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MOb return this November with their second album on Veego Records, continuing the adventurous journey they began with their 2023 debut MOb 1. Hailed by the press as one of the boldest and freshest statements in the Greek scene, their first record moved seamlessly between jazz, punk, and electronic forms, creating a sound often described as “an entire orchestra played by just three musicians.”

On their new release, Marios Valinakis (saxophone, effects, synthesizers), Alexandros Delis (bass, double bass), and Panagiotis Kostopoulos (drums) construct an even more intricate and ambitious sonic universe. The compositions range from the explosive energy of “Tipping Point” and the dark atmospheres of “Utu and Sin”, to the radical reimagining of Wayne Shorter’s “Fall” and the polyphonic outburst of “The Listener”, featuring the Kos Choir.

Guest appearances further expand the palette: Phillip “Felipe MC” Manev lends his voice to “Tipping Point” and “Encounters”, while Angelos Polychronou enriches “Encounters” and “The Listener” with his percussions.

The album was produced and recorded by MOb themselves, with Bruno Ellingham handling mixing and mastering for most tracks, while “Utu and Sin” was mixed by Malcolm Catto at the Quatermass Sound Lab. The cover artwork is designed by Apostolos Mitrelis, and the back cover features a photograph by Maciej Moskwa.

If MOb 1 revealed a band capable of fusing free improvisation with rhythm-driven “bangers” that reached audiences beyond Greece, the new album confirms their evolution: more intense, more diverse, and more imaginative. With one foot rooted in tradition and the other firmly in the present, MOb deliver a work that breaks boundaries and builds bridges across genres and audiences, solidifying their reputation as one of the most exciting groups in today’s Greek music scene.

Welcoming elusive Japanese guitarist, Kouhei Fukuzumi, for his 3rd solo full-length as Ultrafog. ‘A Replica Screams’ emerges as a collection of drifting memories, a chain reaction of unique combinations of elements already present in the World. It embraces the idea that existence itself is positively shaped by serendipity and meaningful coincidences, and that we are all falling together, in time, and on time.

The vinyl edition contains an original artwork poster presenting João Bragança Gil’s ‘The Origin’ (On & On), an installation on synchronicity and fossils, which materialized in conjunction with Ultrafog’s live show at Ufonic (Lisbon, September 2024).

Mastering by Giuseppe Tillieci in Rome
Design by Eunseo Kim in Seoul
Manufacturing by AFG in Rome

Am 19. Dezember 2025 erscheint über ZYX Music das mit Spannung erwartete Debütalbum Future Rave United Vol. 1, das die Zukunft der elektronischen Tanzmusik neu definiert.

Auf 10 energiegeladenen Tracks präsentiert das Album eine unvergleichliche Mischung aus treibenden Beats, hypnotischen Melodien und futuristischen Soundlandschaften.

Die Tracklist setzt sich zusammen aus:
HYPERLOOP | BLACKLIGHT | ULTRANOVA | ALPHA | IN MY HO U SE HOUSE | THE FUTURE RAVE (PLATZ 2) | UNITED FAMILY | XTC | TITAN | UNITED DJs OF THE WORLD

Jeder Track auf Future Rave United Vol. 1 ist ein Statement: von pulsierenden Club-Hymnen über emotionale EDMErlebnisse bis hin zu epischen Future-Rave-Sounds, die jede Tanzfläche in eine unvergessliche Partyzone verwandeln. Mit diesem Album richtet sich der Künstler direkt an Fans von elektronischer Musik, die den Puls der Zukunft fühlen wollen.

Future Rave United Vol. 1 ist nicht nur ein Album – es ist eine Bewegung, eine Feier der Einheit in der globalen DJund Clubszene und ein Muss für alle, die den Sound der kommenden Jahre erleben möchten.

On 19 December 2025, ZYX Music will release the eagerly awaited debut album Future Rave United Vol. 1, which redefines the future of electronic dance music. Across 10 energetic tracks, the album presents an incomparable mix of driving beats, hypnotic melodies and futuristic soundscapes.

The tracklist consists of:
HYPERLOOP | BLACKLIGHT | ULTRANOVA | ALPHA | IN MY HOUSE HOUSE | THE FUTURE RAVE (PLACE 2) | UNITED FAMILY | XTC | TITAN | UNITED DJs OF THE WORLD

Every track on Future Rave United Vol. 1 is a statement: from pulsating club anthems to emotional EDM experiences to epic future rave sounds that transform any dance floor into an unforgettable party zone. With this album, the artist addresses fans of electronic music who want to feel the pulse of the future.

Future Rave United Vol. 1 is not just an album – it‘s a movement, a celebration of unity in the global DJ and club scene, and a must-have for anyone who wants to experience the sound of the coming years

Warsaw 480km ist das Debütalbum des irisch/portugiesischen Quintetts pôt-pot, das die treibenden Grooves des Krautrock mit einer phosphoreszierenden Psych-Rock-Ausstrahlung verbindet, unterstrichen von Harmonium-Drones, hypnotischen männlich-weiblichen Gesangsharmonien und tiefen Schichten rauer Texturen. Das Album entstand in erster Linie aus Demos des Multiinstrumentalisten und Leadsängers Mark Waldron-Hyden während einer Zeit der Trauer und des persönlichen Umbruchs und wurde durch eine Reihe von Live-Studio-Sessions in voller Besetzung zum Leben erweckt, die ein außergewöhnliches Spektrum an Talenten dokumentieren, die sich in einer Umarmung der rohen Katharsis mit einer süßlich düsteren Kante vereinen. Ein entscheidendes Element von Warsaw 480km ist die beeindruckende Bandbreite an Einflüssen und atmosphärischen Landschaften. Waldron-Hyden beschreibt: ,Ich habe die ersten Songs geschrieben, als ich noch nicht wirklich an einem Ort lebte, daher denke ich, dass sie sich irgendwie vergänglich anfühlen - sie mit der Band zu entwickeln half mir, eine Zeit zu verarbeiten, in der ich emotional frei war, daher erinnern sie mich gleichermaßen an die schönen Erfahrungen, die wir als kreative Einheit teilten, und an die schwierigen Zeiten, die sie inspirierten." Die Leadsingle ,WRSW" ist ein Beispiel für diese Komplexität, denn ihr robustes rhythmisches Rückgrat trägt Tremolo-Gitarren, ein wummerndes Harmonium und eine halb gesprochene, an Lou Reed erinnernde Gesangslinie, in der Strophe und Refrain wunderbar miteinander verschmelzen. Vor allem ist Warsaw 480km ein Album, das seinen Reichtum und seine Aura durch bewusste Sparsamkeit erreicht, wie Waldron-Hyden erklärt: "Ollie Oliver Smith und Sara Sara Leslie sind Experten darin, das Beste aus einem Pedal, einem beschissenen Verstärker und einer geliehenen Gitarre herauszuholen, ein Ergebnis von angeborenem Talent und jahrelanger Erfahrung; sie verwenden einige Modulationen für dröhnende Passagen, aber es sind ihre Spielstile und ihr Verständnis für ,den Vibe`, die die geheimen Zutaten sind." Diese Art von intuitiver Verbindung und Zusammenarbeit ist unglaublich selten, und mit diesen zehn Stücken vollbringen pôt-pot etwas wahrhaft Entrücktes, indem sie tiefen Schmerz in eine leuchtende Träumerei alchemisieren. Für Fans von Lewsberg, Spacemen 3, Spiritualized, Brian Jonestown Massacre, Velvet Underground, The Oh Sees, Ty Segall, Uranium Club, Night Beats, Goat, Black Lips.

British-Brazilian jungle artist Janaway announces his brand new EP International Luv via Up Ya Archives Records.

‘50/50 Vision’ is the defining statement of Janaway’s upcoming EP, a single that captures the project’s full essence in one. Blending pulsing jungle rhythms with the rich textures of Brazilian vocals, together, with his UK-centric underground lens, he creates this rolling, dancefloor-ready track that bridges continents and culture.

The title, a play on “20/20 vision,” reflects Janaway’s experience as a dual-heritage artist who views each of his cultures from a balanced perspective. This sense of duality runs throughout his work, expressed through a distinctive fusion of sounds, stories, and collaborations that mirror his own world. The accompanying visuals deepen this connection, featuring Janaway alongside his collaborators and friends, not only adding a personal and authentic layer but providing a snapshot of the community that shapes his music.

‘50/50 Vision’ is a collaboration with two incredible artists that represent each side of his heritage. MC Tchelinho’s (Rio’s Heavy Baile collective), dynamic flow injects raw Brazilian energy and is enhanced by Arinola’s signature mix of UK funk and Ragga vocals which layer in an infectious groove. Together, they create a dynamic intersection of contrasting sound that feels both global and grounded - full of rhythm, movement and connection.

Growing up between cultures, Janaway has always gravitated toward sounds without borders. Now based in Bristol, he’s part of the new wave pushing jungle forward while keeping its essence alive. His signature blend of heavyweight basslines and sharp breakbeats has earned support from Nia Archives, Tim Reaper, Sherelle and Fracture. His acclaimed high-octane DJ sets packed with unreleased tracks, move effortlessly through jungle, footwork, and jungle funk, keeping crowds locked in and dancefloors moving. After a European tour and standout appearances at Boomtown, Glastonbury, and Outlook Festival, Janaway is fast becoming one of the most exciting names shaping the next gen of jungle.

After the seminal Musica da Discoteca trilogy, l’oggetto continues his exploration of electronic music subcultures with DANCE. This new series expands his research into the mutual connections between Italian and American sound cultures that gave birth to house music in the ’90s, while venturing into more introspective territories between Balearic beats, deep house, and techno.

The new 12” EP, DANCE vol.2, unfolds across four tracks that capture the night’s shifting moods and tempos, balancing collective euphoria with moments of personal transcendence. Seksy Tango opens with staccato synths and rounded basslines, channeling Mediterranean swagger and the faded glow of a summer night on the Italian Riviera. Smoothismi’s percussive groove and jazz-infused Rhodes warm bodies and souls, while analog-filtered pads sweep through the after-hours. In Tek, sharp stabs reverberate through the concrete pillars of an abandoned warehouse, as digital flutes shimmer like dawn breaking over an illegal rave. The EP closes with Enigmatico, a downtempo drift into the liminal space of the chillout room, reconnecting dancers to their surroundings and themselves.

l’oggetto is the musical side of NY-based Italian multidisciplinary artist Marco Scozzaro. With roots in ’90s subcultures, he DJs and produces underground house music, blending jazz/funk grooves, electronic transcendence, and a distinctly Italian vibe. Together with Pietro Di, and true to a shared DIY ethos, he co-founded MKDF Records to release and distribute his uncompromising sound.

Five years after the release of 'The First Circle' Neroli celebrates its 25th anniversary with a new volume.
'The Second Circle' picks up from where its predecessor left and expands its aestethic into more musical territories.
The album moves from still ambience and majestic uplifting strings to quirky electronics, it explores expansive fusion landscapes till landing into Detroit beatless territories accompanying the listener to multiple musical places and to embrace this unique spiritual journey. Featuring original unreleased compositions by: Nu Era, Lar Bartkuhn, Molinaro, Claude Young jr, Joe Claussell, EDB, Jordan GCZ, Other Lands, Stephen Lopkin, Meftah, Zopelar and Volcov.

*IMPORT EXCLUSIVE* Veego Records proudly presents the first-ever vinyl reissue of Jazzburger, the cult 1984 electronic album by Lucas Thanos. The title track “Jazzburger,” rediscovered through Dekmantel’s Profondo Nero compilation, blends cold minimal synths, slow-motion disco, and eerie cinematic tension, featuring the ghostly vocals of Idyli Tsaliki. Includes 2 previously unreleased tracks, an early demo version of Jazzburger as well as a demo of Μόνο ένα Λεπτό. The reissue also includes “Break,” probably the first rap song ever recorded in Greece, echoing the electro-funk style of Egyptian Lover, and “Set on Fire,” a pure slice of French disco elegance. A rare collection that bridges Italo Disco, New Wave, minimal wave, and early European electronic experimentation, Jazzburger is a long-lost time capsule brought back to life for a new generation of listeners.

Black Midi war von Anbeginn der Band ein illustres wie kreatives Tummelbecken für die Mitglieder der britischen Band - nun löst sich Geordie Greep mit seinem am 4. Oktober bei Rough Trade Records erscheinendem Solo-Debüt noch mehr von jeglichen Einschränkungen und Kompromissen! Eines der Hauptthemen von Anthony Powells Roman "A Dance to the Music of Time" ist der Kontrast zwischen jenen Charakteren, die nur von Macht getrieben werden, und jenen, die mehr mit den sinnlichen Freuden des Lebens in Einklang stehen. Unweigerlich holen die Zeit und das Schicksal jeden Protagonisten ein, und der Leser kann darüber nachdenken, ob ihr Schicksal gerechtfertigt ist oder nicht. "The New Sound" wirkt oft wie eine Wiederholung von Powells Thema, untermalt von einem schrägen - und völlig verkabelten - Palm Court Orchestra. Das Album ist mit Sicherheit eines, das den Hörer über die gesamten elf Tracks hinweg voll in seinen Bann zieht. Greep: "Ich war besorgt wegen der Länge, um nicht zu viel zu verraten. Aber ich bin es auch verdammt leid, Musik zu hören und im Voraus zu wissen, was sie bedeutet oder was sie zu tun versucht. Bei all meiner Lieblingsmusik geht es darum, dass der Hörer sich mit dem auseinandersetzt, was vor sich geht. Meine Lieblingssänger, wie Peter Hammill oder Nat King Cole, sind buchstäblich einmalig. Das liebe ich. Vor allem bei Texten, bei denen man nicht genau weiß, worum es geht, aber man weiß, dass es nicht nur abstrakte Gedanken sind."

First Contact features CROÍ, Lukey, KAIR, Sahm, and HVSN. Our first release is a compilation of tracks that we’ve been collecting and to seize all the styles and genres which we will deal with in the future.

‘First Contact’ is the first song of the VA, opening with an invitation with a combination of a nostalgic ambience followed by the drums that go along with the vocals pointing to the start for our journey. In Irish, the word "CROÍ" (pronounced KREE) means "heart". ‘Target Lock’ from Lukey, is a track that will definitely surprise you. This song is meant to push you back to the dance floor with a feeling which you don’t get very often from listening to these kinds of songs. Everything is cool with ‘Target Lock’, drums, nice trippy vibes, and how the bass fits there… You should be blown away by this song. In a real old school style! Lukey has previously caught the eye of industry labels like Hot Creations, also his release on Carpet & Snares Records, Into The Wizard's Sleeve, The Void Project was hammered by some of the great DJ’s in the world.

KAIR introduces himself to us in his own way with ‘Let's Get it!’ Because this bomb won’t fail to make you dance and feel good! It’s pure house and joyful music that makes you dance and get lost within the music. Also, ‘Let's Get it!’ is just a preview of the upcoming EP. ‘Rainbown’ is a track which shows us that Sahm knows how to come out with a brilliant house track. A groovy old school house with heavy percussion, comes from a young talented producer from Brazil! This will be the track that you’ll be playing years from now on. And ‘Bust This’, you will hear among the bass, the claps and drums, a high energy that will make you move your body. HVSN presents his vision of how to bring the right emotions of a dance floor full of energy and the connection between the bass, synth, drums and melody is back!

Enjoy, This Is Real Talks Records.

VA – First Contact RTR001 incl CROÍ, Lukey, KAIR, Sahm, HVSN

Beau Wanzer is back with another meaty morsel of undercooked music for the starving beat eaters. This slobbery slab serves up a mix of gothy goobers and techno toddlers....scavenging the dance floor for another hit to make it through the night. Who will win?

His 7th release on his recently reactivated self-titled imprint. A conveyor belt of gurgles and spurts for the doomed dancer.

Labas, ka tu ? I am ready to show you Rayonas - Speedy House Vol.2 !!

As the world time and us are becoming faster I decided to work on my OWN style and genre :
Speedy House - fast house music on 145-150bpm
it goes well with groovy / tribal 90s / techno.

Speedy House releases will be divided into VOL. sections.! i am not changing character just adding some Roller Skates to go faster and from speed light comes some colours on top of it.

From out of the dark, sparks of feedback birdsong signal a return to the singular sonic environments of Rafael Toral"s sound-world. A year after Spectral Evolution, his acclaimed album of electric guitar conceptions, comes the companion work Traveling Light. Sharpening his focus around a set of jazz standards, his move from abstract form to solid song elicits glints from beyond time and space, crafting a unique listening lens for deep listeners. In the early years of his practice, Toral used the guitar as a generator to create discreet texture and droning tones. Later, he abandoned the guitar entirely, focusing on self-made electronics to render his music with a post-free jazz perspective. For the music of Spectral Evolution and Traveling Light, Toral has combined his methodologies: radically expanding the space within their harmonies with his self-made machines, while engaging directly with his instrument and the chords of the material. In addition to Toral"s proxy orchestra of guitars, sine wave, feedback and bass guitar, Traveling Light features the sounds of clarinetist José Bruno Parrinha, tenor saxophonist Rodrigo Amado, flügelhorn player Yaw Tembe, flautist Clara Saleiro, who each guest on one song. In every contour of Traveling Light"s path - arrangement, improvisation and production - the spring of the old pours through the new in an unstoppable flow. The result is a listening experience of these standards that remains "in the tradition", even as the elongated harmonies seem to alter time such that, as Toral notes, "the chords become events on their own."

Following the acclaimed reissue of Sa Discossa earlier this year, Jo Tongo's third solo album Those Flowers returns to the spotlight.

Originally released just a year and a half after Sa Discossa, this 1982 gem came out on the small Context label and, in Tongo's own words, the two records are "like twins." Recorded with many of the same musicians, Those Flowers continues the vibrant fusion of disco-funk and reggae - this time dedicating one side to each, leaning slightly more into his Western influences.

But there's more than groove beneath the surface. Tracks like "People Need Peace" and "We Human Beings" channel his enduring themes of resistance, identity, and freedom. The synthesizer at the beginning of the song mimics the ominous drone of warplanes, and lyrics speak directly to global struggles - reminders that his music is both deeply personal and powerfully political. "I paid for these ideals in my career," Tongo reflects, alluding to the personal costs of his outspoken stance against colonialism and injustice.

Still, Those Flowers carries joy at its heart. Songs like "Ain't No Man Like A Real Friend" celebrate trust and loyalty, while the title track offers a tender ode to love and kindness - "picking flowers from the soul," as Tongo puts it. These songs reveal the inner world of a man who has always viewed music as a mirror of life.

This reissue marks the second installment in the African Edge series from The Outer Edge label. Fully restored and remastered, Those Flowers is now set to bloom again - another vital chapter in the legacy of Jo Tongo.

Trenchcoat-beige Vinyl | Gatefold | 180g | limitiert auf 200 Stück weltweit Die legendären TV-Soundtracks zu Derrick und Der Alte erscheinen erstmals in einer exklusiven Vinyl-Edition - stilecht in "Trenchcoat-beige". Peter Thomas" ikonische Musik zwischen Suspense, Lounge und Funk prägt bis heute das Klangbild deutscher Krimikultur. Enthalten sind Originaltitel aus den frühen Folgen beider Serien, darunter zwei bisher unveröffentlichte Tracks aus dem Jahr 1974. Verpackt im hochwertigen Gatefold-Cover mit Artwork von Jörg Schöpf und Adrian Keindorf. Ein Muss für Sammler und Fans von Retro-Sound und TV-Geschichte.

After years of shaping the UK underground from behind the scenes, Alex Nut steps out with his first official solo EP, serving up an intoxicating blend of Spiritual Jazz, Deep House, Dub, Hip Hop and analog electronics. The Present Under Construction EP is rooted in a deep musical language and future-facing energy, it captures a moment of creative transformation and exploration.
Built up over a few years from rough sketches made on an old MPC2000XL, the tracks were revisited, reshaped and eventually brought to life in the studio with longtime friend and collaborator Sam Crowe (Cleo Sol, Lianne La Havas). Together, they added a range of analogue sounds using the Dave Smith Prophet Rev 2, a Fender Rhodes, and a Moog Sub 37. Those recordings were then chopped, resampled, and restructured into the versions you hear on the record today. The records lead track 'andthenitstarted' features saxophonist James Mollison (Ezra Collective, Nala Sinephro) and includes remixes from Detroit House legend Patrice Scott and fellow Eglo Records alumni Last Nubian.

Best known as a DJ, broadcaster, curator and co-founder of Eglo Records, Alex has spent over a decade championing soulful underground music, through fabled Radio shows to legendary club nights, his fingerprints are all over a scene that continues to evolve. Initially making noise alongside the likes of Floating Points, Steven Julien, and Fatima, Alex Nut has long been a cornerstone of the UK's soulful underground. His work continues to champion the evolution of Jazz, Soul, House, and Broken Beat — nurturing a generation of artists now reshaping the global soundscape.

Cosmic Voodoo is an immersive musical experience that combines the best of cosmic disco with the pulsating energy of contemporary electronica. Through alternating synthesizers and acoustic instruments, this project presents an irresistible arsenal of sound.

This is the second volume of four that will create a unique graphic work created by the famous Aldo Drudi.

Written and produced by Daniele Baldelli, undisputed master of cosmic-disco, and Mattia “Matta” Dallara, sound explorer and producer of Cosmic Temple, this EP is a journey that evokes dreamy and nostalgic atmospheres, perfectly in line with disco roots.

The tracks unfold between enveloping grooves, spacey synthesizers and rhythms that pay homage to the 1980s, generating a sound that is both classic and innovative. An electronic tribal ritual, a dancing spell that can transport the listener to a parallel universe full of psychedelic sounds and magnetic beats.

Ideal for those who like to lose themselves in the depths of sound and be guided by vibrations that oscillate between past and future.

Pressed on 140 gram 10”.

D.D. Mirage return with new single “Echoes”, a lovers meditation featuring North Carolina’s Teddy Bryant, who delivers a velvet vocal performance steeped in yearning and late night reverie. The chorus “the things you do for love echo in my mind all night” hits the melancholy sweet spot, wrapped in the rich and authentically 80s sounding production we’ve come to expect from D.D. Mirage.

The Sydney based duo, now expanded into a full four piece live band, continue to stretch their sound beyond the Balearic and Dub tinted palette of their debut Exotic Illusions released earlier this year. With production assistance from Jono Ma, they capture a lush, cinematic space where street soul sentiment meets modern dream pop psychedelia, the kind of record that slips perfectly between Sade, Tom Tom Club and a lost Compass Point B-side. Flip the record for the Introspective Dub: a drifting, dubbed out companion that strips back the vocal to its echoes and lets the rhythm bloom.

Following live appearances at Dark Mofo and SXSW Sydney in 2025, D.D. Mirage round off the year with a live performance at Victoria’s Strawberry Fields festival mid November.

artwork and sticker by Bradley Pinkerton.

Six years after Nazamba’s first offering, he delivers his final gift: A Message From Zion.

The journey begins with George ’Nazamba’ and Rico ‘O.B.F’, two kindred spirits connected by sound. Countless cross-ocean visits between Kingston and the French Alps, from enjoying hot beers on the beach to reasonings in snowy mountains. Moments that forged a pure brotherhood.

Out of this friendship grew his first album, the self-titled Nazamba in 2019. Now comes his second, a collaboration between Thompson Sound and Dubquake Records. Together, they unite two generations of reggae powerhouses. Produced by Rico O.B.F, the record reimagines classic Thompson Sound gems. Nazamba’s musical storytelling is accompanied by the Roots Radics, with guest appearances from Linval Thompson & Barrington Levy.

Then came silence. In 2022, Nazamba passed on to Zion. The album project was unfinished, yet full of life. What remains is raw, unpolished and painfully beautiful.

A Message From Zion, a celebration of Nazamba’s universe. His voice, wisdom, poetry, heart and spirit. Forward we ah go. Ah true.

To celebrate two decades of passion, innovation, and dedication to underground music, Playbeatz Labels Network proudly launches "Tribe", a new compilation project that pays tribute to the artists and sounds that have shaped its journey.
For over 20 years, Playbeatz has been a platform for creative freedom and genre-crossing experimentation—championing independent voices and uncovering unique talents from across the electronic music spectrum. "Tribe Vol. 1" is the first chapter in a special series of releases that reflect the label family’s diversity and forward-thinking spirit.
Kicking off with a limited edition vinyl, Vol. 1 features four carefully curated tracks by long-time Playbeatz affiliates —each bringing their unique sonic identity, from house to melodic textures, tech tools to soulful grooves.

A1. Erly Tepshi – Dreamer Emotionally charged and atmospheric, a deep dive into the melodic house realm, “Dreamer” wraps a haunting male vocal around lush synth lines and hypnotic rhythms.

A2. DJ Simi & Antonio Grassia – Nuestro Fuego With its driving groove and minimal yet powerful arrangement “Nuestro Fuego” is crafted as a peak-time tech and house tool. The track is all about raw energy and club efficiency.

B1. Mind The Gap DJs – Eclipse Of The Soul This old-school house jam delivers uplifting piano riffs, classic drum programming, and a timeless sense of groove. A heartfelt homage to the golden era of house, reimagined for today’s floors.

B2. Giomini & Marcus Raute – Tape Sweat A fresh and summery house cut with shimmering grooves and playful percussion. The track recalls the clean, infectious style of Deetron, blending crisp drums with melodic finesse. A pure dancefloor delight for the warmer seasons.

DJ Support: Black Legend, David Penn, Mark Knight, Ronnie Herel, Dr Packer, RAE, Claptone, Curtis Jay, Oliver Heldens, TCTS, ESSEL, Ladies On Mars, Sam Feldt, DJ Spen, ManyFew, Sister Bliss & more.

Fool’s Paradise’s latest Sampler sees 4 big releases from Mark Knight, Mark Dedross, Sam Karlson, Alex Preston, Mo’Funk, Secret Weapons (AU), Kid Massive and Rubber People.

In 1995 The Roots burst onto the scene with their seminal debut album, Do You Want More?!!!??! that garnered critical acclaim and cemented them as a powerhouse group fusing elements of various genres with their signature live instrumentation. Thirty years later in March of 2025, The Roots played a three day, six show residency at the legendary Blue Note Jazz club in New York City where they celebrated their debut by playing it in full – performing many tracks that hadn’t been performed live in decades. The performance also brought out special guest appearances from long-time collaborators, Ursula Rucker, Dice Raw and Rahzel, Godfather of Noise.

To cap off the 30 Year Anniversary, The Roots will release the full performance on vinyl. The 2xLP, gatefold package is pressed Black vinyl, and features 21 tracks. ?uestlove spent tireless hours perfecting the mixing and mastering with Glen Forrest and Colin Mohnacs to ensure all elements of the performance were represented on the vinyl.

DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu

For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.

In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.

With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.

Sciahri and his label Sublunar are proud to present the second chapter of the "Veil of Echoes" project, a continuation of a journey that connects emerging and established artists from the label.
Following the vision introduced in the first volume, this release unveils a new dimension of techno and electronic music, merging timeless roots with forward-thinking sound design.

The trip begins with "Voltages" by Cirkle, a sharp and direct cut built for the floor, followed by "Tides" by Red Rooms, an hypnotic journey driven by an entrancing vocal hook.
"Phonolith" by Border One brings a mental and groovy touch, while "Basic Instinct" by Hemka stands out for its captivating arrangement and refined sound design.
The first record closes with "Your Hands Forget Their Shapes" by Hadone, a truly memorable track destined to stand the test of time.

The second record opens with "The Radius" by Temudo, one of his most acclaimed digital tracks now available for the first time on vinyl, followed by "Etched" by Hurdslenk, a powerful and driving piece of precision techno.
Next comes "Nardo" by Pierre, a modern, groove-heavy weapon with a distinctive sound identity, and "Serpents" by Ketch & Alessio Landini, a hypnotic and tribal tool for any moment of the set.
Closing the journey, "Zone 0" by Danya delivers a mystical and immersive ending that transports the listener into another dimension.

With "Veil of Echoes II," Sublunar presents a visionary collection that captures the essence of techno and electronic music, bridging its past influences with the sound of the future.

2025 Repress

In 2013 Voyage Direct released Tom Trago’s ‘Hidden Heart of Gold’, an expansive trip into intergalactic deep house territory that ranks as one of his most emotionally charged moments to date.

Hidden Heart Of Gold is undeniably special. A typically spacey and quietly soulful dancefloor epic that stretches out majestically over 13 spellbinding minutes. It was a highlight in many of Trago’s club sets for the best part of 12 months prior to release..

Virtual waves of ambient chords shimmer between the speakers, rising and falling as if drifting through time and space. Meanwhile, eyes-closed melodies reminiscent of classic stargazing techno and disembodied vocal samples ride a tough but unfussy machine drum rhythm and addictive bassline. There are well-timed breakdowns and a gradual, enveloping build towards a heart-breaking climax. Many listeners may feel contrasting emotions; a sense of undiluted joy while dancing, perhaps, but also the odd pang of melancholy when listening on headphones. It's that kind of record.

The tracks intergalactic, emotion-rich inspirations are explored further on the flipside Ambient Mix, a winding, beatless excursion brimming with hazy, late night beauty. Gentle and immersive, it offers a grandiose, never-ending world in which to shed your inhibitions. Shorn of the originals dancefloor paraphernalia, Tom's emotive, wide-eyed vision comes to the fore ¿ all sensual chords, far-sighted pads and gentle, outer-space melodies. Like the A-side club version, it may just take your breath away.

2026 Repress

Atmospheric Vol 2 is the second single to be taken from Deepchord's latest full length but sees him stray from the album tracks, bringing 3 exclusive pieces to the vinyl, keeping in the same musical vein as Ultraviolet Music.

Exploring the North & Pinewood Lodge see Rod Modell on more Deep Techno excursions as beautifully sweeping pads and glistening synths drift by ever evolving, perfectly processed atmospheres. Deepchord's unique use of subtle field recordings throughout give both of these tracks a real heady/druggy quality and his seamless loops allow you to drift of into his fully developed dream world. Shot Point delves into straight up ambient territory with Deepchord striking an unearthly balance between the natural and synthetic world. Yet more flawlessly collected field recordings wash away on an ocean of reverb soaked pads, drowning the listener within its mesmerising tides.

2026 Repress

After a storming Soma debut at the tail end of 2017, Cleric returns with the Silent Kingdom EP. This typically intense and raucous new release features an epic VSK remix on the flip.

Phantom Limb opens the EP, all guns blazing. Calamitous percussion hammers through as twisted synth hooks tear the speakers with unrelenting drive. Tag X takes on a more hypnotic functionality yet still embodies Cleric's fierce, vigorous energy. Title track Silent Kingdom concludes Cleric's original tracks for the new EP and doesn't let up on intensity one bit. Pervasive rhythmic elements are bolstered by dystopic pads that cleave through the heart of the track creating an absolute killer, peak time cut. The in-form, Berlin based VSK, fresh from his Soma release under Symmetrical Behaviour offers his take on Silent Kingdom; a decidedly gritty affair he retains the deeper elements of the original but certainly ups the severity.

Another hard hitting and astute release from one of the UK's brightest talents.

2025 Repress

After a long hiatus, Eric Cloutier returns to his Palinoia label with three tribal techno groovers intentionally built to get the entire dancefloor moving.

Having grown up surrounded by the hardgroove sound, Eric latched on to the style and has regularly incorporated it into all his sets for the last few decades. Passionate about the style, and recognizing it being over-cooked and watered down as a current hype and trend, Cloutier felt the need to use his talents and knowledge of the history of the 90's tribal sound to refocus things in a manner only he could do.

This three-track EP - the first of two in the set - Perpetual Booty Grooves will do exactly what it says on the label and endlessly whip a room into a frenzy. All three cuts on this record end in perfectly locked grooves, allowing any DJ to keep the vibe going and never letting the audience exit their fugue state.

WOODKID komponiert die Musik zum heiß erwarteten PlayStation-Spiel "Death Stranding 2: On The Beach". Mit seinem neuen Album "WOODKID FOR DEATH STRANDING 2: ON THE BEACH" zum sehnlichst erwarteten Spiel von Hideo Kojima hebt WOODKID die Idee von Game-Musik auf ein neues Level. Die Songs sind inspiriert von Kojimas Erzählkunst, seinen Figuren und der Welt von Death Stranding - und entfalten sich als eigenständiges Werk voller Tiefe, Kontraste und Atmosphäre.WOODKID, bürgerlich Yoann Lemoine, ist ein französischer Sänger und Komponist. Mit seiner stilsicheren Kombination aus orchestraler Dramatik, elektronischer Präzision und emotionalem Tiefgang hat er sich international einen Namen in der Musik- und Filmwelt gemacht - sowohl als Musiker als auch als Videoproduzent für Künstler:innen wie Rihanna, Lana Del Rey, Pharrell Williams oder Harry Styles. Seine Musik wurde für zahlreiche Film-, Serien- und Videospielproduktionen eingesetzt (Arcane, Assassin's Creed, The Umbrella Academy). Für seine Arbeiten wurde er mehrfach für Grammy- und MTV-Awards nominiert, seine Single "Run Boy Run" wurde weit über fünfhundert Millionen Mal gestreamt. Auch in der Modewelt ist WOODKID präsent - etwa mit Musik für die Shows von Louis Vuitton oder Dior.Über drei Jahre hinweg arbeitete WOODKID eng mit Kojima und dem Team von Kojima Productions zusammen, um Musik zu erschaffen, die weit über klassische Soundtracks hinausgeht. "Jeder Song, jedes Thema wurde in zahllosen Varianten und Schichten komponiert", erklärt WOODKID. Das Ergebnis ist ein Album, das cineastische Orchesterarrangements mit elektronischen Klanglandschaften und eindringlichen Gesangslinien verbindet."Death Stranding 2: On The Beach" ist das neue Werk von Hideo Kojima, einem der visionärsten Köpfe der Gaming-Welt. Als Fortsetzung des vielfach ausgezeichneten ersten Teils, der über 20 Millionen Spieler:innen weltweit erreichte, führt das Spiel die Themen Verbindung, Isolation und Verantwortung in eine neue erzählerische Dimension. Das Spiel besticht zudem durch einen hochkarätigen Cast - darunter Norman Reedus, Léa Seydoux, Troy Baker, Elle Fanning und Shioli Kutsuna - und eine Geschichte, die von den globalen Erfahrungen der letzten Jahre inspiriert ist.Von zarten Melodien bis zu eruptiven Breakcore-Momenten - jeder Track erzählt eine Geschichte. Für die Aufnahmen reiste WOODKID zwischen Paris, Los Angeles und Tokio, um die kreative Vision Kojimas einzufangen. "Es ist manchmal schwer, Hideos Vision ganz zu verstehen, weil sie sich ständig verändert. Man muss dem Prozess vertrauen - und das Ergebnis ist immer überwältigend", sagt er. Was dabei entstand, ist mehr als ein Soundtrack: Es ist ein Manifest künstlerischer Freiheit, ein musikalischer Gegenentwurf zu Konventionen - und eine Hommage an das Anderssein.Die erste Single "To The Wilder" erschien im März 2025 und verzeichnet bereits über 3,7 Millionen Streams weltweit. Das Album erscheint digital, sowie als Vinyl- und CD-Edition - beide mit dem großartigen Artwork des Spiels und als liebevoll gestaltete Sammlerstücke für die internationale Fancommunity.Neben WOODKIDs Album erscheinen zwei weitere Veröffentlichungen zum Spiel: ein Score-Album sowie ein weiteres Song-Album mit noch nicht angekündigten Künstler:innen. Beide erscheinen digital, ebenfalls bei Milan Records.Das Spiel "Death Stranding 2: On The Beach" erscheint am 26. Juni 2025 exklusiv für PlayStation®5.

A deep journey into the sound abysses of the night, invoking hidden energies, opening a ritual portal to the core of the seal and the ritual itself.

This compilation brings together diverse artists who explore a fusion of dark techno, industrial environments, ritual textures and pulses that evoke vast underground spaces. The idea is to generate a state of technical-ceremonial trance: vinyl becomes a physical talisman, object of worship, beyond a simple club track.

Side A opens with darker rhythms, synthesizers that resonate like funeral bells, mechanical percussions that hit like ancestral machinery. As it progresses, the journey intensifies, layers of bass that rumble like mine hulls, reverberations that expand consciousness.

The B-side takes flight towards the ethereal and the expansive: distant melodies, ritual echoes, processed voices that look like invocations, culminating in a track that sounds like the closing of a rite, the day that meets the night.

‘The second volume of Elementa Obscura moves with even greater force toward the dancefloor : six tracks straddling the lines between industrial, electro, and wave. From FIUME’s cold, pounding opener to Memorex’s spacious analog explorations, Nyxloid’s metallic EBM visions, and Ole Mic Odd’s razor-edged electro workout, the compilation spans the full spectrum of the underground. Spanish newcomer Thai Lady Boy brings chaos with a fractured industrial techno cut, while RNXRX closes with a ritualistic music excursion.

Strictly limited to 250 copies, vinyl-only. No repress.

All tracks mastered by MA Spaventi in Barcelona.

With CAPTAIN, BNXN takes the wheel. The Nigerian singer-songwriter has always blurred the lines between afrobeats, R&B, and soulful introspection—but this time, he’s driving with full control, no co-pilot. The album marks a defining moment for BNXN (pronounced "Benson"): a confident, fully-formed statement from an artist who’s learned to trust his instincts, sharpen his pen, and follow his own creative compass.

From the cinematic opener to the late-night confessionals tucked between glossy hooks, CAPTAIN feels like a diary written at cruising altitude. BNXN threads personal stories through rich instrumentation—balancing Yoruba and English lyrics, weaving between amapiano pulses, stripped-down ballads, and smoky alt-R&B. Standout moments find him unpacking fame’s isolations, questioning loyalty, and wrestling with what it means to lead without losing yourself. There’s growth in every verse, not just in what he says, but how he says it: sharper, more intentional, and wholly unafraid to take risks. This is BNXN unfiltered—charting new territory without ever losing sight of home.

South London’s Jerkcurb – aka Jacob Read – is back with news that his sophomore album ‘Night Fishing On A Calm Lake’ is to be released at the end of November following 2019’s ‘Air Con Eden’.

After that album’s successful release Read had planned to expand Jerkcurb into a full band setup when his father, a painter like himself and a creative inspiration, passed away. Instead of the envisioned plan of taking his project bigger Read returned to the family home and re-examined the material for the new album and instead the album became one of reflection, grief and redemption. It’s not much of a stretch to see clear musical inspirations for the record too – Prefab Sprout, Talk Talk and The Blue Nile, records where the moments of silence are stretched out.

Read produced and engineered the album himself, mostly at home with Lara Laeverenz and Gray Rimmer providing cocals. The album is mixed by Dilip Harris (King Krule, Mount Kimbie).

The enchanting cover artwork was painted at Read’s father’s studio in Camberwell, painted in oil with its dreamlike blur of blue and black . It hints at the early film noir and magical realist influences for the album.

“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000

“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000


Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.

Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”

Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.

On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.

“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack” 

Celebrating its anniversary with a characteristically bold move, Kyiv-based vinyl label Artreform isn't closing a chapter - it's opening a new one. Rather than issuing a standard 50th release, the label jumps straight to release 51 with this striking 8-track mini-album - a sly nod to the new sounds and exciting events still to come.
Splitting the anniversary release into two parts (four tracks each) creates a liminal space between the past and the future; between canonical house sounds and futuristic sound experiments. Unwavering ambition and a daring vision have long defined Artreform - and are deeply embedded in the creative credo of its founder, DJ, producer, and vinyl connoisseur Joss.
After an impressive 13-year journey, it's fair to say that Artreform has never succumbed to the lure of fleeting trends, remaining steadfast in its dedication to quality tech house, deep house, and microhouse. At the same time, the label continues to stay sharp, hungry for new ideas, and firmly in step with the times - while many imprints of similar vintage slide into self-mythologizing mode, focusing on reissues and retrospective compilations.
The new release makes this abundantly clear. The second half of the celebratory mini-album features a vibrant, life-affirming dancefloor cut from JOSS; a peak-time rave-inspired killer by iO (Mulen) - an artist who's been with Artreform since day one; a stylish deep house groove from seasoned masters Gorje Hewek & Binu Raal; and an ethereal vibe courtesy of Swedish standout Cirkel Square, whose music sounds dreamy, arresting, and otherworldly.

As the label floats into it's first release with a set of euphoric tinged VA, featuring 6 tracks from artists with different influences and backgrounds, RYS is proud to present Killer Tracks Chapter 1.

Each rider of the grooves had stamped in their unique sound for rumble & clatter.

This release reveals the diversity and amplitude which label will stand for future releases.

The Revenge of Alice Cooper, the long-awaited new album from the reunited original Alice Cooper Group, is officially out today on earMUSIC. Marking their first full-length collaboration in over 50 years, the original lineup returns in fierce form, unleashing all the chaos, danger, and theatrical swagger that first defined their legacy and cemented their place in rock history.

.defaultbox launches its new series DBX, focused on unique and timeless electronic grooves. The journey begins with DBX001 by grg, features four pure analog dub techno cuts full of athmosphere and warmth which comes on a hand stamped black label. Raw, minimal, and true to the core.

Synaptic Cliffs is barely able to contain the excitement for the release of the 4-track EP "Maximalism" where pdqb collaborates with DJ Sotofett in the most effective way. pdqb's sleek and melancholic electro originals carry a sexy 1980s reminiscing vibe, not too unknown from classic US electro disco-styled pop music. They meet warehouse remixes from DJ Sotofett, known for his top-notch electro productions on Clone and Tresor, as well as funky breakbeat, afro-dub and all-things-house on his own labels Wania and Sex Tags Mania. The remix of pdqb's electrocognition-beauty 'Giallactrus' has heavier, almost p-funk styled electro beats, live scratching complementing the block party approach while retaining the vibe of the original. Elysiaamore, pdqb's sonic love letter to Tangerine Dream, gets a bit of melodic menace treatment by DJ Sotofett, turning it into an intensified breakbeat juxtaposition with Junglized B-Boy elements... again without taking away the energy from the original. The vinyl version was cut by DJ Sotofett with optimal club sonics at Manmade Mastering, Berlin.

With Decade of Boxes, Syntax Error confronts the irony of modern tolerance: a societalimpulse to embrace difference that often doubles as a mechanism to further categorize and segregate. The EP's two originals delve into themes of self-perception ("The Meand I") and collective experience ("For All"), while the remix package responds in variedways-each artist refracting the idea of identity through their own interpretive lens.

Since 2004, This Will Destroy You has been forging some of the world's most brutal, dynamic, and precariously visceral instrumental rock. In addition to a vigorous tour schedule, their celebrated discography and critically renowned soundtrack work for feature films and documentaries have earned them a sizable and fervent international following. Another Language, TWDY's fourth full length LP, marks their euphonious return from a prolonged vacuous dark period that threatened to break both the band and the members themselves. Rather than be stifled by their experience TWDY were atomized and subsequently made anew, emerging with a revived energy and reinforced sense of solidarity. As a result, Another Language captures the band at its most potent, honed, and utterly powerful form yet, displaying an edified unity and graduated sense of song-writing, tonal complexity, and studio prowess.Wallet CD printed on uncoated stock w/ copper foil and printed inner sleeve. 2xLP Gatefold jacket printed on uncoated stock w/ copper foil and printed inner sleeves. The 2xLP is available in a limited second pressing of 1,000 copies on 180g black vinyl and includes a download card for MP3s.

Mumbai-based musician, producer, and DJ NATE08 returns with his sophomore album Twenty Seven - a luminous fusion of r&b, deep house, and funk-leaning grooves, pressed to a single 140g LP in black vinyl.

Three years on from his acclaimed debut Furaha (which featured the breakout hit “Primrose” with over 7 million streams), NATE08 expands his sonic palette with Twenty Seven: a radiant collection of tracks that balance soul-soaked vocals, late-night basslines, and warm, sun-drenched production.

NATE08, aka Nathan Thomas, has become a central figure in Mumbai’s thriving underground, working as a session bass player, live performer, and genre-spanning DJ, while making an international impact through releases on label Needwant. Twenty Seven captures his full range: both organic and synthetic, smooth yet floor-ready, always driven by heartfelt groove.

From the dreamy opener “You’re The Reason” featuring Mary Ann Alexander’s velvety tones, to the nostalgic glow of lead single “Where Are You Tonight” (feat. Dishaan & Mallika), the album unfolds like a love letter to house music’s emotional core. Highlights include the syrupy r&b/house hybrid “Afterlife” (feat. Dappest), the golden-hour deep house shimmer of “Call Me Back” (feat. Sahirah), and the soul-drenched “What Was It” featuring Jamal Bucanon. Closing track “Stay” wraps it all with soft-focus chords and a bumpy, irresistible groove.

Twenty Seven is a sophisticated and inviting journey across mood, tempo, and texture, showcasing NATE08’s gift for weaving melody, rhythm, and soul into music that speaks equally to the dance floor and the heart.

Renée was born out of The Hague-based rock ‘n roll band René And His Alligators, founded by René Nodelijk in 1959. Throughout the 60s they were moderately successful both on stage and in the studio and served as an inspiration for many bands associated with the burgeoning beat scene in the coastal city. From 1967 onwards they performed under a few different names before going on a hiatus. In 1977 he made a comeback, this time joined by his wife Anja Nodelijk, née Exterkate. To reflect this fresh feminine impulse the band name was changed to simply Renée and recorded four full-length albums and a host of singles before disbanding in 1982 to make way for Anja’s solo career.

Reaching For The Sky from 1980 is their second and has been likened to many different things: Fleetwood Mac, Dire Straits, or even a fantasy collaboration between Pat Benatar’s guitarist, Heart’s Ann Wilson, and Steely Dan. Sprinkle some reggae and funk in the mix and it is no surprise that some of the tunes on this album ended up in niche YouTube algorithms, a Japanese book about obscure records, and in DJ sets by big names like Prins Thomas, who even released an extended edit of “Change Your Style” on a 12” single. This is obscure sophisti-pop at its best. Reaching For The Sky is available as a 45th anniversary edition on translucent magenta coloured vinyl.

The Break Cracker returns with a double sided delight for all funky, latin and soulful DJs with some tried and tested sure shots - showcasing two sides of latin club sounds

On one side- an extended version (33% extra!) of a Latin-soul crossover classic from New York in the late 60s. Originally issued on a Fania LP and then on their subsidiary Uptite label for a 45 release. It really gained attention in forward thinking soul clubs in the early 2000’s with its soulful vocals combined with a familiar riff - and now the original 45 now commands a hefty price tag - with sales up to the four figures GBP bracket

The flip sees an edit of a lesser known 1970s Latino funk bomb - chopped and looped for devastating dancefloor action - as witnessed on dub plate action over the last 6 months at select clubs and venues. From B-Boys to Jazz Dancers - to the Salsa familia - this whips up an instant storm anywhere !

“The swaggering love song that launched new wave” The Wall Street Journal

Named as one of the 500 Songs That Shaped Rock and Roll by the Rock & Roll Hall of Fame.

Celebrating it’s 50th anniversary in 2025 this 50th anniversary edition is the first full 12” vinyl release for this iconic Roxy Music track that originally reached #2 on the UK Singles Chart in 1975 and is one of their top 3 most streamed tracks.

This 12” features the original and two of the most sought-after remixes, Greg Wilson’s extended edit and Todd Terje’s Disco Dub, as well as the original 7” b-side Sultanesque.


Driven by a seductive, iconic bassline and Bryan Ferry’s confident croon, Love Is the Drug helped redefine the sound of rock‑pop in the mid‑70s—heralded by critics as provocative, stylish, and proto‑new‑wave gold.


The track is one of the 70’s most identifiable tracks – a global chart hit that was an influence on bands such as Gang of Four, PiL, Simple Minds and the Human League, as well as Nile Rodgers of Chic, who acknowledged that its bass riff was a major influence on Chic’s Good Times.

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.

For Synthology's debut, we are thrilled to present “Synthesis Emotion EP,” signed by host Mathi.
An artist inspired by Acid, Electro, and Italo sounds, Mathi takes us on a four-track sonic journey, where futuristic rhythms and deep synths blend in perfect balance.
Robotic voices and sensory nuances accompany the listener, projecting them into the mind and making each vibration a unique experience

SYNTHOLOGY an immersive experience that was born to give voice to electronic stories, exploring every nuance between sound innovation and emotional narration.”

A complex exploration of influences and styles, such as a multisensational journey through spaces, environments and futuristic rhythms

The bridge that connects the mind to sound.

From the Vaults 002 ist endlich auf Vinyl eingetroffen!

Die zweite Ausgabe dieser Serie auf 8bit Records stammt von niemand Geringerem als dem Chilenen Andre Butano und dem aufstrebenden Newcomer aus Peru, Chinonegro, der momentan einen Hit nach dem anderen abliefert.

Vibe Ride is the sixth release of Adam Rudolph's Hu Vibrational project and marks his 60th release as a leader or co-leader. Comes with insert and download code.

“With every record, the goal is to explore new creative territory,” explains Rudolph. Vibe Ride continues a deeper exploration of a trance-like groove and a conceptual framework known as Sonic Mandala. This album marks the most complete realization of that idea, partly due to the group's experience touring beforehand. That time on the road helped to refine ideas and strengthen musical chemistry. The recording process unfolded organically—likely due to the long-standing collaboration within ensembles like Go: Organic Orchestra and Moving Pictures, where the musicians have developed a deep familiarity with the shared musical language.

Sonic Mandala refers to a musical approach distinct from traditional linear structures of theme and development. Found in cultures across the globe, it may represent one of the oldest forms of musical expression—predating written history by tens of thousands of years. Today, it is most vividly preserved in the music of the Ituri Forest peoples (Aka, Baka, Ba Benzele, Mbuti), whose sound traditions revolve in cyclical, orbit-like patterns. Vibe Ride seeks to bring that ancient sense of circularity into a contemporary—and perhaps even futuristic—context.

The ensemble of Vibe Ride—Alexis Marcelo, Jerome Harris, Harris Eisenstadt, Neel Murgai, Tim Kieper, and Tripp Dudley—brings exceptional creativity and skill to the project. While grounded in the sonic languages of today, their performance channels an ancient vibrational lineage, connecting with ancestral sound makers who were attuned to the rhythms of the sun, moon, stars, and seasons. Human beings have always been deeply responsive to natural cycles.

Like a mandala, where the circle reveals itself as a spiral—always returning, but never to the exact same point—the Sonic Mandala musical experience spirals through motion. Refined signal patterns emerge through overtone-rich instrumentation. The groove becomes a threshold, shifting the listener from passive observation into active, even transcendent, participation. With open ears and an open mind, the sound spirals inward—toward a primal center—and outward into the cosmos. When this elevated state is shared among participants, it creates what mystics describe as resonance.

Vibe Ride thrives on the distinctive sonic voices of its players, interwoven with care and nuance into the compositions. Hu Vibrational merges elements of world music, electronica, and improvised jazz into something both funky and spiritual, intense and soothing.

Using signature techniques of organic orchestration, layered arrangement, and electronic processing, the compositions are sculpted from percussion, electronics, and ethereal textures. Rhythmic foundations drawn from diverse traditions serve not as endpoints, but as building blocks. As the saying goes, “Orchestration is the key.” In shaping the sound, the aim was to discover fresh ways of balancing structure and sonic color. As Don Cherry once said: “The swing is in the sound.”

The audiophile LP was carefully recorded, mixed, and mastered by James Dellatacoma—longtime engineer for both Bill Laswell and Rudolph—at Laswell’s Orange Studio.

“This crew artfully blends together to create a seamless tapestry of rhythm… the end results are mesmerizing. Hu Vibrational is all about communing with the groove spirits and creating worlds where earthy rhythms and other-worldly sounds are one.”
— Dan Bilawsky, All Music Guide

“You can be sure that when Adam Rudolph and an ensemble of breathtaking drummers get together mystical and wonderful things will happen.”
— Raul da Gama,

“A stunning effort, enjoyable and grows with repeated listening.”
— Stefan Wood, Freejazzcollective

Ladies and gentlemen, please reserve a warm welcome to the eighth Outdom Records’ release on wax, proudly introducing an already known artist on the label, Denis Kostitsyn, with his new five-tracker EP: “Funny Games”.



A record as cheeky as its title suggests, Funny Games features an adventurous blend of techno, minimal, electro and tech-house, sprinkled with acid squelches, UK breaks & 2 steps grooves and a dash of dubby hypnotic atmosphere. Expect nothing less than Denis’ trademark creativity: playful, gritty and endlessly groovy, a proper bag of surprises for discerning selectors who love their tracks unpredictable, yet razor-sharp on the floor.



Denis Kostitsyn, respected Arma17 club resident and vinyl digger, strong producer with past acclaimed EPs on Exarde, Mung Records and also showcased on our previous Virtual Tools Vol.2 Series with “Rvbbit Hole”. This time, Kostitsyn dives deep into a palette of raw, analog-sounding textures and 90s-minded grooves, shaping tracks that carry both a vintage touch and a futuristic spirit. His production is full of twists—between hypnotic atmospheres, shuffling percussions, heavy basslines, and sudden left turns that keep the crowd locked and guessing. Built as pure dancefloor weapons, each piece doubles as both a tool and a trip, playful in form but deadly in effect!



Outdom Records once again shines a light on forward-thinking underground artistry—music that grooves, mutates, and flips expectations, while staying true to the label’s quirky yet uncompromising DNA.


WARNING: Handle with care, drop with confidence.

Blue note / Schema / Far Out recordings artist shares a new compilation of golden age italian library music.

Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79.

The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries.

Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals – making them virtually invisible to the general public for decades.

"This is a journey through a largely forgotten world," explains Conte. "While major jazz recording opportunities were scarce, an incredible network of small labels owned by publishing companies – often created by the composers themselves – began to flourish. This created an open space where musicians could express more experimental and free thinking sounds."

At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies.

The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco - meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.

"You can hear both the haunting melodies and sun-kissed atmospheres so typical of Italian culture from that era," Conte observes. "Some of these albums could have been proper artist releases, while others were specifically designed for accompanying images on screen, yet all were crafted with exploratory creativity that still resonates powerfully today."

fter a series of long-form cassette releases on MAL Recordings, Berceuse Heroique, and his own Ideal State imprint, Samson A.K shifts focus to the club with Heavy Birds Drop - his first 12” EP. Mastered by Rainy Miller and pressed in a limited run of 150 copies, the record distills the grit and atmosphere of his tape work into a direct, floor-focused form.

Opening with the heaving distortion and low-end churn of Frog Bite, the EP moves through the fractured percussion of Forever Cold, then the hypnotic, deep-hours roll of the title track Heavy Birds Drop, before closing with Ballast, stripped back to skeletal dread and tense negative space. Across all four cuts, Samson A.K shapes a sound that is raw, functional, and uncompromising, setting the tone for the future of Ideal State.

12” vinyl, full sleeve artwork with Mordançage front cover artwork by artist Jo Torres, design & centre labels by Ciaran birch. Limited run of 300.

“Singing Vessels” draws inspiration from the sonorities and aesthetics of Amazonian medicine ceremonies and traditional Andean music. At its heart is a collection of clay whistles from ancient South America, whose timbres conjure the vibrant soundworld of the Andes. The piece also incorporates shamanic instruments from the Amazon, such as the shacapa — a bundle of dry leaves whose rustling produces a deep, soothing texture with remarkable sensory resonance.

Interwoven with generative electronics, live looping and synthesisers, these organic timbres create evolving psychoacoustic spaces where the mystery of nature meets inner realms of perception and consciousness. The piece unfolds as a ceremonial passage through a shamanic ritual: beginning in a dense jungle of sounding entities, rising into moments of cathartic purging, dissolving into states of blessing and communion, and finally returning to the here and now with renewed awareness.

Nervio Cosmico is an electroacoustic experimental duo based in Bristol, formed by Chilean composer Daniel Linker and Italian sound artist Matteo Amadio. Blending acoustic instruments from ancient South American shamanic traditions with live looping, generative sound design, and live electronics, they craft sonic journeys that explore perception, consciousness, and a spiritual connection with nature.

"I have two new records, just full of smells. "
from Scanners Live in Vain by Cordwainer Smith

Lutto Lento's new 2568 E.P. is an album in 7-inch single form. Lutto, real name Lubomir Grzelak, has for years been one of the most acclaimed sonic storytellers around. His first outing on Meakusma is another trip beyond the constraints of musical logic, interweaving elements from industrial music, early avant-garde influences, post-club tendencies, and more, conjuring up a mini-album of huge scope.

Not unlike The Residents, 2568 E.P. touches upon stories from the deep, with an absurdist touch that is at the same time forgiving and inviting. It has a hauntological feel to it, but contradicts it at the same time. It is purring and cold, whispering and layered. Beatific and up close. There is a space ship in the swimming pool, but the cocktail party goes on, kind of. On the edge of industrial music, with a choir thrown in for good measure. On the fringes of club music. Toss the wire-sphere into the air and pay the price for space. Fake composure and dive in.

Lutto Lento is Lubomir Grzelak, a sound artist, composer, music producer, and DJ. Known for his idiosyncratic productions and eclectic sets that break barriers between genres, he has steadily built a reputation for adventurous electronic music that resists easy categorization. Beyond records, he composes for theatre, film, and contemporary dance, weaving diverse influences into a distinctive sonic language.

A special 15 year anniversary record celebrating L.I.E.S. Records! L.I.E.S. and Nation join forces on this huge release.

New collaborative project out of Chicago from "DuKe" and The Stranger!

Two sided-12 inch housed in a full picture sleeve, once again we hear and see the scope of the broad range of what is, and can be "dance music" through the adventurous production of DuKe & The Stranger.

Two eight minute versions alternating in time space and rhythm..this is the future, past and present wrapped into one from the visionaries.

In 1978 a newly formed Augusta, Georgia group Marshall, Donovan and Broomfield chose to record cover versions of two songs previously recorded in 1973 and 1974 respectively by Florida siblings group Cornelius Brothers and Sister Rose. These Eddie Cornelius penned songs “Let me Down Easy” and “Since I Found My Baby” would form both sides of Marshall, Donovan and Broomfield’s first 45 single, released on group founder John Marshall’s own Augusta label. The flipside “Since I Found My Baby” would eventually gain popularity across the pond with aficionados of the UK modern soul scene of the early 1980’s and beyond.

John Marshall began his musical career in a high school group called The Fabulous Gardenias who recorded the doowop ballad “It’s You, You, You” backed with the up-tempo R n B mover “What’s The Matter With Me” released on Tommy Brown’s local Liz label (named after his wife future Motown recording artist, Liz Lands) in 1961.The Fabulous Gardenias featured John Marshall, the late Atlanta alumni Calvin Arnold, “Little” Joe Jones Jr (later of the Tams) and a fourth guy only remembered as Harold. John Marshall later sang with another Atlanta group The Tams of “Hey Girl Don’t Bother Me” fame from 1970 through to 1978.

Later in 1978, John Marshall having relocated to Augusta, GA the previous year was casually emptying the contents of his mailbox outside his home when a car suddenly pulled up. The driver called out “Hey I recognize you, you’re John Marshall you used to be with the Tams!” The driver continued to introduce himself as John Donovan stating that he too was a singer, followed by an impromptu performance, and hey! sure enough he could sing! A later introduction to Charles Broomfield (John Marshall’s next-door neighbour at that time) would lead to the formation of the group Marshall, Donovan, Broomfield with the addition of Mary Marshall and Pat Donavan (the then, two John’s respective wives) as backing vocalists. The previously mentioned group’s first release the John Donovan led “Let Me Down Easy/Since I Found My Baby” was recorded at the now defunct Jam Studio’s in Atlanta. Upon release, the “Let Me Down Easy “side received considerable local radio play but only led to the group performing a handful of local shows. On the strength of the group’s first release a second 45 release followed in 1980 “Let’s Dance/That’s Love” both sides of this 45 were penned by Charlston, South Carolina native, Harold Thomas who John Marshall knew from his time with the Tams, Thomas having once been part of Bill Pinkney &the Original Drifters and later the Tams management teams. This second 45 never gained the same local attention of “Let Me Down Easy” and after three years together the Marshall’s, Donovan’s and Charles Broomfield went their separate ways. John Marshall lost contact altogether with his former group members and left the music business taking up employment at International Paper Mill until his retirement in 2013.

Due to the current resurgence in popularity of “Since I Found My Baby” with copies regularly selling for four figure sums, Soul Junction have reacquainted ourselves with John Marshall to you bring you “Since I Found My Baby” backed with “Let Me Down Easy” with the addition of the excellent and lesser, known stepper “That’ Love” making this an excellent value 45 release.

These tracks were produced by Ori Lichtik between 2006 and 2017.
Half Life and Bill are precise cuts of extensive productions, tailored for the club, while Nu secretly hits everyday dance training routines. Dim the light.
Lethal. Minimal. Timely.

Press quote from Göteborg Opera

'The uniqueness of Lichtik's work lies in the combination of different musical worlds into a sophisticated and refined soundtrack, full of passion and groove, which, together with the choreography, provides the audience with a hypnotic experience. Lichtik's music is influenced by various styles and sounds, from industrial recordings and African indigenous music, through hip-hop, to baroque music. Ori's music is one of the most prominent and distinctive features of Sharon Eyal and Gai Behar's dance works.'

Makyo taps into his love of roots reggae for this deep, dark and dreamy cover of Things Ah Get Tough by the legendary Bristol band Talisman. The Tokyo-based producer transforms the original, while keeping true to the essence of the original, whose lyrics meditate on the greed and destruction caused when corporations benefit from a nation’s downfall.

Makyo has charted his own course through the world of dub, often with an eastern or tribal twist, since the early 90s, working with collaborators like Bill Laswell, Natacha Atlas and Muslimgauze, but with this release, he’s entering a new phase.

“I’ve listened to this song for years,“ notes Makyo, “and it just felt more relevant than ever when I started working on it in 2024, with all the wars, election madness, wildfires, inflation and nuclear posturing. The mood just seemed to reflect where people were at.”

Having overcome crippling tinnitus and hyperacusis (to the point that he couldn’t even listen to music for several years), Makyo’s finding joy in the past whilst looking to the future, with this sparse and bittersweet version of Talisman’s tune the first in a series of contemporary covers he has planned.

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.

393AD returns to his own Full Range Motion records with 'Singularities EP'! On this EP, 393AD continues to explore the grey-area in between introspective yet driving techno, an area in which 393AD's well-received debut 'Doctrine EP' left such an impression. The Amsterdam-based artist playful use of sound-design and storytelling adaptations of live hardware jams are once more an excellent foundation for his second release, solidifying the distinctive sound of the artist on this young label. Opener 'Gravitational' pulsating beats are a strong anchor for slowly unfolding harmonic stabs and a strong centrifugal energy. Glimmering patterns unfold as an umbrella; a projectile shoots past; the aftermath of a near-collision - there's no running from this mind-gazing adventure. On the same side 'Technological' pushes on with dramatic effect as noise interlocks with serenity. A devious and mesmerizing track. The flip starts off with 'Mechanical', the final clever contribution to this EP by 393AD. Propulsive kicks and startling low-end call & responses manifest infectious hooks and rhythmic interplay. This track is as serious as it is facetious. Finalising this EP is Maasym's remix of 'Gravitational'. Building on the urgent dynamics of the original, Maasym conjures a magical field of rhythm, intertwining the original with his own energetic pulses. Culminating finally in a compelling resurgence of the original's main stab.

From the shadowed dancefloors of Amsterdam comes mayo, the goth house queen, twisting her sound into something darker and funkier. Stripping it down, a minimalist machine of tension and release — basslines snapping, original vocals echoing into percussive shapes, and synths bending into warp zones.

It’s electronic funk at its most skeletal and seductive: lean, twisted grooves that hypnotize as much as they bombard your soul.

Equal parts underground ritual and late-night seduction, the tracks carve out a soundscape where house collapses into post-punk swagger, and funk mutates into something cold, magnetic, and utterly addictive.

DJ Support: Antal, I Cube, Noel Watson, Colleen Cosmo Murphy, Sean Johnston, San Soda, Takaya Nagase, Tina Edwards, Pete Herbert, Kenneth Bager, Severino, Aaron Paar, Felix Joy, Harri Harrigan, Laroye, Telford, Darker Than Wax, Rocky (X Press 2), Shane Johnson, Dan Tyler, Felix Dickinson and many more

Having previously released selected retrospectives focused on the musical output of Ryo Kawasaki and Joan Bibiloni, NuNorthern Soul has now turned its attention to the vast back catalogue of Jasper Van’t Hof’s pioneering electro-acoustic, Afro-fusion collective, Pili Pili.

The band was established in 1984 by Van’t Hof, a Dutch pianist who began his career in Europe’s jazz scene of the late 1960s, as a way of combining his love of jazz-fusion and the music of North-West Africa. Van’t Hof already had a reputation for combining roles in traditional jazz combos with more experimental and abstract projects. These included a spell in violinist Jean-Luc Ponty’s first band, years spent masterminding jazz-rock outfit Jasper Van’t Hof’s Porkpie, the recording of an all- electronic album (1982’s Visitors), and a celebrated collaborative live album with the great Archie Shepp, Mama Rose.

Pili Pili, though, was another step forward for Van’t Hof. Working with percussionists and vocalists from Benin and Mali (including the now legendary Angelique Kidou) and a string of adventurous jazz soloists (saxophonist Tony Lakoto and trumpeter Annie Whitehead included), Van’t Hof’s collective frequently combined live and programmed percussion, electronic and acoustic instrumentation, and the talented improvisor’s own memorable melodies and impactful solos.

NuNorthern Soul’s retrospective focuses on the most productive and celebrated period of Pili Pili’s near three-decade history, showcasing tracks originally recorded and released on studio albums released between 1984 and 2002. The six tracks on show offer an essential glimpse into the musical gold to be found across the Pili Pili catalogue.

In keeping with NuNorthern Soul’s previous retrospectives, the vinyl version of Selected Works 1984-95 comes with extended liner notes telling the remarkable story of this most unusual of cross-cultural collaborations. These feature extensive quotes, reflections and memories from Jasper Van’t Hof and were written by music historian Matt Anniss.

DYSTORTION
Extrawelt's Latest and Longest-Brewing Album Lands This December on Cocoon

In this beautiful world marked by rising chaos, sometimes the simplest way to escape its troubles is through sonic relief. Germany's renowned electronic duo Extrawelt will offer exactly that with their 5th full-length album, DYSTORTION, via Cocoon Recordings this December.

For over two decades, the humble duo behind Extrawelt, who shy away from making music for clicks, have been a steadfast presence in electronic music. Known as serious studio and tour-focused artists who craft timepiece albums, each a work of enduring craft, that go on to create atmospheric, out-of-the-box live acts, they've been shaping and redefining electronica since their first release.


DYSTORTION is their most diverse and evocative album to date. Imagined over six years and shaped by a world in flux through COVID, political upheavals, social media, and AI, it reflects the contrasts and twists we've all felt while offering surges of serenity and hope. From brooding tension to playful relief, it moves through different states in an evolved Extrawelt manner.

The album's opening credit, "Grand Départ," as if a cinematic prelude, invites us into a world of creeping bass, an explicitly Extrawelt sound that's synonymous with the "anti-genre genre" they work within. The album's second track, "Clapland," sees Extrawelt joining forces with Jimi Jules, a name synonymous with excellence in electronic music, creating a rare collaboration that is felt in every note. Soon, the mood shifts into softer melodies as heard in "Surrounded By Miracles," "Hope Sounds Good," and "Sir Stringalot," which bring bright euphorics to balance the darker moments in an album echoed by industrial influences. Later, as "Dystortion" (the album's title track) unfolds, we're drawn into something few electronic artists can create: raw emotion. This is a gritty landscape as reflective as it is pulsing, glitchy, intense, and richly textured.

DYSTORTION is a reflection of a complex, divided world, carried through dramatically with Extrawelt's signature techno tension. Like the world right now, it is full of contradictions, surprises, and moments of introspection, an essential listen for fans of mature electronic music that may or may not need a reminder of why, after 20 years, we're still listening.

Originally issued in 1996 and now re-pressed for the first time by A.R.X. and Krisis Publishing, Pressure of Speech ''Our Common Past, Our Common Future'' remains one of the best-kept secrets of 1990s British electronica. Founded by Mickey Mann, together with fellow explorers Luke Losey (lighting designer for Orbital) and DJ Stika (already part of Spiral Tribe), their elusive second album is an obsidian relic of screwed ambient techno, mutant breakbeat and hypnotic radical sounds excavated from the goldmine of the UK's post-rave underground.

Kucera & Delayed Sentence Present the Analog Rhythms EP

Scrap & Delete continues its trajectory as a home for uncompromising techno with the Analog Rhythms EP. A collaborative release from Kucera and Delayed Sentence that merges their respective strengths into a tightly honed four-tracker of futuristic machine music.



Opening cut "Analog Rhythms" sets the tone with raw propulsion and hypnotic focus. Anchored by a driving low end and jagged synth pulses, it balances grit with surgical control. A track built for long blends and warehouse immersion.

"Between Networks" dials into a more kinetic space. Its interlaced groove patterns, off-axis drum programming and haunting vocal grooves create a feeling of constant shift, evoking unstable connections and digital interference while maintaining absolute floor impact.

On "Synthax," the duo lean into sci-fi atmospheres. Bleeding-edge textures swirl through a thickly percussive dancefloor orientated framework, creating a dark yet spacious momentum that's equal parts cerebral and physical.

Closing cut "Twisted Ankl3" is the EP's most unhinged moment. A wonky workout full of broken signal bursts and twitchy rhythmic grooves. It's a subtly evolving sequenced post-industrial DJ tool, leaving dancers disoriented and locked in.

With Analog Rhythms EP, Kucera and Delayed Sentence showcase a shared vision rooted in sonic discipline, hardware fluency, and unrelenting energy. This is high-functioning techno at its most distilled. A perfect fit for Scrap & Delete's refined catalogue.

Experienced Dutch producer Tom Ruijg rightly won praise for his first 12' as Tracey, Skyfall, which surfaced on Voyage Direct in early 2017. Combining elements seemingly inspired by vintage Detroit futurism, '90s ambient techno and his own love of colourful synthesizer melodies, the EP saw Tracey set out his stall in impressive fashion.
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Compare and contrast, for example, the two A-side cuts. While Testarossa' is far-sighted and spacey, with Tracey wrapping intergalactic electronics and lilting synthesizer melodies around a darting synthesizer bassline and swinging, electro-influenced house drums, Sidekick' is blissful and almost overwhelmingly melodious: all 16-bit new age motifs, head-in-the-clouds electronics and driving, locked-in machine drums.

The contrasts continue on the B-side, too. Many DJs may instinctively be drawn towards Made My Love', whose energy-packed groove (think vintage Chicago jack with a dollop of slick NYC house soul) is peppered with spacey chords, undulating electronic motifs and glacial melodies. Yet the track that follows, the wild and windy electro workout that is Interceptor', is every bit as potent when played over club sound systems. The track's inherent hustle, seemingly the product of Ruijg's darting synth stabs and feverish audio textures, is almost impossible to resist.

A must have double sider from Harvey Scales & The Seven Seas, containing two of the rarest tracks from their much sought after back catalogue. Originals have sold for eye watering sums of over £1700 in the past, attaining to its rarity but also the sheer quality of the music pressed into its grooves. ‘Trying To Survive’ is one of the great social-consciousness anthems and a slice of pure lyrical genius, whilst ‘Bump Your Thang’ hits with a heavy funk workout, channelling James Brown-esque energy in Chicago shoes. Red label version original black sleeve.

Syncretic marks the debut full-length from Australian duo Bhairavi Raman, a Western and Carnatic violinist, and Nanthesh Sivarajah, a mridangam player and versatile percussionist. Both artists share a Tamil heritage, a current that hums across the album. Raman, from South India, and Sivarajah, from Sri Lanka, draw lines that connect Western practice and Carnatic tradition. This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.

Expanding on traditional music can be a precarious practice, but Syncretic never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.

Even within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.

Sivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. The mridangam here functions as both a structural and ornamental force, mapping continuity between inherited form and contemporary sonic architecture.

Syncretic resonates as a space where Tamil heritage, diasporic memory and contemporary practice coalesce. Culture, like sound, circulates, transforms and persists. Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.

Figure is celebrating its 150th release with a loaded triple vinyl compilation, showcasing artists both old and new to the label – a testament to what the Figure sound is today. The cover art has been commissioned from Berlin-based graffiti artist Erik Winkler, whose spray-painted work is adorning the thick triple-pocket sleeve housing three colored records.

The compilation features some important recent additions to our growing roster: both Jancen and Arthur Robert deliver their unique take on tunneling techno, be it searing or psychedelic. And Brazilian shape-shifter Vinicius Honorio carves out his own gliding bass frequencies while A-STS relies classic drum machine bleep hypnosis.

Label head Len Faki’s own energetic appearance echoes his versatile style found on his recent album release. The all-out production featuring strings and quirky synths sits in contrast with Jeroen Search & Decoder - a pairing of veterans, whose minimal hardware sound slowly builds over trippy acid loops. The flipside belongs to a younger generation of producers, namely IGLO turning out a superb techno roller teeming with life and lush with details. The duo of Munich brothers Glaskin already remixed Faki for his Fusion album, their first original release on Figure comes a skillful blend of distorted stabs and deep grooves.

Equally refined but with a harder edge to it, Scheermann practices a dark, minimalist approach where each element gets time to shine for maximum effect. His bleak track is aptly paired with a rare solo release of Obscure Shape whose fractures of a dreamy, twinkly melody make for one of the most emotional moments of the compilation. The final side holds Roman Poncet’s seasoned understanding of groove, balancing perfectly the dubby stabs and vocal chops for a dazzlingly perfect loop. The final tones to this milestone release come courtesy of another of Figure’s bright new voices: Arkan manages to conjure up a powerful sense of progression, where colourful synths converge in harmonies over an effortlessly bouncing beat.

It is a rare moment for an independent label to make to number 150. But to keep finding new talent who help re-shape the signature sound while expanding the family roster, that’s a true blessing. This package shows how Figure is growing and adapting as a label, staying relevant as one of the leading voices in modern techno.

Chet Fakers Debütalbum 'Built On Glass' (2014) neu aufgelegt auf crystal clear Doppelvinyl!

Das Album ist eine atmosphärische Mischung aus elektronischer Musik, Soul und Downtempo-Indie. Mit seiner rauchigen Stimme und minimalistischen Produktion erschafft der australische Musiker intime Klangwelten, die zwischen melancholischer Reflexion und sanftem Groove schwanken. Das Album fühlt sich wie eine nächtliche Autofahrt durch neonbeleuchtete Straßen an – introspektiv, aber voller Rhythmus. Ein Meilenstein des modernen Electro-Soul.

- Ltd. Col. 2LP: (Crystal Clear Vinyl)

Das Werk von JJJJJerome Ellis bewegt sich mühelos zwischen Stille und Möglichkeiten. Der schwarze, behinderte Künstler mit grenadischen, jamaikanischen und amerikanischen Wurzeln schafft mit Saxophon, Orgel, Hackbrett, Elektronik und Stimme atmosphärische Klanglandschaften. Improvisation ist der Kern - oft werden große Teile von Aufnahmen bearbeitet, um das Werk wie ein Marmorbildhauer freizulegen. Es ist eine expansive und interdisziplinäre Praxis, die es JJJJJerome ermöglicht, sich an jedes Medium und jede Form anzupassen, darunter aufgezeichnete Musik, Live-Theater und Performance-Kunst, Filmmusik, Spoken Word und Storytelling sowie multimediale/visuelle Werke, die Klang integrieren. Als Mensch, der stottert, fiel es ihm in der Kindheit schwer, sich mit dem Mund auszudrücken. Den Künstlernamen ,JJJJJerome" zu buchstabieren, rührt von der Erkenntnis her, dass das am häufigsten gestotterte Wort der eigene Name ist. Trotz einer kurzen Sprachtherapie als Kind - als er in der siebten Klasse zum Saxophon griff, machte es plötzlich Klick. ,Ich stottere immer noch beim Saxophonspielen, aber es ist anders." Als Künstler dreht sich sein kreatives Ethos nun um die Erforschung des Stotterns durch Musik, wobei er die Fähigkeit jedes Einzelnen, Zeit zu gestalten, näher erläutert. Er ehrt das Stottern durch Kunst. Er begann damit, zu CDs von John Coltrane und Billie Holiday auf dem Horn zu improvisieren. Aber als jemand, der sich gerne mit Grenzen auseinandersetzt, hat sich JJJJJerome seitdem zu einem versierten Multi-Instrumentalisten entwickelt, wobei jedes Instrument einen Wendepunkt darstellt, der neue Wege zu potenziellen Klangwelten ebnet. Seine Stimme wird zusätzlich von einer Ehrfurcht vor der Erde und den Vorfahren - sowohl menschlichen als auch anderen - geleitet. Aufgrund der familiären Verbindungen seiner Mutter zur Kirche und den unvergesslichen Geschichten seiner Großmutter, die als Pianistin und Organistin auftrat, hat JJJJJeromes jüngste Affinität zu Tasteninstrumenten eine bedeutende Gewichtung. Das kommende zweite Album ,Vesper Sparrow" (Shelter Press) ist aus dieser Verbindung zur schwarzen religiösen Tradition und zum Erbe entstanden. Es ist eine Fortsetzung der fortlaufenden Auseinandersetzung des Künstlers mit den Schnittstellen zwischen Musik und Klang, Stottern und Schwarzsein aus der Perspektive der Zeit. Das Album besteht aus zwei vollständigen Gedanken und dreht sich um ein aufgezeichnetes Stottern. JJJJJerome teilt die vierteilige Komposition ,Evensong" auf, indem er das Stottern in Teil zwei ausblendet und die Tracks drei und vier (,Vesper Sparrow" und ,Black-Throated Sparrow") dazwischen einfügt. ,Das Stottern wird zu einem strukturierenden Moment", erklärt er in Bezug auf die Möglichkeit, die entstandene Zeit zu füllen. Die Aussetzung wird somit zu einem integralen Bestandteil der musikalischen Sprache von JJJJJerome. Sowohl Stottern als auch Granularsynthese können Momente in der Zeit aussetzen und ,zu vielfältigen Arten des Verweilens, Durchquerens und Verbindens mit anderen in diesen Momenten einladen". Der Künstler greift auch auf Elemente der Pop-Produktion zurück - elektronische Texturen und Verzerrungen, die teilweise vom Indie-Rock inspiriert sind, sowie Spoken Word, Sampling und Audiomanipulationen, die aus der karibischen und afroamerikanischen Musik stammen.

In the wake of their widely-acclaimed album Union, JUNO-nominated duo ÈBONY rematerialize on the dancefloor with the otherworldly Shades of Meridian EP, projecting a waking futurist dream haunted by echoes of Detroit techno, Chicago house, South African melodies, and the rich mythology of Ancient Toronto.

Opener "Break My Skin explores a hidden pocket of after-hours techno space-time with an ethereal vocal by James Baley, leading into the tense, disembodied jack of "Forever." Next, "Dull Side First" rides a spectral break through a sepulchral warehouse trip, "RIFT" invokes peak-time witchcraft, and closer "My Daylight" entrances even the most self-possessed sound-and-lighting guys to spam the smoke machine until reality itself is occluded.

And to those who say that working with JUNO-nominated artists proves that Turbo is just a cog in the CanCon cabal, we would like to familiarize you with the facts: Canadian Tire refused to carry our 2023 Bryan Adams remix LP and we have rejected five separate demos from Justin Trudeau's tech-house alias "Arabian Nights." It's called integrity - try looking it up sometime.

Secretsundaze lands on Echocentric’s 20th release with Flashlight EP, a breakneck blend of UK breakbeat, Italian prog house and sound system heat. From the raw drive of Flashlight (Stripped) to ODF’s tech-garage rework and the balearic shimmer of Style (VIP), it’s a full-circle nod to 1980s Blues Dances. the hidden roots of UK club culture.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

LPV introduces his 'Tachyon Pulse EP' and brings relentless forward motion with no strings attached. He's taking full advantage of precision-engineered low end drive while the tension-building compositions keep the pressure high at all times.

South Street International return with the house goodness once again, reissuing Vick Lavender’s house anthem “The L.O.V.E. Song (From Chicago To New York)”. Originally self-released on his label Sophisticado Recordings by the Chicago producer and musician, this is one of those timeless deep house gems that’s become an underrated weapon for discerning DJs worldwide.

Lavender – known for his work with Glenn Underground as part of the legendary Strictly Jaz Unit – has been shaping deep and soulful house for over three decades, blending world music, jazz fusion, R&B and more into a sound that’s both spiritual and deeply rooted in the dancefloor. Here he brings the best of both cities into one track: the soulful musicality of Chicago, the cosmopolitan polish of New York. Warm Rhodes, fluid percussion, and vocal refrains ride over a groove that’s equally at home in a dark basement session or a sunrise terrace set.

With originals changing hands for eye-watering prices on Discogs, this official reissue makes this must have record accessible again. Lovingly remastered by The Bakehouse and presented on South Street International, This record is a must-have for fans of deep house, and anyone who believes in the eternal conversation between Chicago and New York.

Swedish DJ, producer and songwriter Johan Blende debuts on Hell Yeah with a journey to the heart of a grown-up dancefloor in the Med.

Blende is a master of mixing up retro 70s and 80s sound into modern dancefloor delights. He's been doing it for two decades on a wide range of cultured labels from Studio Barnhus to Eskimo, always with a rare charm and leftfield perceptive. With this EP, he taps into the magic of hazy afternoons turning into euphoric evenings by the sea.

'Off To Mallorca' jangles with taught bass notes and sunburnt vocals. Distant synths glow, the jumbled percussion injects just the right dose of ass-wiggling funk and this playful yet sophisticated cut builds toward a blissful rapture. 'Television' ups the ante with prickly acid panning about the mix over sleazy, low-slung drums. Tension simmers as edgy synth motifs stalk the groove and anticipation builds before the whole thing explodes into a cosmic disco payoff. It's raw, unpredictable, and perfect for when things start to get a little weird.

'Como No Brasil' gazes skyward and basks in a wash of shimmering melodies and breezy, wordless vocals that drift like clouds over layered, sun-drenched rhythms. It’s a dreamy, tropical float until a surprise acid storm rolls in and moves things from tranquil paradise to dancefloor hypnosis. Finally, 'Carousel Bagatelle' is a layered, late-night trip that feels both playful and introspective. Hypnotic synths swirl around screwy acid lines and supple, dubbed-out house drums that spin you into a daze.

Blende’s debut on Hell Yeah lands like a postcard from a perfect party - sun-dazed, acid-kissed and endlessly replayable.

Making his debut on Depth.Request, Duellist delivers Intensive Living - a fierce three-track statement inspired by the restless energy and chaos of modern city life. Reinforced by remixes from industrial heavyweights Orphx, Statiqbloom, and label co-founder G.xist, the EP captures the tension between control and collapse - where rhythm becomes ritual and distortion takes on a human pulse.
'Burn Your Way Out' opens with offbeat crunch and abrasive energy, setting a volatile tone. The title track 'Intensive Living' moves with rhythmic swagger and pounding drums, its momentum unwavering. 'Ritual Component' closes the originals with throbbing low-end pressure and hypnotic drive - the sound of machinery breathing.
On remix duty, Statiqbloom transforms 'Intensive Living' into a desolate, melodic descent, Orphx expand its framework into a widescreen rework charged with cinematic tension, and G.xist pushes 'Burn Your Way Out' into industrial hypnosis, fusing intensity and groove in equal measure.
Intensive Living stands as a hard-edged introduction to Duellist's world - precise, forceful, and fully alive in its urban grit.

FJAAK return with FJAAK014, a four-track EP packed with their signature analogue energy, funk-driven grooves and unmistakable Detroit-inspired synth work. This release is raw, percussive and unapologetically dancefloor-focused: Across four tracks, FJAAK once again prove why they remain one of the most vital voices in electronic music. The EP kicks off with 'Soulfriction', a cut built on a groove where power house meets jungle. It's a pure body-mover, all pulse and propulsion, with layered percussion that nods to classic warehouse sets while pushing things forward in true FJAAK fashion. On 'Run To Me', the duo bring soulful vocals in, weaving them into a driving rhythm that fuses housey breakbeats and thick analogue grooves. The result is a warm, kinetic blend of Detroit flair and modern funk sensibility, tailor-made for peak-time dancefloors. The B-side starts with 'Keep The Balance', a track that strips things down a touch. More introspective, but still locked into a deep, funky flow. It's mellow without losing movement, full of crisp drums and glowing chord progressions that let the groove breathe. Closing the EP is 'What's My Name?', a true FJAAK-style banger: Punchy kicks, sharp vocal cuts and a commanding low-end give it that warehouse edge. It's a punchy blend of groove and raw-energy, making it the perfect club weapon. The Berlin duo has been sculpting their sound identity with hardware-heavy, genre-blurring releases that span techno, breakbeat, house and jungle. With FJAAK014, they further refine their groove-forward vision, blending soulful vocal textures, infectious breakbeat energy and timeless Detroit-style synth work, making this EP another bold statement from a duo that remains on the frontlines of electronic music evolution.

Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.

A1 - Unraveling

Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.

A2 - Forced Perspective

A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.

AA1 - Surface Scan

Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.

AA2 - Mixed Motive

Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.

Words by Chris Hayes (Spatial / Red Mist)

The complete collection of her elementally inspired series channelling Earth, Wind, Fire, and Water. Scotland’s own Mha Iri completes her elemental journey with the announcement of her first long player, the Four Elements album – a special vinyl collection bringing together the full force of her Earth (Leader of the Pack), Fire (Elements of Dance), Water (Come With Me), and Air (Fury) EPs. Out on vinyl on December 5, the album marks the culmination of an 18-month sonic and creative exploration through the natural elements that have defined her rise as one of techno’s most commanding new voices. The vinyl release will feature eight stand-out tracks and is pressed on black vinyl and presented in a spined single outer sleeve with printed inner.