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Flug brings his singular vision to Backspin Records with 'From My Soul', a 7-track EP that marks a powerful new chapter for both artist and label, rounded out by a remix from Kashpitzky. Moving between deep emotional techno, raw percussive functionality and high intensity, the release showcases Flug's signature precision and narrative depth while keeping things classy and never falling for overused tropes. Kashpitzky completes the package with a remix that reinterprets the source material from a darker, more straight-forward angle. ??

Opening with the title track 'From My Soul', Flug sets off on an epic 8-minute journey built on reverberating melodic layers, shimmering chord pads and a strong low endthat unfolds slowly and deliberately, balancing emotional weight with a hypnotic drive. 'Make It Loud' follows with a more stripped, functional direction, where warm low-end energy, minimal percussion and reverb-drenched sine wave synth hits create a tight, circular groove anchored by a subtle but sinister vocal presence. ??

On the flip side, 'Human Instinct' turns the energy more direct and physical, driven by a saturated kick drum, looping synth motifs and sparse vocal cuts that heighten tension without disrupting the flow. 'The Awakening' expands the emotional scope with a deep kick and tom-driven bassline, expansive droning pads and dragging percussion that build a rich, cinematic atmosphere. Kashpitzky's remix reimagines the original at a faster BPM with distorted chord stabs, off-grid hi-hats and layered synth work creating a tense, industrial atmosphere that breaks into a spacious breakdown before dropping back into a stripped,high-impact groove. ??

With the 'From My Soul' EP, Flug marks a strong first statement on Regal's Backspin Records, delivering a cohesive body of work that balances depth, emotion and dancefloor utility, reinforcing the label's dedication to innovative techno.

''Deep Baby'' is the new EP from Apoteoz, DJ and producer, member of the Planète 51 collective.

This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.

Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.

Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.

Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.

Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Oud-player with The Handover, Eissa was mentored by two legendary figures in Egyptian music: composer and multi-instrumentalist Abdo Dagher, and oud master Hazem Shahin. The music here is heavily rooted in both Egyptian classical music and a number of different folk music traditions, but it goes its own way, through expansive and intricate original compositions.
‘The epic title track, with Eissa playing oud exclusively, takes up two thirds of the album. It seamlessly transitions into heart-stopping recitation of the thirteenth century poet Baha´ al-din Zuhayr… serious, loving, tender and insistent, all at once. Visionary and virtuosic, but at the same time warm and close.
‘A future classic.’

Splattered version !

A banger of hardfloor to old school tribe !

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

Side A opens with "Volle Vahrt Voraus" – a full throttle, driving Tekno track by VaZdaZ. It originates from a heavy distorted drum machine session. Followed by the slovenian duo Stagnat with "Rehabilitation Of Ratlike People" – a groovy and complex tune, that maybe lets you question your sanity a bit and puts you either out or back in rehab.

Side B continues with "Forever" by Keinponny. With its hard kicks and driving force, it’s designed to mix seamlessly with whatever comes next… so it never truly ends. Finally, TakaTuka wraps things up with "Distbits". A hard hitting finale. Sigmund Freud’s opening sample quickly gets hammered away by a brutal kick & bass combo. Suddenly your oedipus complex is the last thing on your mind.

For Don’t Panik 8 the duo find themselves in-between rappers and unwilling to take up the mic themselves they turn to the internet for vocal inspiration, tackling subjects from Artificial intelligence, Bassline noises and Synthesiser Science all firmly embedded into their signature Pumping Funky sound.

Following a strong debut, the Uruguayan label EviternoRecords returns with its second release, Teknovela, bringing together Molen and Nico Lampariello, two of the most talented poducers from the new generation of Uruguay’s electronic scene. Across four carefully crafted cuts, the EP expands the label’s vision through music that is equally instinctive and deliberate. Built around hypnotic movement, subtle tension and refined groove, Teknovela unfolds with patience, inviting listeners into an evolving journey where every detail serves the dancefloor without sacrificing depth or personality. The A-side finds Nico Lampariello exploring darker and more introspective terrain, weaving resonant basslines, shifting atmospheres and understated melodic touches into compositions that gradually reveal their emotional weight.

At The B-side Molen delivers two tracks driven by fluid rhythms, intricate spooky melodies and mysterious textures with a constant sense of forward motion. Rather than contrasting one another, both artists meet at the same destination from different directions. Together, the four tracks form a cohesive statement that captures the spirit of contemporary underground house and techno: immersive and built to leave a lasting impression.

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

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

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


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


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

Previously unreleased jazz funk from Suriname, recorded in 1981 by keyboardist Sonny Khoeblal and his band Thalamus.

The music of Thalamus is a time capsule and the best kept secret of post-independent Suriname. During this turbulent time, the band used the language of jazz to express their desire for unity and freedom.

The generation of Thalamus envisioned a future beyond the ethnic divide their parents knew as social barriers. After independence, young people met at work or in universities and shared principles of unity and international solidarity. Jazz played an important role in translating tensions and experimenting with a sound of the future.

The band members of Thalamus shared interests in jazz-fusion from Weather Report, Chick Corea, Bob James and Carlos Santana. Compared to contemporaries with more pop appeal, their sound remained obscure in Suriname. Still, people listened to them bending conventional rules of jazz, pop, latin, rock and funk. This fusion reflected the band, its diverse members and their country: Suriname is a multi-ethnic country by colonial force. If diamonds are formed under pressure, love and solidarity emerge under oppression.

Thalamus is a unique recording of this revolutionary period, with new people finding each other based on a universal language: jazz-fusion. It culminated in six songs, two of which are 'Summer of Love and Music' and 'Lady Amazone'. This 7" vinyl brings you their story, their experimentation with jazz-fusion and tells the parallel history of Suriname.

The unconscious element to the conscious process.

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

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

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

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

Dub:

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

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

Push the mixer into the red.

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

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

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

Carelessness.

Noise:

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

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

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

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

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

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

-Miles

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

,Manchmal wird das Leben so düster, dass es sich wie ein böser Trip anfühlt", reflektiert Lily Seabird über die Zeit, die zur Entstehung ihres neuen Albums ,Lightspheres on Their Way" führte. Seabirds drittes Album innerhalb von ebenso vielen Jahren bei Lame-O Records beschäftigt sich mit Sterblichkeit und der Ehrfurcht vor dem Menschen Innersten und verbindet ihren trubadurhaften Folk mit einer grungigen Rock- Sentimentalität. Obwohl das Album aus einer Zeit der Abrechnung und Erneuerung hervorgegangen ist, orientiert Seabird ,Lightspheres on Their Way" an einem ganzheitlichen Realismus, der den Geist beflügelt, mit lockeren, erdigen Arrangements, die Intensität und Tiefe sowohl mit twangiger Weite als auch mit mitreißendem Drive verbinden. Über die neun Titel des Albums hinweg kreist die in Vermont lebende Sängerin und Songwriterin um das Konzept der ,Lichtkugeln", einer katalysierenden Präsenz oder Kraft, die immer wieder auftaucht und Geschichten, Gefühle und Lebenswege verändert. ,Eine Lichtkugel kann so vieles sein", sagt Seabird, ,ein tatsächliches Licht wie ein Stern, die Sonne, ein UFO; Scheinwerfer, eine Taschenlampe in der Nacht; aber auch das Leben, Lebewesen, Menschen, Beziehungen." Obwohl ,Lightspheres" einen Höhepunkt in Seabirds Songwriting markiert, betont sie, dass ,die emotionalsten Teile des Albums instrumental sind." Der Crazy-Horse-Stomp von ,Portal to the Past" und anderen Stücken geht in weitläufige, jamartige Zwischenspiele und Outros über, in denen Seabird und Rick Soszynski sich an verzerrten, rauen Gitarrenklängen erfreuen. Sie wirken wie Momente der emotionalen Entspannung, als würde man die Fenster herunterkurbeln und sich der Weite der offenen Straße hingeben. Lightspheres ist ein Beweis dafür, welche Tiefen man in seiner Kunst erreichen kann, wenn man aufhört, die Geschichte dessen zu erzählen, was einem widerfahren ist, und stattdessen darüber spricht, wer man ist.

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

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

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

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

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

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

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

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

DTM Funk: Super Dope!

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

Owain K: Classy grooves for dancefloor moves.

Séa: Lovely!

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

Satoshi Fumi: Really love all!

Severino Panzetta: Great sound.

Ame: Thanks for these.

DJ Merci: Top release!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*words by Kiernan Laveaux

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

Feiern Sie drei Jahrzehnte eines klanggewordenen Meisterwerks. Ursprünglich 1996 veröffentlicht, gilt DJ Shadows Debütalbum Endtroducing..... bis heute als Meilenstein der elektronischen Musik – als erstes Album überhaupt, das vollständig aus Samples entstand, offiziell verzeichnet im Guinness-Buch der Rekorde. Diese 30th Anniversary Edition ist die ultimative Würdigung eines Albums, das Hip-Hop, elektronische Musik und Produktionskultur für immer verändert hat.

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

"Walking On Rubber Eggshells" is Yanik Soland's second release on Futura Resistenza. It is a seven-track journey through bowed koto, flutes, and modular synths, essentially Japanese court music if it had a late-night fever dream, filled with strange characters and ghosts on repeat. The album also serves as the backbone for his solo show at Kunsthaus Baselland, Switzerland, opening in September 2026.

Terminal Recordings launches with a four-track split release.

The A-side, produced by Luis Malon, delivering two cuts driven by heavyweight basslines, broken rhythms and machine-controlled tension. Make Shoot sets the system in motion with relentless groove and low-end pressure, while Inside Your System dives deeper into a darker, more hypnotic environment where fractured percussion and synthetic textures take control.

On the B-side, Molen takes over the signal with a pair of electro transmissions. Pathcord unfolds through precise sequencing, robotic funk and evolving circuitry, building a dynamic journey across interconnected rhythms. Codec closes the release with sharper frequencies, coded melodies and futuristic electro architecture designed for late-night dance floor communication.

The sequence has started.
Enter the Terminal.

Originally from Bristol, England, Ben Jacobs, aka Crackazat, is a multi-Instrumentalist and electronic producer. Since his emergence on the international scene, he has quickly become recognised for his unique fusion of Jazz and House music. He now presents his latest EP, ‘The Nervous Chill’, releasing on longstanding House label Nervous's sublabel ‘Nervous Chill’.

Crackazat’s influences range from the underground hip hop of Madlib to the Jazz-funk of Jamiroquai, showcasing downtempo beats and synthfunk. In 2015, he released his debut album ‘Crescendo’ to critical acclaim, as well as forming an alliance with Swedish house label Local Talk and performing supporting sets for Bonobo and Floating Points. Crackazat’s growing popularity has led to remixes by Joey Negro, Moulinex, and Tom Misch.

He now debuts on Nervous Chill with four sophisticated and downbeat tracks. Rooted in jazz, Crackazat’s signature keyboard solos, gilded violin chords, and glistening textures blend swinging grooves with silky melodies. Wind instruments anchor the tracks without limiting versatility, paired with dynamic percussion and featherweight pads. ‘The Nervous Chill’ sees Crackazat crafting a joyous, soulful EP that works both on and off the dancefloor.

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

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

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

Solid Groove hits naughty 40 and marks the occasion by serving up some 90s and 00s cuts from this and the Mysterious Dark label that have been hard to pin down ever since. 'Straight Ahead' is a loose-limbed and percussive tribal jumble, ''Dark 4' is fizzing, Basic Channel-style dub techno and 'Travel' is a grainy, textured deep techno cut that loops back and forth and causes your mind to wander amid the dewy pads. Previously CD-only track 'Dawn Over The Blue Planet' from Aubrey's Liquid Funk LP on Offshoot also makes its vinyl debut and is a brain-soothing deep house jam with stray melodic twinkles and an Omar-S style groove.

Bassline brings together Russell Ruckman and Marcia Carr for a 12", which was originally part of a 2025 digital album, but now drops on wax and has been remastered for extra punch. Side A opens with the vinyl debut of Rani G & Raul Riena's 'Feels So Right' (World-Life-music Raw Teaser remix), which will soon transfix the floor while the driving groove of Hot Issue's 'Motion 96' is a cool vibe with wet clasp and dusty drums brought to life by cute little melodies and plenty of snap. Side B leans into deeper territory with Mercedes' Living For The Moment (Booker T remix)' and the uplifting dub energy of Never Gonna Give Up. If you like soulful house with a classic New York edge, this one bangs.

Five years on from its first outing, Standards & Practices returns with a second volume of Out of Practice that assembles a roster of exclusive, unreleased material that moves between broken techno, electro, dub techno and bass-heavy experimentation. The strength lies in its range: in this third 12" instalment, Patrick Russell's opener brings meditative dub pressure, Ghost Warrior's 'Second Wave' is a sparse, suspensory underwater world, Pessimist layers deft percussion into fractured rhythm science and Blood Music's 'Figures For Laser' has a cascade of 8-bit melodies adding futurism to jazzy, off-grid drums in what is an eerie and engaging closer. A snapshot of a label finding new ways to bend electronic music's tried and tested boundaries.

Soul II Soul's classic gets the Cinthie treatment. The Berlin based DJ, producer and label owner behind 803 Crystal Grooves, Collective Cuts and We R House, and the mind behind the influential Elevate record store, turns her attention to one of British soul's iconic collectives. Missing You, originally released in 1990, gets stripped back to its raw emotion and rebuilt for the floor. The Club Mix retains the original's emotion while driving it with low-end and a peak-time arrangement. The two dubs go further; raw, tool-ready cuts built for DJs.



A classic reworked with real house lineage. Missing You is built for 2026 club sets.

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

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

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

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