfach gecovert. Das Original feiert nun endlich hier seine Vinyl-Premiere. Achtung: Ein absoluter Doppelseiter!


a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) feat. Donna Summer

a a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1: Black Power (German version) [feat. Donna Summer]

[a] a1 | Black Power (German version) [feat Donna Summer]

PRAANA unveil their highly anticipated album Insight Out on Colorize, a deeply immersive body of work that explores reflection, connection and emotional growth through the duo’s signature cinematic lens.

Built around themes of reflection, presence and human connection, Insight Out creates a rich sonic landscape where atmospheric textures, subtle rhythms and emotive songwriting coexist with effortless grace. Featuring collaborations with Susie Ledge, Tina Parol, Freddie Elmberg and Courtney Storm, the album showcases PRAANA’s ability to create music that feels both intimate and expansive. An alias of Tritonal, PRAANA have amassed over 30 million streams, earned sustained support on SiriusXM Chill and recently completed U.S. tour dates in Chicago, Denver and a sold-out Elsewhere Rooftop show in Brooklyn.

Insight Out stands as a fully realised artistic statement, offering a space for stillness, reflection and meaningful escape through sound.

Gnod's now twenty year journey through spiritual and audial exploration has been driven by relentless curiosity, magpie irreverence and a fierce countercultural imperative, their project has always refused to acknowledge all or any rules and boundaries, internal or external. The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but in true Gnod fashion by, what began as a trip into a residential studio setup in Hellfire Studios with producer John `Spud' Murphy (Lankum, Black MIDI, Caroline) for six days, resulted in more potent material than anyone bargained for. The end result has been three studio albums to be released over the next year. "This trilogy revealed itself to us in the studio" says Paddy. "We were hoping to get a good album out of the session and lo and behold we got three of the fuckers. It's interesting that we did pretty much capture the full spectrum of the Gnod sound across all three". In fact, this intrepid first instalment of the `Chronicles Of Gnowt' trilogy covers an alarming amount of sonic territory all on its own. Driven as always by the power of repetition as well as Gnod's alchemical marriage of the maximal and the minimal, this album is imbued with a vivid focus that's testimony to the chemistry of the sessions, coupled with a detailed and spacious production from Murphy that brings out the psychedelic sound worlds of the band in vivid colour. This is a travelogue which delves into pastoral tranquillity (as on `Three Trees Parts 1&2') just as adeptly as expansive Earth-tinged riff monoliths (`All Tunnel No Light') and just as formidably as the closing epic `Ekstasis' - a hallucinatory vista where kraut-tinged experimentalism meets Swans-style intensity. Yet all the while, truly sounding like no one but Gnod.

Uncompromising Italian DJ/producer The Southern makes his vinyl debut on Mutual Rytm's sub-label, Spectra, with remixes from Alarico, Temudo and Sciahri. An EP marking an impressive label debut, Carmine Portarulo, aka The Southern, lands on Mutual Rytm’s sub- label Spectra with a powerful showcase of his much-loved sound. With the lead track featuring as one of label head SHDW's most requested IDs of the year so far, and packaged alongside outstanding remixes by close label associates Alarico, Temudo and Sciahri, the EP comes having established himself with a sound rooted in old school value and pure techno, favouring energy and authenticity over hype. The track’s backstory comes from the moment Carmine and his partner found out they were expecting a child and went for their first ultrasound appointment. Overwhelmed by the emotion of the moment and the beauty of what nature is capable of, he returned home and poured those feelings into the music. The result, ‘Ultrasound’, is an anthemic, punchy techno cut with euphoric energy rising up through the synths and its catchy lead melody. Joyful melodies sparkle amid vocal groans, adding a raw emotional pull as the warm, driving drums march on. Berlin-based artist Alarico is the first to remix on his return to the label, and his ‘Sad Mix’ has a more melancholic mood, with dark chords and tightly programmed drums that bring lo-key funk. Hayes Collective founder Temudo also returns and flips the vibe on his ‘Neuro Interpretation’ with a more psyched-out, twisted tune featuring trippy synths and booming drums for peak-time impact. Italo-Iranian Sublunar Records head Sciahri then drops his trance- inducing, hypotonic ‘Tunnel Vision Mix’, followed by two digital bonuses: ‘The Stripped Mix’, a bouncy workout with futuristic melodies, and Temudo’s ‘Neuro Interpretation 2’, which is raw, textured, and dark.

New full-length album from Posthuman, veering deeper into electro and leftfield territory than usual. The A side opens with the Drexciyan ‘What U Need’ then straight into the Rother-style machine funk of Test 14 and Reps, through to the downtempo dubby closer of Torus Dreams. The flipside starts more heavy duty with industrial rave in Break Bones before dropping back to chilled ambient house with Chronophobe. Facts Not Opinions and Detramental close off the album with more classic electronica sounds reminiscent of Posthuman’s early 2000s releases on Seed and Skam. Released on unique starburst/splatter/glitter coloured 12” vinyl. It may be computer music, but no humans were harmed in the making of this album; 100% guaranteed AI free material.

Nonna Fab returns with his fourth release on his own imprint Movement and Soul Records, with the first single on the label, 'Eternal Between'.
This is a 3-track soulful house EP with two versions from Nonna and a beautiful remix from Trinidadian Deep.

Eternal Between is an instrumental soulful house record with a true exploration of the deeper side of dancefloor and movement.

The Spiritual Rhythm mix does exactly what it says on the tin, with the focus on a deeper, introspective dance floor cut. Explorative piano jam, rolling bassline and deep Juno stabs.
The Deeper Dub does exactly what B-sides were made for, percussive rhythms, stripped back synths and a deeper dive into the track. A broken beat style bassline and huge pads. Suitable for peak-time or the breather.
And the first ever remix on a Movement and Soul Records, Nonna invites Trinidadian Deep to put his touch on the rhythm.
Spacious, expansive and percussive with some true signature-style elements to the remix...

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.

Over the years, Faust has become many things, distinct as fingers, yet united as the hand that forms the fist. This series of new LPs on Bureau B sees each living member of the legendary 1971-1974 line up present their own interpretation of the Faustian myth, working alone or with collaborators to create new material that reflects their contemporary vision of what Faust can be.