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Joseph Salvador's impressive young Universo Positivo label returns with a new EP from the boss himself alongside Europe mainstay Orlando Voorn. The dynamic duo serve up four cuts that perfectly embody their timeless sound. Salvador has been at the heart of the underground since the 1990s. He is deeply involved on the scene on many different levels from running the cult Tomorrow Is Now Kid! nights in Amsterdam to labels like TINK Records and also working as part of house acts like Black Tulip & Wendell Morrison, Thyone Girls, Digital Cartel and many more. His music always operates at the sharp end of the spectrum and has come on labels like Tribal America, EMI and Sony Columbia. Orlando Voorn is equally as vital to the evolution of techno. His sound famously builds a bridge between Detroit pioneers and the contemporary European sound and he has worked with greats such as Blake Baxter and Amp Fiddler. He recently remixed South Bay Jams on this label and has also dropped music on the likes of Rush Hour, R&S and Housewax. 'Every Man Loves' brings lavish disco strong stabs to a mid-tempo groove that is packed with warmth. Funky bass riffs and jumbled toms all bring it to life next to an exquisite diva vocal that brings the soul. 'Slap My Funk' hits harder with raw drum loops and a touch of filter house energy. Chopped vocal stabs keep things driving with more live funky bass next to jazzy chords. The steamy 'So Well' is a fulsome house sound with big trumpet stabs and smart vocal samples worked into a heavy, party-starting but emotional groove. Last but not least, 'Break It Down' layers up freeform Rhodes jams with crashing drums and smeared synths to make for a real dance floor weapon. These are four potent and expressive new house gems from this dynamic duo.

Limited yellow coloured vinyl!

Satya is excited to welcome Sweden’s very own Chris Llopis, a veteran of electronic music, with his highly anticipated EP Echo Ridge, to its vinyl only catalog.

Chris has been a prominent figure in electronic music since the late ‘90s, releasing on respected labels like Fabric Records, Tooloop, and Micronica. Inspired by a trip to Spain at age 13, Chris began DJing on Technics SL1210 turntables and later immersed himself in Copenhagen’s vibrant techno scene. His first vinyl release on Tatsu in 1998 brought him global recognition. Today, Chris’s sound blends timeless influences with modern techniques.

Echo Ridge is inspired by Chris’s love for funk-driven bass lines and the energy of underground raves. “I wanted to create tracks with strong rhythms and a playful edge,” he says. “The bass line is the soul of a track, and this EP captures the vibe of late-night moments when everything clicks.” The EP combines the groove-heavy minimal style of the late ‘90s with a fresh, contemporary edge, delivering tracks that energize the dance floor.

Chris’s creative process thrives during early morning studio sessions. “It’s the perfect time for clarity and creativity,” he shares. For Echo Ridge, Chris used iconic gear like the Juno 106, Elektron Analog Four, Eventide H3000, and Roland Space Echo RE-201, alongside Ableton 12 and Max for Live, to craft its warm, textured sound.

Out on the shelves June 13, 2025, the EP is a celebration of Llopis’s evolution as an artist and his deep connection to the dance floor. With its groove-driven energy and meticulous attention to detail, the release is a must-have for fans of minimal house and vinyl enthusiasts alike.

Celebrating its 20th anniversary this June, Jamiroquai’s ‘Dynamite’ is to be released as a double-LP set on Dynamite Smoke vinyl featuring the original album alongside a bonus CD of the original promo album sampler which features different pre-release track versions.

‘Dynamite’ was the hotly anticipated sixth album from the band. It followed the release of their 2001 album ‘A Funk Odyssey’ that had garnered critical and commercial success globally. Also in the intervening period between the two albums, the band were exposed to rafts of new fans when their 1999 track ‘Canned Heat’ became the focal point of cult-turned-smash-hit movie Napoleon Dynamite (2004) when the movie's namesake lead performed his now infamous dance.

Originally released in the UK on 20 June 2005, its lead signal and first track on the record ‘Feels Just Like It Should’ became the bands fourth number-one on the US Dance Chart that also broke into the UK Top 10 Singles Chart and was accompanied with a Grammy Award nominated video that features Jay Kay going from nerd to himself and also adopt the role of the Candyman - all of who adopt Jay’s unique style and moves.

‘Dynamite’, like all of their previous albums, continued their great album chart success, this time entering at number three. The second single, ‘Seven Days in Sunny June’ entered the top 15 and in 2006 saw the band’s relationship with smash hit movies continue, appearing in The Devil Wears Prada. ‘(Don't) Give Hate A Chance’ was released as the third single, once again featuring a hugely captivating video this time with an animation of the band’s infamous ‘Buffaloman’ logo throwing some signature Jay dance moves .

Glossy Mistakes Reissues Resonance 001, a Proto-House & Trance Milestone from Belgium from 1992
Glossy Mistakes is proud to announce the reissue of Resonance 001, the groundbreaking debut EP by Belgian producer Fabrice Lagrange, created in collaboration with Frank Beekman and originally released in 1992. Long overlooked, this forward-thinking record captures a pivotal moment in the early European evolution of house and trance-melding minimalism, emotion, and club-oriented experimentation into a sound that remains strikingly fresh over three decades later.
Resonance 001 stands among the earliest European records to explore the fertile intersection of hypnotic house rhythms and atmospheric trance. The A-side, featuring The Awakening Earth and Pure Self, channels a stripped-down yet euphoric energy-deeply inspired by the spirit of Detroit techno but undeniably forward-looking. As Frank Beekman recalls: "This record was recorded in a very simple studio, with minimal gear, inspired by the Detroit techno sound."
On the B-side, the EP ventures further into experimental territory. Paris By Night offers a dreamy, tech-tinged house excursion, leading into Redondanz, a meditative downtempo closer that perfectly encapsulates the release's subtle charm.
The enduring appeal of Resonance 001 lies in its restraint: crafted with minimal tools, it delivers maximum emotional depth. It seamlessly blends hazy trance atmospheres, early house grooves, and ambient-inflected textures, capturing the open-minded, exploratory ethos of early '90s electronic music.
Now remastered for vinyl by Wouter Brandenburg, Resonance 001 returns in pristine form-faithfully preserving its original character while bringing new clarity to its timeless sound.

Two years ago he released ‘The Peak Season EP’ under his alias Flo 87, hitting all the right buttons, and now his back with ‘The Full Moon EP’ under his own name Jan Rezelman. The EP consist of three brand new tracks, all recorded in 2024. ‘Nobody’ is basically me cutting up a beautiful soul song on my MPC, and re-play it and having fun with it. I’ve put some banging drums under it, Maspaventi did the mastering, so you know it’s ready for club use! ‘Full Moon’ is an up-tempo track where I’m filtering a guitar loop and having fun with it. Anton Pieete mixed it and Sam Irl mastered it to tape, so you already know it’ sounds super phat! ‘Soul Music’ has a more experimental vibe to it, where I was messing with my new synthesizer and came up with this infectious bass-loop and those heavy hitting 808 drums. I added some strings and drum-breaks and kept the track really minimalistic. ‘The Full Moon EP’ is pressed to a limited amount so be quick! The vinyl will be in stores around spring ‘25.

2025 Repress

The COEO boys need no introduction anymore. Their two last singles made it into the sets of so many DJs. They are among the emerging artists of that new German scene of kids that make house music inspired by old Jazz and Funk records. The boys are mad about rare vinyl. And they love to make music with a positive spirit. Yes, there is something sunny in their tracks. Something that instantly makes you want to move. We heard so many mixtapes that started with a COEO track. Makes sense: They are perfect to set a vibe. A good mood. But if you know that the COEO boys work in a studio over the roofs of Munich, with a fantastic view over the lights of the city, with a great vibe where you see all the glammy colors of the light in the night..... then you understand why COEO's music sounds as it sounds.

Hailed as the “Godfather of electronic music,” Paul Oakenfold is one of the most successful electronic artists of all time, counting more than 110M streams, 5M albums sold worldwide and three GRAMMY nominations.
Oakenfold’s discography includes three full-length studio albums, countless live/compilation albums, singles and remixes, and over 20 DJ mix albums. He has written and produced for major stars like Cher, The Happy Mondays, U2 and Madonna and also counts more than 100 remixes, including ones for The Rolling Stones, Justin Timberlake, Michael Jackson, Britney Spears and Elvis Presley.

He continues to push the envelope via his game-changing projects, including a once-in-a-lifetime DJ set in April 2017 at the top of the base camp of Mt. Everest, commemorating the set with the release ‘Mount Everest: The Base Camp Mix.’ In September 2018, he became the first-ever artist to perform at Stonehenge, a UNESCO World Heritage site, followed by his ‘Sunset at Stonehenge’ mix album (February 2019) capturing the historic DJ set. In March 2019, he performed at the 2019 Special Olympics World Games opening ceremony in Abu Dhabi, in addition to remixing the Games’ official theme song.

This release is a reissue of his classic soundtrack album for the 2001 Joel Silver produced Swordfish starring Hugh Jackman, John Travolta, Halle Berry & Don Chedle. It contains tracks specially commissioned for the film written by Paul & film composer Christopher Young, plus his remix versions of N*E*R*D – Lapdance, Afrika Bambaataa - Planet Rock, Muse - New Born, plus tracks from Lemon Jelly + Dope Smugglerz, Jan Johnston.

The original release has sold over 100k units to date & the vinyl is now selling upwards of £300 on Discogs. This 2025 triple vinyl reissue has been remastered at Metropolis Studios + will be pressed on green coloured vinyl & coincides with the 4k UHD limited edition 25th anniversary Blu Ray release.

The Second Installment of “Versions” PART TWO by NYC’s Multi-Talented GE-OLOGY.
A VERY SMALL RUN of VINYL ONLY 2x12", NO DIGITAL CONTENT

DJ Support: DJ Harvey, Hunee

SIRS returns with Volume 7 of his beloved SIRS Cut series—a four-track EP of deep-digging edits spanning disco, beatdown, and soul. Already supported by DJ Harvey, Hunee, and more, each track has been reworked with SIRS’ signature touch—tasteful, floor-ready, and full of character.

Explosive UK producer Bullet Tooth — one of the most talked-about names in bass music for 2025 — crashes onto Time Is Now, the cutting-edge sister label of Shall Not Fade, with a thunderous three-track EP that delivers nothing short of pure, sub-heavy chaos. Known for his genre-warping blend of UKG, breaks, jungle, and grime-inflected basslines, Bullet Tooth has been making serious waves in the underground with his uncompromising sound and high-octane DJ sets.

Drawing influence from the raw energy of early dubstep and the precision of modern UK club sounds, Bullet Tooth’s productions are built to devastate dancefloors — and this latest release is no exception. Packed with seismic low-end pressure, razor-sharp percussion, and twisted vocal chops, each track is a statement of intent from a producer firmly in his stride.

This marks Bullet Tooth’s debut on Time Is Now, a label that has rapidly become a cornerstone of the UK’s contemporary bass scene. Since its launch, Time Is Now has earned a reputation for championing the next generation of bass-heavy innovators — from UKG and breaks to jungle and speed garage — offering a platform for artists who push the boundaries of sound system culture with forward-thinking flair.

With this release, Bullet Tooth not only cements his place among the UK’s most exciting producers but also adds another essential entry to Time Is Now’s ever-growing catalogue of future classics.

Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Haçienda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A GuyCalled Gerald, the unmistakable influence of black American pioneers is clear-the originators of the first analog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection,offering a timeless snapshot of a unique era.

Tauchen Sie ein in die faszinierende Welt des Italo Disco mit unserer exklusiven 4 LP Box „The Italo Disco Collection“.

Diese einzigartige Sammlung bietet Ihnen eine Auswahl der größten Hits aus den 1980er Jahren, präsentiert von einigen der bekanntesten Künstlern dieser Ära. Diese limitierte Auflage umfasst vier hochwertige Vinylplatten, die mit den zeitlosen Klassikern von Gazebo, Sabrina, Scotch, Koto und Valerie Dore gefüllt sind. Jeder Titel wurde sorgfältig ausgewählt, um die Essenz des Italo Disco einzufangen und Ihnen ein unvergessliches Hörerlebnis zu bieten.

Die Box enthält speziell ausgewählte Versionen der Songs, die speziell für diese Edition remastered wurden. Die Klangqualität wurde optimiert, um den authentischen Sound des Italo Disco zu bewahren und gleichzeitig das bestmögliche Hörerlebnis auf Vinyl zu bieten.
Das hochwertige Box-Set wurde mit großer Sorgfalt und Liebe
zum Detail gestaltet.

Holen Sie sich jetzt Ihre Kopie dieser exklusiven 4 LP Box „The Italo Disco Collection“ und erleben Sie den unverwechselbaren Charme des Italo Disco auf eine ganz besondere Weise. Tauchen Sie ein in die Welt der pulsierenden Beats und mitreißenden Melodien, die diese Ära geprägt haben.

EVERYBODY LOVES THE SUNSHINE is more than a classic. It is “THE” summer anthem, one of the most covered and sampled Soul tunes by Roy Ayers and the Ubiquity family. This vinyl re-release has been eagerly awaited by music lovers worldwide. This version was originally recorded as a cover version, produced by Soulciety Records for their label band project named The Soulsociety.

The performance was recorded with the original songwriter and producer of the song, Mr. legendary vibes controller and Soul superstar Roy Ayers. This recording follows the original 70s feel and instrumentation of the 1976 version, but this time also features Roy Ayers prominently on lead vocals. Another big difference compared to all other versions by Roy and Ramp is the fact that this version is arranged and produced as a midtempo track. It will fit perfectly into any DJs set with a focus on Soul, Funk or Hip Hop. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl with full cover artwork, including the previously unreleased instrumental version on the flip side with added extra vibes by the master himself.

Terror/Cactus returns to Names You Can Trust for the first time since his debut on the label's Split Single series from 2020. Since then, the Seattle-based Martin Selasco has been steadily cultivating his individual brand of futuristic electronic cumbia, playing a multitude of shows and festivals, as well as releasing a handful of singles and a self-produced long-player, Forastero. The Buenos Aires-born Selasco embodies the new wave of cumbia that has always been championed by his home country: machine-forward audio/visual performances combined with a mixture of bugged out digital folklore and live instrumentation, and in the case of this latest recording with NYCT, baritone and clarinet from Seattle-collaborator Kate Olson.

Guaranteed floor filler alert!

Released in 2003 on the illusive Excursions label, this promo release has steadily gained notoriety in the last 12 months, getting played everywhere from big festival stages to sweaty basements.

With original copies now regularly changing hands for over £200 on the second-hand market, Excursions are blessing us with a fully remastered reissue for 2025 with a previously unreleased Sade edit included as an extra bonus.

In case of emergencies, reach for this release.

These won’t hang around for long. You’ve been warned.

Silver Tears is the new joint venture by Berlin-based gent Luca Venezia and Damian Shilman, respectively of Curses and Skelesys’ fame.

The duo first debuted in 2023 on Next Wave Acid Punx Deux (Chapter 2) compilation delivering one track rich with deep bass lines, crystal clear guitars and captivating mechanical drums. One somehow classic formula enriched by an universal allure that left you hoping for more. And here we are: these charming men have been working hard for the past two years and their first, self-titled full-length album is now ready.

Eight new cuts of elegant electronic beat-driven coldwave with baritone vocals, sharp arpeggios and no lack of slow passages, recalling 90’s shoegaze or moody grunge. A subtle play of juxtaposition of dancing moments and introspective retreats, dancefloor-oriented grooves and caustic precipices, sometimes crowned by the two dueting at vocals. One wide musical cape to cloak all the angles of the Goth subculture and prove how this can still be relevant some many years after it first bursted out.

limited to 500 copies

For his second solo album, Officium offers us a free and unrestrained journey through inner worlds, hazy stories, and ghostly traces. Throughout its eight tracks, Light Trap oscillates between immersive textures, impulsive basslines, and rough guitar chords, creating a subtle tension between softness and intensity.

Interlaced with the haunted voice of Lou (1/2 of Reymour) and the precise arrangements of Yolek, this album is the result of meticulous sound work, fueling a constantly moving introspective odyssey.

Light Trap paints a moving chiaroscuro image, like the last rays of light passing through the teeth of a trap, just before it snaps shut on the moment.

Dystopian Context: Episode 3

In a futuristic society where science has advanced to the point of creating bio-synthetic hybrids, a groundbreaking discovery emerges: the ability to imprint memory onto energy.

Initially developed to enhance machine control, this breakthrough was soon applied to living beings. Its consequences mirrored genetic determinism, shaping behavioral patterns and influencing individual will.

This technology enables certain elites to manage and condition the population, restricting autonomy through the manipulation of energetic memory.

However, a group of resistance fighters has uncovered an advanced data-erasure technique called Vibracid, capable of deleting imposed memories and restoring self-determination.

The struggle is not between different species, but between those who monopolize scientific power and those who seek to reclaim their freedom and forge their own destiny.

Vibracid (Corrosive Vibration)
A technique for data erasure and elimination, designed for the eradication of records and the neutralization of control mechanisms.

Limited to 150 copies.

The Aachen Jazz Files

A collection of essential jazz from the NABEL record label (1980-1994), compiled by miche & Rainer Truby.

The Aachen Jazz Files celebrates the pioneering spirit of NABEL Records—one of Germany’s most underrated yet influential independent jazz labels. Founded in 1980 by Rainer Wiedensohler, NABEL became a home for innovative musicians blending classic acoustic jazz with fusion, Brazilian rhythms, and avant-garde flourishes.

This compilation collects some of the label’s finest moments, including the soulful and Latin-tinged brilliance of Monika Linges Quartet (whose album *Floating* was reissued last year by PANORAMA Records for RSD Black Friday), the cosmic jazz explorations of John Thomas & Lifeforce, the deep jazz-funk grooves of Hipsters In The Zone, and the stunning, expressive vocals of Maria João’s quintet.

Nestled in the far west of Germany, near the Dutch and Belgian borders, Aachen has long been a hidden gem for jazz lovers. Its vibrant scene, fueled by music schools and the legendary Malteserkeller jazz club, cultivated a unique sound that resonated far beyond its city limits. In fact, the city didn’t just birth a jazz movement—it also lays claim to opening Germany’s first discotheque in 1959.

From London to Tokyo, NABEL’s releases became secret weapons for jazz DJs seeking deep, danceable cuts. The label’s trademark blend of acoustic jazz, fusion, and Brazilian influences made its way onto turntables in underground clubs and festival stages worldwide.

Expect elegant samba jazz, spiritual grooves, and modal masterpieces that capture the essence of NABEL’s golden years. Monika Linges’ contributions shine with her rich harmonies and heartfelt compositions, while John Thomas & Lifeforce deliver a perfect storm of fiery instrumentation and deep soul. Maria João’s early recordings showcase her extraordinary vocal range, and Hipsters In The Zone bring a forward-thinking, acid jazz-infused perspective to the NABEL sound.

As co-compiler Rainer Truby puts it:

'NABEL Records always had this special ‘Aachen sound’—a jazz flavor that carried its own energy, somewhere between the cool sophistication of fusion and the warmth of Brazilian music. It’s a pleasure to finally bring together some of these classics in one essential collection.'

Compiled by miche & Rainer Truby.

PANORAMA Records is a London-based label dedicated to unearthing and reintroducing rare and essential music to new generations. With a focus on jazz, funk, and global grooves, the label has built a reputation for high-quality reissues that capture the spirit of the originals while providing fresh context for today’s listeners. Their past releases have garnered support from tastemakers like Gilles Peterson, Patrick Forge, and Mr Bongo DJs.

The first release of eau de parfum the label of Davide Leone that experiences musical influences starting from techno, mixed with Italo arriving at the acid all seasoned with a good dose of electro sound

Prepare to transcend the boundaries of sonic perception and embark on an interstellar voyage unlike any other. DHMZ001 emerges from the depths of the cosmos/the cosmox, offering a tantalising glimpse into a future where music, humanity and technology converge in perfect harmony. Behold, the first release from Dehumanize -- a sonic odyssey so profound, it defies conventional description. With each pulsating beat and ethereal melody, listeners are transported to realms beyond imagination, where the fabric of reality itself seems to ripple and shift in time with the music.

Die ikonische Trance-Hymne „Lizard“ von Mauro Picotto jetzt wieder als farbige Vinyl erhältlich. Der Klassiker aus den späten 90ern begeistert mit seinen treibenden Beats, hypnotischen Synths und dem unverwechselbaren „Komodo“- Sound, der die Clubkultur einer ganzen Generation geprägt hat. Neben den Originalversionen gibt es zahlreiche Remixe, die den Sound noch klarer und intensiver zur Geltung bringen. Ideal für alle, die den Spirit der Trance-Ära neu entdecken oder bewahren möchten.

Azzurro 80's new album—his first ever on LP—is a beautifully faded Polaroid that, like a true flashback, plunges listeners into the heart of the 1980s. It's a sonic journey that captures the essence of a decade, distant yet vividly etched in our collective memory.

The Roman producer unleashes his sonic vision with even greater intensity than before, weaving through dreamy italo-disco, electric atmospheres, soundtrack-worthy synth-pop, and boogie-funk grooves.

Each track opens a window onto an era the artist experienced only fleetingly as a child, yet he evokes it with a powerful and refreshingly original touch. Much like a classic library music record, these tracks conjure a wealth of images, scenes, and visual sequences—perfect soundtracks for imagined films or evocative advertising campaigns: as seductive as a perfume ad, as desirable as a car commercial, and brimming with the bright future the 80s promised.

It's no surprise that cinematic references spring to mind even before musical ones. The album echoes the dreamy atmospheres of early 80s Italian cinema, particularly films like Carlo Verdone's "Acqua e Sapone" (1983) and Carlo Vanzina's "Amarsi Un Po'" (1984). Meanwhile, flashes of New Romantic aesthetics and hints of electro-funk transport you to a neon-lit dance floor where a DJ is spinning the vinyl copy of Flashback.

Azzurro 80's new album is a vibrant, energetic work, balancing groove and emotion in equal measure and infused with a sense of nostalgia that feels remarkably contemporary.

Available May 9th on LP and Digital from Four Flies Records!

CS003, our next offering on wax, is home-grown. The Instruction EP features three original productions by label co-founder Niall Kelly complimented by a remix from the inimitable Carl Finlow. Niall’s debut EP showcases his prowess as producer harking to a pool of influences found in the sonic DNA of our hometown of Leeds, with added firepower provided by a legendary artist with close ties to the city.

Echoes of the rowdy bygone Mint Club ooze through the slappy tech house roller ’Section 1’ which opens the record. The chunky basslines retro synths and robotic vocoder connect the dots from Niall’s palette to the unmistakeable sound of Yorkshire Bleep on ‘Seven Wolves’. Carl’s treatment of ‘Section 1’ pivots into a darker, dystopian soundscape full of fizzing hi hats and dizzying synths that amalgamate into a dancefloor shaker that is unmistakably Finlow. The EP is rounded off by Groove Key, a track which serves up a special disorientating euphoria designed to be heard on large soundsystems and felt deep within your bones.

We’re hyped to welcome back the French producer Carriego, who already made waves with a standout EP on our sister label Cosa Vostra. This time, he lands on Griffé with a four-tracker that dives deep into stripped-back grooves, rhythmic precision, and textured soundscapes.

True to his style, Carriego merges Detroit roots with early 2000s minimal vibes—tight drum machine programming, detailed sound design, and a strong focus on mood and arrangement. The drums hit with intent, and every element feels built for purpose.

The EP unfolds like a proper journey: Hazard sets the tone with tension and space—ideal for an opening move. The Bridge follows up with drive and pressure, perfect for peak-time intensity. Curtain Call brings in a hypnotic, late-night energy, subtly nodding to the Time Passages spirit—refined, trippy, and deep. Then comes Seems Like to close the ride—more introspective, with a dub techno edge that lets everything breathe again.

Techno, minimal, electro, dub—Carriego connects the dots without forcing it. Just functional, thoughtful club music that works on multiple levels.

The Rhythm Section – raves first super group - consisting of Ellis Dee, Rennie Pilgrim, Newton and Ritchie T. The group disbanded in 1993 after the rise of jungle as the guys didn’t want to go in that direction and felt their job was done in building the rave scene to what it was. But then in 1995 they had a request to reform and tour America as the rave culture was growing out there. So, they did reform, minus Ritchie T, and embark on a rather rave induced tour of the US with all the antics that you would expect from those guys!

They also wanted to make some new music for the tour and The Sequel album was born. Though written in 1995, they guys purposely kept the sound retro, calling upon their knowledge of the late 80s and early 90’s London warehouse scene.

Released originally as a limited edition double album which commands a high price on Discogs, this is the second part of the album – part one being the 180g blue vinyl release on Vinyl Fanatiks last year.

2024"s retrospective box We Have Dozens of Titles brought the revelatory 1993-"98 output of Gastr del Sol back into the world of physical objects, following a decade in which most of their music was mostly available online. The ruckus that the box generated in the so-called real world was intense enough to warrant some more fun excursions; thus, we begin our vinyl reissue series of the Gastrlog at the end of the line, with their "art-pop masterpiece" somebody"s words, not ours - but we"ll take "em): Camoufleur. Gastr del Sol released Camoufleur in February of 1998. It was a ringing down of the curtain on an extraordinary five years of music making (and unmaking) with one of the best albums of that era - or any other. Once out in the world, Camoufleur went over like gangbusters. Listening in today, it still does - time has only burnished its unique superpowers. Upon release, of course, and with the same sense of enigma in which they"d issued their music, Gastr del Sol abruptly vanished, leaving all that stuff to time. And by golly, in time we"ve found it again, and huzzah almighty, have recommitted it to ol" reliable, the singular magic of the vinyl platter, for the enjoyment and edification of a new nation.

On June 6th, Death In Vegas return with new album ‘Death Mask’, where disintegration, overload and total sonic immersion tell a personal tale. With dirty circuitry and rough-hewn textures at the fore, this is gritty, unpolished techno; an audio outlier that’s full of personality, and a bold artistic statement. It’s closer in DNA to the grainy growl of sunn O))), or the searing intensity of Underground Resistance at their fiercest, and as far from generic influencer business as you could possibly get.

“I’ve been soaking in Ramleh’s ‘Hole In the Heart’, the machine funk of Terrence Dixon’s Population One, Jamal Moss’ psychedelic techno jams, the stunning minimalism of Mika Vanio’s Ø and Panasonic, the layered drones of LOOP, and drowning in the acid of TM 404”

Broader inspirations are weaved into the album’s fabric too; from his Thameside Metal Box studio and evocations of nautical ghosts, to lamentations for a broken world, to memories of a youthful Detroit pilgrimage, and the innocent fraternity of rave euphoria, there’s a lot going on, acting as a chronicle of moments, and locations.

2025 Repress

Words by Costanza Acernese
MOVING PRESSURE 04 / Obscur
With its fourth release, Moving Pressure welcomes its first external artist: young Slovenian producer Obscur. With a signature sound that is driving and subtly psychedelic, his debut on the label doesn't stray from the core tenets of its sonic ethos. Obscur delivers minimalism with purpose-dynamic, intentional, and wholly physical.
'F135' opens the A-side with a sinister tilt-rubbery squeaks stretch and coil around a flickering, synthetic voice. It's tactile and strange, without losing movement. 'Soul Eater' follows with a slow-burn crescendo, nestling psychedelic inflections into a warm low-end. On the flip, 'Stockholm Syndrome' pares things back. Dry, stripped rhythms carry an atmospheric tension-it's austere yet playful, leaving space for darker hues to linger without fully settling. A precise, heads-down statement. 'Blasphemy' follows with a tighter percussive grip and Feral-esque, panning modulations. Highs slice through a foundation of finely textured grooves-functional at its core, but laced with enough detail to give the track a sharper, more intricate edge. The digital bonus, 'Diamond City', stretches the sonic palette even further. Not through layers, but through tone: steel blues and deep violets bounce off metallic bleeps with cinematic restraint, closing the EP on a reflective note.

"Trésor Magnétique" ist eine Zusammenstellung unveröffentlichter Tracks und vernachlässigter Schätze aus dem Vermächtnis des legendären, kamerunisch-französischen Musikers/Schriftstellers Francis Bebey. Sorgfältig digitalisiert in den Abbey Road Studios, strahlen sie eine Klarheit und Dringlichkeit aus, die den Jahrzehnten seit ihrer Entstehung bis zur Jetztzeit trotzt. "Trésor Magnétique" ist keine verstaubte Retrospektive, sondern ein lebendiger, atmender Dialog mit der Gegenwart und der perfekte Einstieg in eine umfangreiche Diskografie, die sich fliessend zwischen tanzbarem Afro-Funk, folkloristischen Gesängen, politisch aufgeladenen Kommentaren und schimmernden elektronischen Erkundungen bewegt. Francis Bebey war seiner Zeit nicht nur voraus – er prägte seine eigene Zeit. Wir entdecken hier nicht nur verlorene Artefakte, sondern werden mit Ideen konfrontiert, die heute noch radikal und relevant sind.

YIA, the emerging DJ duo, returns with a release that blends house, deep tech, and minimal influences, creating a refined yet impactful groove, designed to light up the most selective dancefloors.


The vinyl includes two exclusive remixes from two prominent international names:
• Argentine producer Guile, known for his organic and hypnotic sound, delivers a deep and immersive rework.
• From the UK, Duncan Thomas presents an elegant version, full of tension and groove, perfect for the more sophisticated nighttime sets.


Released by Yes I Am Recordings, a label active in both digital and vinyl formats, this EP is made for diggers and those seeking authentic, underground sounds.

A noughties classic, an earworming anthem, an eventual schoolyard ringtone favourite; Roman Flügel’s once inescapable ‘Geht’s Noch?’ celebrates turning 21 on Running Back, refreshed and remixed by a scene-spanning set of artists paying keen tribute to its absurdist energy.
Casually released as part of a Cocoon Records compilation in 2004, ‘Geht’s Noch?’ rose from the depths with the support of Sven Väth, becoming an international phenomenon, conquering and uniting the dominant scenes of minimal and electroclash alike. Some have said it laid the foundations for the ‘Dirty Dutch’
house scene, albeit from over the border in Germany.
Well known for injecting much-needed levity into the contemporary club landscape via her Live From Earth parties, DJ Gigola adds additional firepower to ‘Geht’s Noch?’, inducing a planet-shaking kick drum, before sending the track’s signature bleeps into nonsensical Morse code for even greater pleasure. Another rave
culture connoisseur, Luca Lozano, offers two alternate takes; his ‘Technocs’ mix rolls deep with additional cowbells, robotic voice commands and stadium-sized claps. Meanwhile, the ‘Gehts Garage Remix’ draws a savvy connection with the original’s as-yet-untapped UK funky potential.
Peder Mannerfelt, who straddles the line between innovation, functionality, humor and seriousness quite like its original author, takes ‘Geht’s Noch?’ to truly wuthering heights. His remix builds unexpected drama and catharsis around the enduring riff, before a collaboration with studio partner Par Grindvik as Aasthma
spins the club out with a glossy, anime-tinted take, full of whimsy and colour.
And while the digital release of Geht’s Noch? also spans interpretations from Audion, Domnik Eulberg & Moguai, this vinyl release presses Steve Angello vs Who’s Who remix to wax, that which helped take ‘Geht’s Noch?’ out of the underground and into the stratosphere. Twenty years on, and Flügel’s offbeat hit is always ascending. Love it or hate it, ‘Geht’s Noch?' will still get you good.
Words by John Loveless

Life and Death is thrilled to unleash the electrifying debut EP from rising Irish producer Cromby, marking a bold new chapter on DJ Tennis’ genre-defying label. Packed with highvoltage energy, emotional depth, and razor-sharp house production. At its heart is “I’m Coming Back”—a radiant, hands-in-the-air anthem co-crafted with NiKi K. The track also receives a powerful rework from the enigmatic Known Artist, who transforms it into a hypnotic late-night weapon—fusing atmospheric textures with raw emotional drive. Cromby finally concludes with “One More Time”— a colorful house thumper of pure peak time energy, right on cue for the summer festival season ahead.

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

Change, founded in 1980 by Mauro Malavasi, Jacques Fred Petrus, Davide Romani, and
Paolo Gianolio, is a legendary band on the interna#onal soul/disco scene, renowned for
launching iconic voices such as Luther Vandross and Jocelyn Brown.
Their debut album, The Glow of Love, was produced in 1979 between Bologna and New
York. Widely regarded as one of the greatest disco/soul/funk LPs of all #me, it achieved
enormous interna#onal success. It was the first Italian produc#on in this genre to enter the
Billboard 200 chart, peaking at #29 and earning a Gold Record. The singles “A Lover’s
Holiday” (Top 40 on the Billboard Hot 100), “Searching,” and the #tle track “The Glow of
Love” (which reached #2 in Italy) solidified the album’s global impact.
So influen#al was the record that in 2001, Janet Jackson sampled the #tle track for her hit
“All for You,” which went on to win the Grammy Award for Best R&B Recording.
Throughout the 1980s, Change released five addi#onal albums:
• Miracles (1981)
• Sharing
Your Love (1982)
• This Is Your Time (1983)
• Change of Heart (1984, produced by Jimmy
Jam & Terry Lewis)
• Turn on Your Radio (1985)
In 2010, the previously unreleased album Change Your Mind—recorded in the 1990s and
produced by Davide Romani—was finally released.
In 2018, aEer a 33-year hiatus, Love 4
Love marked the band’s comeback. Produced by Romani and Stefano Colombo, the album
introduced vocalist Tanya Michelle Smith and featured eight original tracks wriGen by
Romani, Malavasi, Colombo, and Elio Baldi Cantù. The singles included:
• “Hit or Miss” (remixed by Soulpersona)
• “Love 4 Love” (also remixed by Joey Negro)
• “Make Me (Go
Crazy)” (remixed by Opolopo)
Embrace (2025), credited to Change feat. Tanya Michelle Smith, represents the natural
musical evolu#on of Love 4 Love. Originally conceived in 2019 as Tanya Michelle Smith’s solo
album, it was later reviewed by producer Stefano Colombo together with Mauro Malavasi,
who approved the material and authorized the use of the name “Change.” Malavasi also
contributed to the cover design and selected the album #tle: Embrace.
The first single, “Sunrise Forever,” was released on January 10. The remix by Michael Gray
reached #1 on Traxsource and ranked high on the UK Soul Chart.
The album’s release was postponed when Davide Romani and Stefano Colombo decided to
complete an unfinished demo from the Love 4 Love sessions. Some original parts were lost
due to a corrupted backup, but in 2025 the track was completely rearranged with a newly
recorded bassline by Romani and fresh backing vocals.
On April 4, the single “Got 2 Get Up” was released across all digital plaOorms, receiving
strong radio airplay across Europe and entering the UK Soul Chart. On May 16, a remix by
renowned Italian duo Micky More & Andy Tee will be released in an#cipa#on of the album.
Embrace includes ten original tracks and one cover.
The album will be available on CD and vinyl, distributed by Self Distribuzione Srl. The first
500 vinyl copies will be issued as a limited “Expanded Edi&on”, including the full album plus
a bonus 12” single with Michael Gray’s remixes of “Sunrise Forever.”

The first new Electro Clash tracks from Break 3000 since 2003! After a string of re-issues of old gems on Italy's "Mondo Phase", the Argentinian label "Calypso's Dream" and his own "Electron Feel" last year, Break 3000 is finally back with some new original cuts!

The A-side "Electronique" has all the ingredients you would want from a hard-hitting Electro Clash track. EBM style drums and a powerful raw bass line topped with soaring rave leads and pads and added original (Vocoder) vocals by Break 3000 himself. This one is road tested already on dance floors and big systems and a guaranteed crowd pleaser! Second up is the driving "Continua", leaning more towards Break 3000 Techno classics like "Flash" and "Fix" this filtered rave lead will make a wild crowd go even wilder. Dark and twisted Electro Techno at its best.

The B-side opens with another aspect of the Break 3000 sound spectrum. We look back to the early years here and to songs like "The Wait" and "Spacemaschinenreise" that were produced in 1999. In a Detroit meets Rotterdam styled Electro setting this song uses a lot of the old sounds from 26 years ago, mostly coming from his original EMU sampler used at the time and a great 80s vocal sample gives this track it's title. We are transported back to the golden era of Cold Wave here. Closing out this new EP is the wonderful Marcello Giordani from Parma, Italy who build a strong reputation with his "Italo Deviance" label over the years. He gives the original "Electronique" a great funky "Proto House" bass line in best "Bobby Orlando" manner, what a brilliant crossover track this one is! With the Vermona drum sounds his - Dark Disco meets Early House - jam will certainly be on many DJ's want list.

We hope you enjoy these new tracks! There is more to come… stay tuned!


All tracks are mastered by Salz Mastering in Cologne. Music, Photography & Art by Break 3000.

BB. angel bends the clock with present days, present times, a lucid transmission of trance-infused progressive motion. Echoes of forgotten futures and glitching presents bleed through each phonogram, as rhythms stretch and fold like time seen through a cracked lens. The dancefloor becomes a temporal loop, always arriving, never staying. Bliss Inc.’s remix dissolves the frame further, a shimmer of parallel timelines collapsing into one. A portal in wax, a memory that hasn't happened yet.

As most of us now live in a world saturated with information, this album feels like a reflection of how the modern world might sound if it were to process its own chaos through a unified scream. Hailing from the highlands of Bandung, West Java, a city where tradition and modernization intertwine in the rhythm of daily life, Xin Lie unpretentiously translates this cultural fusion into a sonically rich and rhythmically bold debut LP.

The artist’s roots in the hardcore and punk scenes reverberate throughout the album, though they’ve been reshaped and refined for the club. There’s an undeniable pleasure in experiencing the chaos Xin Lie channels—irregular beats, dynamic frequencies, and disjointed grooves collide and expand, each track laced with a sense of unpredictable energy. Yet even in its most chaotic moments, the music feels deliberate, its edges softened by a sense of compositional care.

The album reveals a strange duality: tracks that seem to beckon you to the dance floor but never quite let you settle there. Frequencies flicker and fluctuate in patterns that feel just slightly off-grid, as though resisting traditional structures. Yet, amidst the digital textures, Xin Lie weaves in organic sounds—snippets of native conversations or environmental noise—creating layers that feel both intimate and expansive.It’s fair to say this album extends far beyond the boundaries of today’s club music.

Picture this: you’re moving through your daily routines—mundane, repetitive—and suddenly, the music shifts your perspective. It reframes the ordinary as something surreal, as though it’s deconstructing itself in real-time, breaking into fragments or conjuring entirely new forms. Perhaps it’s best imagined as the soundtrack to a multi-sensory art installation or a performance staged not in a gallery but in an unassuming house down your street. Who’s to say where it might take you?

"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

Little Simz hat ihr sechstes Album Lotus angekündigt, das am 9. Mai über Awal Recordings erscheinen wird. Gleichzeitig präsentiert sie die erste Single Flood, featuring Obongjayar und Moonchild Sanelly. Der Albumtitel Lotus steht für Simz als Symbol für Erneuerung und Wachstum – ein zentrales Thema, das sich durch die musikalische und inhaltliche Reise des Albums zieht und die komplexen Phasen des Lebens reflektiert.

Little Simz gilt als eine der spannendsten und visionärsten Künstlerinnen Großbritanniens – Musikerin, Geschichtenerzählerin und Kulturkuratorin zugleich. So wird sie das diesjährige Meltdown Festival in London kuratieren, wie zuvor schon Superstars wie David Bowie, Yoko Ono, The Queens oder David Byrne. Mit mehreren Brit Awards, MOBOs und einem Ivor Novello Award sowie einer beeindruckenden Diskografie aus Mixtapes, EPs und fünf von Kritikern gefeierten Alben erzählt ihre Musik ihre eigene Geschichte – und die einer ganzen Generation. Simz' Vorgängeralbum "No Thank You" Ende 2022 hat es hierzulande auf die #11 der Charts geschafft. Im Jahr 2023 setzte sie ihren Weg als gefeierte Schauspielerin fort und kehrte in der letzten Staffel des Netflix-Dramas Top Boy zurück. Little Simz' Auftritt auf der Pyramid Stage des Glastonbury Festivals im Jahr 2024 festigte ihren Ruf als unnachahmliche Live-Performerin.

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of thebest crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of the best crate diggers aroundto curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both hisown and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything havingto sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

Kerrie is back on James Ruskin's Blueprint for her third EP. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design. Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.



Irish-born, Manchester-based Kerrie is a multidisciplinary artist and DJ. Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops, Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020, and also debuted on Blueprint Records with her "Raw Regimen" EP.Truly welcomed to the Blueprint family, Kerrie delivered her second EP "Transient Belief" in 2023 and joined the crew at label showcases around the globe.

Since 2023 she has been fully committed to the studio and accommodating her increasingly busy tour schedule, forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

She's now back on James Ruskin's label for her third Blueprint outing. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design.

LP vinyl only release + 4 page liner notes (comes with hype sticker)

The percussive new age soundtracks of '80s and early '90s Japanese TV, anime and manga built alternative worlds and pushed boundaries in the process.

When Japanese composer Yas-Kaz left Tokyo for Bali in the mid 1970s he had little idea of how influential his trip would become. In studying the storied art of gamelan, the jazz and avant-garde percussionist opened a door to a world of sound and rhythm left behind by the West. The music he and his contemporaries made would become known as new age. It also happened to soundtrack the golden era of anime.

Awash with money and with the prerogative to entertain the burgeoning middle classes, anime in the 1980s experienced a creative and commercial boom. Not constricted by generic expectations, production houses such as the now renowned Studio Ghibli were able to experiment liberally with both form and content. And with it came the space for composers to be similarly adventurous.

TV, Anime & Manga New Age Soundtracks 1984-1993 charts this moment across eight tracks spanning classics of the genre and previously unknown rarities. The collection brings together music that found kinship in electronic and acoustic instrumentation, often combining spiritual or environmental themes with percussive, varied and highly refined syncopations of non-Western musical traditions.

Among them is ‘Kaneda’ by Geinoh Yamashirogumi, the shape-shifting group of self-styled musicians, anthropologists and computer scientists that masterminded the soundtrack to game-changing dystopian anime Akira - and with whom the sound, tuning and breakneck speed of Balinese gamelan has become indelibly entwined.

Reflecting the desires of the era to reach beyond Japan’s borders, many of the soundtracks featured were commissioned for narratives set in distant lands or alternative worlds. There’s violinist and composer Norihiro Tsuru’s ‘Farsighted Person’, written for The Heroic Legend of Arslān, set in ancient Persia; Yas-Kaz’s own ‘Hei (Theme of Shikioni)’, for period sci-fi manga & anime series Peacock King - Spirit Warrior; and two tracks - Tassili N’Ajjer and Fiesta Del Fuego - from Yoichiro Yoshikawa’s soundtrack to NHK’s proto-Planet Earth series The Miracle Planet.

Such was the variety and quality of the music produced, if there is a guiding principle to the tracks collected here it is a sense of escapism and adventure that came with the confluence of modern electronic instruments and a fascination with percussive traditions.

Elsewhere, pioneering children’s TV composer Chumei Watanabe’s ‘Fushigi Song’ (performed by a vocal group Korogi ‘72) offers a trippy and infectious groove with sonic similarities to Don Cherry’s ‘Brown Rice’; little-known jazz-funk library group Columbia Orchestra showcase the best of Tokyo’s session musicians on ‘Hearts Beats - Theme for Andrew Glasgow’; before lawyer-turned-composer Kan Ogasawara closes out the compilation with a dramatic flourish on ‘Gishin Anki’.

Following on from Time Capsule’s acclaimed deep-dive into the world of manga & anime synth-pop in 2022, this vinyl only collection is set to broaden and diversify an understanding of how soundtracks shaped the sound of new age music in Japan for a generation.

Curators: Kay Suzuki, Rintaro Sekizuka (Vinyl Delivery Service)
Artwork: Tu-yang

Repress!

After months of careful preparation, we're thrilled to introduce Hydrostatic Equilibrium HNT002--a full EP by our dear friend and inspiration, Arthur Robert. This release captures the essence of our sonic journey: the A side offers more energetic, driving tracks, while the B side dives into a more mellow and deeper end.

HNT002 features a unique collaboration between Arthur Robert and Aya on the track "Le Sense De La Vie." The artwork cover for this release was also created by Aya.

2025 Repress

Alleviated Records is proud to present a re-mastered classic single, 'Donnie' by THE IT. Produced by Chip E., producer of house classics 'Time To Jack' and 'Like This' (Chip E./Chip E. Inc.) and co-producing 'MB Dance' (Mirage), this is one of the first releases where audiences started to encounter and love Harry (Harri) Dennis' unique style of poetry and Robert Owens' exciting vocal work in 1986. There's also an appearance from Larry Heard, who just happened upon one of the recording sessions. Have fun with the 5 original mixes, including the 'Hardy mix' by Chicago House-Music legend Ron Hardy!

Apnea welcomes VC118A to the label for the first time with Back To Life, his next album following the 2024 collaboration Flow Zone with CRC. Across nine tracks on two 12''s, he delivers a potent mix of deep electronics, acid bleeps, mechanically crafted rhythms, and atmospheric dub infusions--pulling the listener into a hypnotic, meditative space. Driven by futuristic machine grooves and evolving textures, Back To Life moves between fluid, weightless passages and tightly constructed sequences, balancing structure with deep immersion. Each track unfolds with intention, guiding through shifting sonic landscapes that blur the line between motion and stillness. Landing April 2025 on Apnea.

On his second EP for Altered Circuits, "Signal Drift", Jacopo Latini further distills his sound. Taking a more minimalist approach, he unreservedly treats the groove as the focal point. Still relying on his staple talent for weaving melodies and hooks, he delivers four trippy club tracks that show more can be done with less. Opener "Sharp" delivers immediate proof. After starting with a sequence of eerie sci-fi atmospherics and recondite vocoded vocals, the adding and subtracting happens so ingeniously, the track switches to club velocity 303 squelches and enhanced drum programming seamlessly. Similar techniques in building and layering are deployed on "Impulse", but this time, the shifts seem a tad more dramatic. The track revolves around an FM bass melody that's equally effective as it is simple, and its return to this stripped theme, surrounded by characteristic jittery hats, squashed claps, and a little more frills, keeps the listener on his toes. A bass patch, its sustain knob turned wide open, somewhat buried in the mix, drives "Bright Sound" together with a heavily modulated formant mid lead. Deadpan vocals add icing, and slightly euphoric, phased chords bring in a touch of subtle contrast. Closer "Rave Harvey" is a rare diversion as it starts in medias res with chords that reconfigure nineties trance and a distinct bassline immediately going for the limelight. It also shows Latini switching up his palette, trading restraint for vigor, with a slab of direct, unfiltered hi-energy as a result.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

For the latest Klasse Wrecks release, the label combine with Japan's finest festival and events crew Rainbow Disco Club to collaboratively present WRECKSRDC. Overrocket were an electro-pop band from Tokyo that enjoyed a grip of great releases in the early 2000s while signed to Neon Discs and its parent label Aten. During a digging session Luca Lozano discovered the forgotten tracks 'Duralumin' and 'Shadow of the Sun' and immediately set out trying to contact the band's members to arrange a re-release and remix. A few months of patient trying, the connection was finally made and wheels were set in motion. Musically the EP conjures up perfectly the sonics of that time, a grey area between analog convention and the unexplored territories of new digital freedom. Shadow Of The Sun is electro-pop perfection, with breezy vocals and a bouncing beat that sounds like nothing else around...past, present or future. Duralumin is a more dancey collection of blips and beats, one that will make sense in the current return to early 2000s aesthetics. To round out the release and propel it into 2025, KW label bosses take a track each and interpret in their own way. Lozano revisits his electro roots with two remixes of Shadow of the Sun, distorted 808s and growling 101 basslines provide a simple backdrop for the perfect vocals. Mr. Ho takes Duralumin into a more driving and pacey direction, upping the energy and excitement with fast percussion and a huge side chained breakdown that recalls the unbridled rawness of the early 2000s, when everything was just a little bit more fun. Keeping within the confines of Japan and in an effort to bring everything full circle, the label enlisted Japanese artist Gonno to master the tracks for an updated modern sound. The tracks themselves being mastered a few miles from where they were originally penned over 20 years ago.

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

Following the success of his ‘Love Dub So’ EP, Nick Barber’s Doof project returns to Mysticisms, delving back to his earliest recordings of his ground-breaking Trance project, presenting tracks from his previously cassette only release ‘The Love Mixes’.

A youth that had captured the psychedelia of Pink Floyd, Gong, Hawkwind and on to Psychic TV, as a self-taught guitarist, his first trip to India and Thailand in 1989 and witnessing the early electronic dance music at the Full Moon parties, had seemed rudimentary in nature compared to musicality of psychedelic rock.

Returning to England, the electronic / rock crossover of The Shamen’s ‘Progeny’ parties – featuring DJs like Paul Oakenfold and Mixmaster Morris with the live acts of Orbital and Ramjac Corporation – offered something new that turned his head, before finally finding his crew in the legendary squat / underground Pagan parties. There, residents Lol and Yaz first played the new electronic Trance sound, introducing Barber to the music of Eye-Q, Dance To Trance and the hugely influential Pete Namlook.

Recorded between 1990 – 1991, while living in Cambridge to study Philosophy, these are the first versions of tracks that formed the basis of his debut EP on Novamute, in 1993. Working with minimal equipment – an Akai sampler, Roland monosynth, Yamaha delay pedal, all sequenced on an Atari black and white PC and single MIDI output and then recorded straight to an 8-track Tascam cassette multitrack – the exuberance and rawness of the music are full of the excitement and naivety of youth.

Never intended for public release or initially even as a demo, Barber would play the music off the Tascam multitrack for friends at after parties. Dubbing a handful of cassettes himself and personally drawing the covers, around a dozen cassettes were handed out to mates. Eventually one copy found its way to Mute Records, who were looking to launch their dance offshoot, Novamute. Re-edited mixes of Gift Of The Gods and The Nagual appeared on his debut EP and history was made, before Doof went on to release for luminaries like TIP Records and Dragonfly and a career touring the globe was launched.

Remastered from the original tapes, this EP offers a snapshot of that time, the energy and joy of these early recordings is clear and overwhelming. Where Ambient, House and Techno met the birth of electronic Trance that truly stand up some 30 years later as originals then and now.

Trance The Mystery.

Bruce returns blistered and ablaze, with three flame-licked, windswept and deadly dancefloor deities on 12” vinyl, for the second edition of Poorly Knit.

Following on from it’s daft and fisty older brothers on The Price / Mimicry, the raw power of wind and fire takes over on Belly / Burned Alive, as we are plunged into devastating sonic worlds, adorned in UK sound-system badness and Mother Nature’s vengeance.

Providing elemental catastrophe catharsis, through sound exploration, Belly’s steppas storm of wailing wind and clattering thunder is backed by Burned Alive’s soaring and demented UK garage inferno, to finally subside to the smoldering, dubbed-out vocal remains from Hot One (Chapped Lips Version).

With a continued emphasis on the importance of physical medium within dance music, the digitals are an abridged edit of the full release; Hot One is vinyl only and only on the vinyl can you hear the full mixes of Belly and Burned Alive. Pressed on eco-friendly “Eco-Mix” reground PVC and sleeved in DIY lino printed sleeves, each record is a unique shade of marbled storm grey. Cut loud at 45rpm, not only does this sustainable slice of dance floor mayhem come at an attractive price tag, you can rest assured that sound quality has not at all been sacrificed.

Turkish band islandman release the ‘Bahar’ EP + Bonus tracks for the first time on Vinyl for Record Store Day 2025.

The A side consists of four sublime tracks including ‘Sattava’, ‘Sad Walk’ and ‘Self-Hypnosis’ & title track ‘Bahar’ which is

a firm fan & listener favourite which has racked up over 3 million streams.

The B Side includes 3 tracks never before released on vinyl tracks from the Turkish Trio. Kicking off with "Yorgunum Kaptan” A rework of Cem Karaca’s composition recorded in ’84, which lyrics were initially driven from the poem written by Nazım Hikmet in 1957. This fresh take on the original is an ode to the pioneer and a homage because of being the inspiration for the band from the beginning.

Next up is Nara Nara Nara (islandman Remix) by NaraBara, the Jazz-Fusion band from Mongolia. This is the most recent chugging islandman remix.

Closing off the EP is the fantastic Future Days (Hey! Douglas Remix) which was released in 2018, but still sounds so fresh today.

OiOiOiOIAiAiAiIAiÆÆÆÆÆÆIIIIII!!!! The new Cucum45 EP dares to speed off from the endpoint of the two previous outputs Something Weirdcore and Cyclops í poka and off the edge of the record at 1000km/h. With a hardcore opening track titled “IIIiiiIIiiiiiiiiiiiiiIIIIIIIiiiiiiiIIIIIiiiiiiiiIIIIIIIiiiiiii” (I added several more I’s in there for dramatic effect) that clocks with everything it needs to say at under 2 minutes, it’s safe to say that Cucumb45 aka Bjarki in this EP is WIDE AWAKE, YES!

Take “OpxThermin” – it’s straight up full-bore hardcore cartoon-pyrotechnics in overload, skipping and skedaddling over the turntables. Flipping out in a wild cocktail rush of hardcore ruffidge and smudged breaks that’s all smacked out on sugar frosted meth, listeners are gonna need some surgery to remove the smiley gurns from their faces. “Get Slothered 6even2” effectively can’t keep still as a track. From the collapsing rhythms and the pinging sound effects, it then decides what’s needed is a little bit of hip-hop flow in the background. Many hardcore rave re-treads (sorry, “deconstructed rave music”) often forget what this track seems to do at ease, and that is get you goddamn moving.

"Rathakrem" might have glitchy ambient Nintendo 90s vibe checks, but it is VERY un-chill. Stressed out hard drives grind to dust and distressed sounds of arcade dynamics mean that what you hear is the sound of Mario bricking it through all those haunted castle sections. Ironically the last track, “Crying Indian and Laser Horse” is the EP chill out tune, aiming instead for a nice, soothing, bottoms out disco-fister oompa-loompa warehouse techno track with auto-tuned cats, gunfire, orgasms, and
horses. A fine soundtrack for the morning commute!

Repress! on Red Coloured Vinyl

The interstellar cosmonauts of Staatseinde create a theatrical mix of pulsing electro with nostalgic hopeful synthlines, all performed live with synthesizers, a sequencer and tantalizing vocals. From Wave to EBM, from NDW to Punk and everything else in and out of the box. It is like walking into a club meeting Kraftwerk on speed and The Sex Pistols on acid.

Their new release “De Nieuwe Golf” is characterized by dystopian prospects and hopeful sounds, confirming Staatseinde’s name as the founder of the “Neue Niederländische Welle”, in other words the New Dutch Wave.

The uplifting italo rifs in opening track “Grauw” take you on a journey through a gray world in which color cannot be taken for granted. Minimal wave track “Einzelganger” makes you feel like an outsider who can’t keep up with society. “Geef Me De Tijd” sounds like a schizophrenic dreamer swinging casually, but ending as a hard hitting track. Dystopian doom and pessimism is captured in EBM/techno floor filler “Doembeelden”. The raw West Coast Sound of Holland infused “La Haya” is a tribute to the city of The Hague which calls out on everybody to get wasted. The epic ode to space travel “Ruimtevaart Vooruit (2022 Refix)” is back in a rendition inspired by Rude66’s 2010 remix version. “Isla Inutile” is a dark and tropical delirium. In the hopeful “Alles is Weg”, Staatseinde takes you from the downfall on the way to…?

Staatseinde’s “De Nieuwe Golf” holds up a mirror to humanity…progress has not helped us any further. There is hope…but will this new wave be on time? Or is it already too late?

Introducing the second release under the Statica imprint “MyCn18: Engraved Hourglass”

STATICA002 comes from Berlin-based artist Johannes Mai aka John Spring. John's productions have gained legendary notoriety over the past decade with his early releases revered for their timeless sound and experimental edge, whilst always keeping to a ritual of dancefloor compatibility. An influential artist who pushed the boundaries of minimalism and helped lay the foundations that have sculpted the sound of the present. It's a great honour to be releasing his first EP in over 13 years with 3 never before heard tracks from the mid 00’s.

“Train Ride” is an energetic A1 with pacey drums and a marching topline, while the A2 “Ravebehave” delves deep into spring reverb mastery and wavering synths. The B1 “Melodic Ten” begins with rolling percussion and uplifts with the whispers of enchanting vocals. B2 comes as a remix of Melodic Ten by Fabric resident and stand out London artist Harry McCanna aka Henry Hyde! stripping it back even further and introducing his own sinister synths, growling bass and groove-led drum patterns. It's a pleasure to have Harry featured on the release.

MyCn 18 is a young planetary nebula in the southern constellation Musca. It was discovered by Romano Coradi and Hugo Schwarz in 1991. MyCn 18's hourglass shape is produced by the expansion of a fast stellar wind within a slowly expanding cloud which is denser near its equator than its poles. The central star of the nebula is unknown.

Credits-:

A massive thank you to John Spring & Harry McCanna for their Contributions. Distributed by Deejay.de. Mastering by Justin Drake. Design and Curation by Alix

This 59 minute piece was conceived as part of a total environment for the exhibition Deus Ex Machina.



The project as a whole seeks to define and articulate the emotional, cultural and aesthetic manifestations of man’s uneasy relationship with technology. The music takes the form of a film score complete with stylized dialogue and actions.



During the 59 minutes four basic layers repeat in various configurations.The effect is to provide a template of narrative in which the pieces exhibited may become protagonists, situated in hypothetical scenarios which illustrate the contentions of Deus Ex Machina and the transmission of information.



Review:“Paul Schütze’s debut album from 1989 sets his stall out from the start; with a cyber update on Jon Hassell’s notion of ‘Fourth World Music”. Schütze’s music always sounds like it could be an alternative soundtrack to ‘Blade Runner’ (be aware fellow purists, I did state “alternative”), and this album is probably the perfect candidate if in some other dimension the Vangelis OST was no longer deemed satisfactory (such a dimension surely cannot exist). The listener feels like they’re walking through the rain soaked, neon-lit streets of a future LA with Deckard.” – Jay Harper

AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?

If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.

Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.

Alfons Pich, 2025

Something that was in the pipeline for a while is finally happening: the first collaborative release between Mother Tongue and Neroli. And right in time to celebrate Neroli’s 25th anniversary. To make it even more exciting the two Verona based labels worked together to curate a full 4 track EP from Chicago’s very own Glenn Underground!
A very special selection of obscure and diverse gems from the deep vaults of the legendary producer touching the boogie, the jazzy and even the acid sounds, that will please the most demanding music lovers!

Following up on his first DJ Friction Presents Ground Control album „Boogie Some More“ via Sedsoul Records , Soulsonic Recordings, the just founded label of DJ Friction is working on the second album. The exciting tune features again vocals from David Whitley, now on one track on the A-side and a dub version on the flipside as the first single of the upcoming album and is an exclusive first release on 7“ vinyl. This marks the beginning of a new era for DJ Friction who launches Soulsonic Recordings in collaboration with Soulkitchen. This original songwriting, ‘Step Into The Light‘ is again a tribute to the golden era of funk and disco, this release perfectly captures the electrifying energy of the early 80s while keeping things fresh for modern dancefloors. It is a fully positive feel good song with a meant to be enlightened touch of a gospel ceremonie, asking to join in with clapping, dancing and singing. The writing and production make this another certified dancefloor bomb, embracing the spirit of 80s funk with authentic precision.

Drumcode veteran Oscar L joins forces with Metodi Hristov, a newer recruit to Adam Beyer’s revered techno label, for their collab two-track EP ‘Gravity’. Madrid’s techno/tech house maestro Oscar L has a long association with Beyer’s twin labels Drumcode (‘Again’ LP, 2023, + performing at DC events) and Truesoul inc. solo EP ‘Vulture’ (2022), Dosem collab ‘Aircargo’ EP (2023), ‘Yapper’ w. Max Styler (2024). As well as Adam Beyer, Oscar’s had support from Richie Hawtin, Nicole Moudaber, Joseph Capriati… and also released on Knee Deep In Sound, Stereo Productions, We Are The Brave et al. Bulgaria-based Metodi Hristov brought his unique techno sounds to Drumcode last year, with his debut DC 2-track EP ‘Build To Destroy’. Both tracks, title track and ‘Flatline’, were included in his Sept 2024 Drumcode Radio Studio Mix live from Sofia. With support including Carl Cox and Enrico Sangiuliano, Metodi’s career is swiftly up and coming. ‘Gravity’: the title track hurls itself into the fray with fast, heavy techno beats, reverb-rich growly hoovers, while a contrasting sweetly melodic chopped and processed female vocal holds its own against a dystopian dialogue between two sinister machines in dark, distorted, industrial juddering synth. There’s a lot going on, dark, powerful, and dance-demanding. ‘Up & Down’: full-on attack from the first nanosecond, with very fast beats, layers of percussion and a dark male voice intoning the title riff. An insistent, reverbing, ‘hammered strings’ synth melody competes with a melodic second voice, high and sweet bringing light to very dark shade. ‘D’you feel it now…’, you surely will.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. “Garra” was originally released in 1971 and brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’ Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Garra” was originally released in 1971 and maintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences. Recorded amongst sessions for a steady stream of popular TV soap opera soundtracks, it brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’

After a couple of years of silence, the Colombian label Insurgentes, operated by DJ Lomalinda and Verraco, and responsible for putting several South American sound explorers on the map to the world in the past decade, is back for one last release, one last dignified death: la última vez.

And for this last installment, one last album. ‘Fiera’ is the name of the LP that Seph wrote and programmed during 2022 and 2023. For us, his greatest work so far: an energetic and impulsive journey, it's an active listening that never stops, you can never trust the loop. 8 tracks that do honour to the Insurgentes catalogue and consolidate the sound of the celebrated and respected Argentine artist who has been in force for more than two decades, crossing the territories of techno, 90s IDM, dub and ambient. Tags that are masterfully captured and collided in the grooves of these 300 vinyls.

Today is both a happy and a sad day. But the feeling of contradiction has always been the main alkaloid of our artistic work and the result of our search for identity. Without Insurgentes there would be no TraTraTrax. Without Insurgentes, no platform would have been created for many of the dreams that today are a fact and that even dictate our future. We would like to thank all those who have been linked anywhere along the way with our sonic fiction, with our desire to build bridges, with our thirst to connect ass and mind.

Que la tierra te sea leve, querido INS

wiggle room is the long-overdue Blip Discs debut from pq - founding member of Nihiloxica (Nyege Nyege Tapes, Crammed Discs) and long-time label affiliate.

On the A-side, “igglewiggle” and “aliens!” augment UK styles to deliver two bassy heavy hitters. The more experimental B-side starts off very B2 with “ketty stepper anthem” and its wonked-out polyrhythm, before a stripped-back VIP of “aliens” closes the record.

Having made his mark as a core force behind Nihiloxica — the Bugandan-techno outfit whose explosive live shows earned global acclaim — pq now hones a functional club sensibility he first showed on Lapsus Records and his own label Spooky Shit.

wiggle room balances an adventurous energy with serious bass-weight, never stopping to stroke its proverbial chin even once. A definitive, forward facing statement that expands the peripheries of the dancefloor in an ever evolving UK bass-music continuum.

The fryer’s on full blast – Pomme Frite welcomes the Parton Brothers to the kitchen!
Straight from Jolene Records, Danny & Mike make their Pomme Frite debut with a golden-crusted 4-track EP that could’ve rolled right off the Roule press back in ‘98.
The brothers serve up four slabs of vintage French touch – ‘Extraball’, ‘Gemini’, ‘Luniz’ and ‘The World Without You’ – each dripping with filter-funk, crunchy samples, and that unmistakable disco sizzle.
We’ve always had a soft spot for that authentic French sauce – and the Parton Brothers bring it homemade, hot, and with love.

Marking his first EP on Damian Lazarus’s revered Crosstown Rebels, OMRI. (pronounced “OMRI dot”) steps into the spotlight with ‘Nothing Wrong’—an infectious, immersive dive that traverses well beyond the dancefloor, laced with rhythm, tension, and soul. Dropping in June, the EP brings together a shimmering original, a hypnotic club-focused cut, and a peak-time remix from fast-rising US talent AYYBO.

Having already left his mark on the label with his remix of Jessica Brankka’s ‘Musk’, OMRI. now arrives with a statement of his own. The ‘Love Mix’ of ‘Nothing Wrong’ leads the release as a full-blown vocal anthem, layering captivating vocals over sweeping melodies and crisp percussion to create a powerful record destined for both club rooms and open-air settings. The ‘Club Mix’ takes a more experimental route—glitchy, stripped-back, and built for locked-in dancefloors and after-hours sessions.

AYYBO adds his own bold interpretation to the mix, injecting a darker, punchier energy that’s become synonymous with his releases on the likes of Experts Only, Insomniac, and HARD Recs. It’s a remix that captures the raw electricity of his sets while reimagining OMRI.’s original through a distinctly West Coast lens. An in-demand name, OMRI. has quickly carved a reputation for transcendental performances at some of the world’s most revered institutions. His sound, shaped across labels such as Hot Creations, Disco Halal, Haccabi House, and more recently through his own imprint Collecting Dots Records, blends deep psychedelia and hypnotic grooves with a forward-thinking approach, with past collaborations alongside Adam Ten, Moscoman, Yamagucci, and more. Set to feature regularly at Lazarus’ Hï Ibiza residency throughout the summer, expect standout sets that reflect his genre-blurring style and connection to the Crosstown Rebels sound as he serves up one of the label's most essential cuts of the year to open the summer in style.

A Haste solo release after a series of collabs and chucking in a bit of hardcore alongside the jungle.

Tek is a full on \'9294 style slammer. Ragga, amens, 808s. You know the drill by now. Send fi the body bag, tek out the dead!

Your Time is a wild mish mash of stomping kicks, crazy amens and discordant melodies all alongside vocals from a totaly random Jamaican movie

Rounding off the release with a melodic stomper, Come On mixes pianos, ethereal pads and a catchy vocal. One for the hardcore crew who like to mix their hardcore with jungle sounds.

3volution in the recent past, Divide is like a bridge between old generations and new ones. Its sounds range from Sci-Fi techno to 90's techno, characterized by minimal sequences, heavy drum patterns, and an accurate sound design.
Third and last chapter for the VA vinyl trilogy on R3volution Records called

This edition includes exclusive tracks by the following artists:

- UVALL, from Tbilisi, Georgia. Born there and at the age of 23, he is no longer at the beginning of his musical journey and the refinement of his taste and style. Always on the cutting edge, he has been impressing with productions and releases on labels such as Semantica, WSNWG with Rohad, Float Records, Hayes, MALoR, and many many more. Already well known in our roster thanks to a previous collaboration for a remix, the talented young music producer delivers deep, muscular rhythms in his portfolio and translates this energy into a raw, dancefloor oriented session.

- Operator, there is no need to spend many words to describe one of the most talented and innovative British artists on the scene for a long time, recently appearing on

- Divide co-owner of EvodMusic and South Berlin Studio, with recent appearances on all the top labels on the planet (WarmUp, Semantica, MindTrip, Tremsix, Hayes, to name a few), and several collaborations and remixes for

- PTTRNRCRRNT aka Dave Brody from Antwerpen - Belgium. Characterized by efficiently percussion tunnelling through juggled textures, PTTRNRCRRNT's technical know-how and conceptual intentions can be masked by the efficiency and singularity of his music. Taking techno's tendency to constantly reinvent itself as a priority and researches between experimentalism and futurism. He is one of the artists with the most collaborations within our roster (some of his remixes are memorable), he alternates his productions on our label with frequent appearances on highly referenced labels in the scene, such as Soma, Materia and Devotion among others.

Second Horizon is the follow up album of his very successful debut album "Heartware", that has been voted as album of the year by more than 23.000 readers of FAZE Magazine. The twelve tracks are inspired by 80s music styles EBM, Italo, Acid, Electro and Dark Wave and produced with a lot of original equipment from that era transferred into 2025. The album is also inspired by his relocation to Berlin, and the music reflects this shift, balancing gritty, industrial influences with shimmering, retro-futuristic tones.

His 2019 debut LP ‘For The Ones...' saw Yelfris delving deep into his Yoruba religion and its shamanic chants, subtly infusing those deeply personal elements with electronica and live instrumentation creating a beautiful pulsating soundscape. In purposefully mutating the acoustic sound of his trumpet he adds depth without losing his power and tenderness. Manifesting an adventurous and experimental shift in his composition, drawing on his classical training and love of jazz whilst at the same time delving further into the world of electronica. With the LP’s impressive palette of epic, cosmos-weaving trumpet melodies, fuzzy keys and psychedelic textures at their disposal, Quantic, K15, LCSM, Osunlade, Maxwell Owin, Contours repurpose and rework some of the album’s key moments, bringing an injection of dancefloor - friendly sensibilities to the proceedings.
With this offering, Yelfris’ incredible musicianship is re-contextualised for a new audience, making itself right at home on the dancefloors of the world.

Wir schreiben das Jahr 2025 und FEINE SAHNE FISCHFILET kündigen ihr neues Album „WIR KOMMEN IN FRIEDEN“ an:„Alle gegen alle, im Krieg mit sich und untereinander und natürlich immer exklusiv mit der alleinseligmachenden Offenbarung im Gepäck.

Jeden Tag passiert so viel, so viel Scheiße, so viel Dummes, aber auch immer die guten Sachen mit den Freundinnen und Freunden, der Familie, mit all denen, die noch nicht komplett im Arsch sind. Zeiten, in denen man sich nur umdrehen muss und einem die Idee für das nächste Lied an den Kopf geworfen wird. Und so erscheint am 30. Mai unser neues Album mit einer Menge neuer Songs. Wir kommen in Frieden. Das ist unsere letzte Warnung.“

Angetrieben durch ihren ureigenen Signature Sound - High Energy Melody-PunkRock mit Trompete – gelingt den fünf Musikern mit ihrem neuen Werk eine hinreißende Bestandsaufnahme und gleichzeitig Ausblick auf eine der ungewöhnlichsten Band-Karrieren der letzten Jahrzehnte dieses Landes, ein wilder Trip, der sie aus der vorpommerschen Provinz durch viele Irrungen und Wirrungen bis an die Spitze der deutschsprachigen Musikszene geführt hat.

Produziert wurde der Longplayer erneut von Philipp »Philsen« Hoppen, der auch schon bei Alben von Die Ärzte, Kraftklub, Deichkind und K.I.Z. seine versierten Finger im Spiel hatte.

Amsterdam natives Maarten Smeets and Lars Dales, aka Dam Swindle, unveil their third long-player with the release of a new track, the first to be shared from the upcoming album, ‘Open’ - out on 30 May 2025 via Heist Recordings.

The new album sees the acclaimed duo dive far beyond the deep sonic waters they’re most known for, exploring lower tempos, synthwave, hip-house, and ambient across fourteen tracks. With a gestation period that traces back several years, ‘Open’ is their most intimate and personal body of work thus far, birthed during a time of self-reflection away from touring and personal transformation as individuals.

“We felt the need to tell a very personal story through our music as a translation of our personal development in the past years. We also wanted to make music without a specific goal in mind; We simply wanted to create. By taking away the grid of dance music and any expectations of what a Dam Swindle song should sound like, the creativity started to flow naturally with songs in many different styles and tempos. The result is an album that feels refreshing and uplifting and still very much true to the heart and soul of our sound.” - Dam Swindle, January 2025.

While the trademark Dam Swindle four-to-the-floor beats are still ever-present on tracks like ‘The Present Is Always Perfect’, ‘I Need You’, and ‘Is This Love?’, it’s the gentle waves of synths on opener ‘Home’, the contemplative piano chords of ‘Bloom’ featuring Joep Beving, and the lo-fi ambience of ‘It’s Okay, I Can Wait’ that showcase a melancholic, ethereal sensibility previously uncharted by the duo. Collaborations with vocalists such as NYC’s Haile Supreme on ‘Not Enough’ and Neo-soul singer Faye Meana on ‘Girl’ expertly find room in between the dancefloor and home listening sessions, and a clear standout on the LP is the title cut where message-heavy rapped vocals from UK artist Samson ebb and flow amongst iridescent grooves.

Under the helm of Maarten and Lars’ adept A&R, their Heist imprint has become a beloved home for house heads of both schools old and new, platforming some of dance music’s biggest names from Cinthie to DJ Sneak as well as the musical dawnings of artists such as Kassian and Makèz. The Dam Swindle alias has achieved house music royalty-like status across a storied 15-year career that includes two critically lauded full-lengths, collaborations with the likes of Tom Misch and Kerri Chandler, and a globetrotting touring schedule. This album stands as their most profoundly personal work of art to date, and they can’t wait to share it with you.

Uncover our 5th release.

This new VA brings together four artists who explore the expressive potential of sound design and instrumentation. From Olivier Romero’s powerful wavey rhytms to Luise’s sequences and minimal percussion, each track unfolds with meticulous attention to detail. Maik Yells adds depth through layered pads and haunting harmonies, while OneKnock fuses rhythms and deep substructures into a hypnotic journey. This release is a deep dive into refined electronic craftsmanship essential for those who appreciate sound as texture and storytelling.

An immersive long-form composition in two parts that seamlessly blends a collage of spoken word, field recordings and drones with elements of dub, jazz, fourth world and ambient music.

Son Of Chi is the latest project of Rotterdam-based multi-instrumentalist, composer and producer Hanyo van Oosterom. Van Oosterom’s prolific career spans multiple decades and genres; among countless projects he has been involved in, he is known for founding the Dutch ambient collective CHI in the early eighties, and in recent years for his prolific collaboration with CHI co-founder Jacobus Derwort as Chi Factory. Following Derwort’s passing in 2019, van Oosterom decided to close the CHI circle with the birth of Son Of Chi.

Sonically, the world of ‘We Carry Eden’ is fully immersive; it ripples with depth and shimmers in detail. Motifs, ideas and fragments, arise and disappear like passing thoughts, drawing the listener deeper and deeper inwards. For those familiar with Oosterom’s work as Chi Factory, the depth and meditative nature of the work will come as no surprise; however it is Oosterom’s skill with grooves that shines equally bright here; his infectiously dubby basslines and percussion rise up from the ether, grounding the listener to the earth. ‘We Carry Eden’ at times invokes the fourth world landscapes of Jon Hassell, (with whom Oosterom has collaborated) but as a whole, it remains the unique work of an artist fully in tune with their vision.

Thematically, storytelling traditions lie at the heart of ‘We Carry Eden’, with van Oosterom’s long-time collaborator Omar Ka playing a central role. Ka, who hails from the West African nomadic Fulani tradition of storytelling, responds to the collage of field recordings and sounds collected by Oosterom. His voice is woven throughout ‘We Carry Eden’, creating a narrative that binds the multiple sound sources of the album together.

As with much of van Oosterom’s musical output, inspiration is drawn from the Greek Island of Patmos and the wisdom and prophecies of the Native American Hopi Tribe. Since his work with CHI in the early eighties, van Oosterom has often incorporated quotes from Hopi Elders into his music. Gods, spirits, animals and humans, all existing in one unchangeable relationship tied to nature; ‘We Carry Eden’ is rooted in this philosophy, serving as a peaceful message of beauty, harmony and respect for the wisdom of the Elders and ancient traditions.

Sleeve art and design by Michael Willis.

Showbiz! nennt sich MIKEs zehntes Soloalbum, das auf seinem Label 10k erscheint. Pitchfork bezeichnete es als "bisher größte Leistung des jungen Künstlers" und vergab das Prädikat "Best New Music". Es setzt neue Massstäbe für ihn und die teilnehmenden Zeitgenossen (Thelonious Martin, Salami Rose Joe Louis, Jacob Rochester, Anysia Kym, Harrison SURF GANG, ShunGu, Laron, redLee, u.a.), während er das nächste Kapitel seiner Karriere als unverzichtbare Stimme des 2020er-Jahre-Hip-Hop aufschlägt. Zur Unterstützung von Showbiz! startete MIKE seine bisher grösste Tour mit unzählig vielen Gästen, die ihn Anfang 2025 nach Europa führte (mit 6 Daten in DE+AT), von wo aus er über UK & Irland ausgiebig durch Nordamerika touren wird.