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Tiger Stripes unveils part one of ‘A Tiger Never Loses Its Stripes’ on Rekids. The series will culminate in the Swedish artist’s sophomore album later this year.

Sweden’s Tiger Stripes, aka Mikael Nordgren, drops the first part of the ‘A Tiger Never Loses Its Stripes’ EP series on Rekids. The EP previews his upcoming sophomore album, his first in two decades, due out later this year, and follows three recent releases and a remix for Dino Lenny on Matt Edwards’ Rekids label.

Tiger Stripes kicks off the ‘A Tiger Never Loses Its Stripes’ EP with ‘Slow’, a snappy groove driven by weighty bass and vocals that are as playful as they are drenched in soul. ‘Twelve’ picks up the pace with irresistible low-end and funky, jazz-inflected key riffs, before ‘Stay Hypnotic’ takes things somewhere more dream-like, pairing shimmering synth sequences with glitched-out percussion and fragmented vocal snippets on the flip. ‘Shape The Future’ closes the first instalment with a squelchy bassline, slightly off-key strings and gorgeous dubbed-out chord progressions, bringing a classy, club-ready finish to this preview of Tiger Stripes’ next album.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Kaoz Theory, Kwench Records, and more. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite, returning three times to Rekids since.

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

Three decades deep and as essential as ever, Ralph Lawson's 20/20 Vision Recordings continues to mine its rich back catalogue with care. To that end, 'Full Circle Vol.3' feels both respectful and forward-facing with new mixes of enduring classics. Roman Flugel reworks 'Machine Life' into a driving club sound with fresh vocals and elastic acid lines, while MADVILLA sharpens 'Rhythm Freq' into a sleek hybrid of house, UKG and electro. Simon Baker's updated 'The Liptrick' retains its raw punch, and Formidable Force close with a warm, late-night dub of 'Reactivate'. It is a tidy reminder of the breadth and depth of sound this label has always dealt in.

Since starting Bytes in 2019 we’ve fielded a lot of messages along the lines of, “Is this ever going to be released on vinyl?” The bulk of these requests have concerned remixes of artists on Bytes done by Andy Bell (RIDE/Oasis) under his electronic alter-ego GLOK. And on realising that he has done four for us now (Franz Kirmann, Steve Queralt & Michael Smith, Herrmann Kristoffersen and Seagoth), it seemed silly not to compile them all together on a four-track 12” EP. The super limited edition 12” is on black wax and comes in the original Bytes house bag with a vinyl sticker containing all the release info signed by Andy. Edition of 250. No repress.

A1. SOLITARY (GLOK REMIX) - FRANZ KIRMANN

The first remix Andy ever did for Bytes was a radical reworking of ‘Solitary’, the towering ambient closer to Franz Kirmann’s ‘Madrapour’ album, which was released on Bytes in 2019. Andy’s remix is a heartbreaking, melancholic 3am banger. This is one for fans of Four Tet and Jon Hopkins, a slowburner with billowing plumes of distortion that builds towards an ecstatic rush of a finale.

A2. CHALDEAN ORACLE (GLOK REMIX) - STEVE QUERALT & MICHAEL SMITH

In 2023 Andy took ‘Chaldean Oracle’, a track from the collaboration between his RIDE bandmate Steve Queralt and the writer Michael Smith, down the K-Hole, eschewing Michael’s vocal almost entirely and turning in a Detroit dub-techno monster with echoes of Bandulu and Carl Craig in its shimmering melodies, eerie distortion and pounding drums.



B1. GONE GOLD (GLOK REMIX) - HERRMANN KRISTOFFERSEN

‘Gone Gold’ was the title track of the excellent second album by ambient-techno group Herrmann Kristoffersen (2021). Andy taps deep into the dub at the heart of the original, with echoes of John Carpenter's soundtracks and his own extended electronic excursions under the GLOK moniker.



B2. ETERNITY (GLOK REMIX) - SEAGOTH

It was Andy who brought Seagoth to the attention of Bytes when he played ‘Eternity’ on his Soho Radio show in 2020. It all came full circle when Bytes released ‘Eternity’ as a single in 2021, with a stunning remix by Andy in his GLOK guise on the flip. Andy strips the track back to showcase the resonant vocal in all its glory before the blissed-out outro that makes full use of the track’s dancefloor-friendly drum break.

Oráculo Records has always had a special interest in pushing electronic music towards unexplored territories, and it is precisely within this microcosm that IP307 emerges. Blending the most dub- infused and mechanical forms of electro with industrial, EBM and even post-punk, the project delivers a hypnotic, forceful and deeply cathartic sound.

Behind IP307 is Israel Padilla, founder of Banshees Records and one of the leading figures of the industrial scene in the Iberian Peninsula. With “IP307.1”, he presents six interconnected compositions, each with its own distinct identity while contributing to a coherent vision of seemingly opposing styles, reimagined into a singular language.

The result is neither a nostalgic exercise nor a stylistic collage. Instead, it reflects the experience, technical mastery and artistic vision of someone fully capable of expanding the path opened by pioneers such as Clock DVA in their later works, or Atom™, both through his solo output and as part of ASA alongside Esplendor Geométrico.

New sonic artillery for the most forward-thinking listeners already embracing this emerging strand of dark electro through our recent releases such as Occulimus by Mystic Letter K or the work of Maman Küsters, “IP307.1” offers another essential chapter in the evolution of this new form of sound. Welcome to the future. Welcome to IP307.

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom’s debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own. She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition. She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for. Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica’s oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.


Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single “Without You” is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.


At the heart is family. Her grandmother Aggie, the light behind “Memory,” guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along

There is a hush most of us only knew as children, the warm drift between familiar household sounds and being carried to bed, a place that belongs to you and to some self you have not met yet. June McDoom’s debut full-length, Follow the Light, lives in that dream space and then keeps walking, slipping out of time and waking somewhere new, barely familiar enough to feel like home yet wholly your own. She came up in a Jamaican household on the edge of the Florida Everglades, an existence built of extended family, communal care, bass and harmonics. Her father, a carpenter and a student of sound, built his own speakers and kept three sound systems going across as many rooms. His low end would rise through her bedroom floor like some wayward cat while she lay above it with folk records, finding harmonies that were new and hers alone. Two musics in one room. Lushness as past and premonition. She found folk on her own, somewhere between the cast recording of The Sound of Music and Simon and Garfunkel, while everyone around her called it sleepy music. She did not mind being the only one. The solitude let her fall for harmony first, before words, before anything else, and harmony is still the thing she reaches for. Generationally speaking, the music was already in the air. Her grandfather, Colin Smith, is a distinguished mento man who played banjo and guitar and built his own rumba boxes, worked to keep Jamaica’s oldest acoustic folk form alive. Mento is the root of all of it: ska, rock steady, reggae, dub and everything after. He is the one who put a guitar in her hands. An inheritance, a gift and a map. Even her name is part of it, though she will tell you she landed on it more by feel than reason. She records as June McDoom, born Alyssa, June being a nickname one of her grandmothers, Joan, went by, a name she thought was cool to carry and simply liked the sound of. An etheric channel that reverberates all the same. A dub all its own.


Made slowly and by hand with her longtime partner Evan Wright, Follow the Light lays the harmony of folk over the rhythm of dub, with Dionne Warwick, Minnie Riperton, Pentangle and the washed guitars of Cocteau Twins haunting its outer edges. Voice and guitar seeking each other out first, then everything else stacked across long days in the studio they keep at home, restraint kept on purpose. The lead single “Without You” is the whole method surfacing, split open and sparkling like a geode in a creek bed. Angelic heroics, and nothing less.


At the heart is family. Her grandmother Aggie, the light behind “Memory,” guiding still. And underneath, the quieter truth the record keeps: none of us are only one person, but a continuum of selves, the ones who shaped us and the ones we have yet to meet. Future you is an ancestor your current self gets to greet. Press play and the same invitation is yours: A few minutes out of time, a place that turns familiar the longer you stay until you surface somewhere new and find it was yours all along

Yesca is back on Shall Not Fade with ‘Paint on Walls’ 12” EP.

2024’s Yesca EP on SNF - “Mood Loops” - set a high bar, so when we say this record is something special you should take note. Of course if you already know Yesca’s music or have had the pleasure of a Yesca DJ set then you will have already this queued up.

Sweet Spot: Ben Sims, Deetron, Oliver Ho, Vince Watson, Grain (Artwork’s Techno alias). Planet-E, Primate Recordings, Paul Mac & Stimulus Recordings found the sweet spot.

According to the OED the first use of the phrase “Sweet Spot” was in 1976 in reference to tennis rackets and golf swings. It’s where everything hits just right. And that’s what this EP does, hits just right. What strikes me is how descriptive the phrase ‘Sweet Spot’ is. Given enough swings and some luck we all know what it feels like to hit the sweet spot in some regard. Finding the sweet spot regularly though takes time and skill. But being able to hit the sweet spot by design every time, well that’s something different. That’s what makes the greats great.

For us at SNF there’s a consensus that in the lineage of electronic music there have been many moments where artists & labels converged on a sweet spot. One such sweet spot for us is in Techno
around 2003 when at the tail end of Hardgroove tempos began to slow and a groovier more refined tech house infused goodness appeared in the racks from a group of killer techno labels & artists (some mentioned above) that moment before the fuller emergence of the 2nd wave of Tech House in the mid 00’s.

That sound, while often emulated, never quite hit the same for us at least – until Yesca came along. His music has everything that we love about that sweet spot. Raw driving groove, rolling basslines and hip shaking percussion. What’s different on ‘Paint on Walls’ is that Yesca stepped on - he had already found the sweet spot on 2024’s Mood Loop EP - now his sound (or swing) is natural. Repeatable, refined and seemingly effortless. To revisit the tennis and golf analogy, this is the start of a Grand Slam run from an artist ready to etch their name in dance music history. Tiger..... Serena......Yesca.

Run the Tracks:
‘How I Do It (They Wonder)’ - A masterclass in less is more, and a serious DJ tool. Full of groove - slow it down and it will light the touchpaper in a house set - speed it up and you’ve got techno weaponry. Forget gatekeeping, this will make you feel like you just found a 2004 techno white label from the likes of Grain or Ben Sims.

‘I Desire’ - House music that I reckon Deetron would be proud of... Blissed out machine funk, whispered vocals, slick jazzy chords and dubbed out techno stabs are all grounded by Yesca’s impeccable, loopy drum programming. The best tunes always end too soon.

‘Domination’ - The ever rising bass, err, dominates this track and this track will dominate on many a dancefloor, but Yesca's knack for dubbed out swinging synth lines has to get a shout out here too. He turns what would be melodic elements into what feels like part of the percussion. Double Threat. Hands Up and Heads Down business.

‘Paint on Walls’ - It would be a tough call to say Yesca’s saved the best til last with the EP’s eponymous track given what’s come before, but Paint On Walls works all the highlights from the rest of the EP into a latin techno/house infused anthem. Skittering percussion, a hint of Detroit goodness and a deep deep rolling bassline and THAT vocal. In every way hopeful yet resistant, and that is what techno is all about.

After a long-awaited break from the format, Smokin’ Sessions returns to vinyl with a very special limited-edition pressing of Rowl’s Signal EP.

Since launching in 2007, Smokin’ Sessions has built a reputation for deep, bass-driven music and a vinyl catalogue that has become an important part of the label’s history. After quite some time away from pressing records, SMOKE046 marks the label’s return to wax — presented on limited-edition transparent blue vinyl.

At the centre of the release is longtime Smokin’ Sessions and Deep Heads artist Rowl, returning with four cuts rooted in the deep 2-step, garage and bass sound that has defined both his own productions and the label over the years.

Opening the record is Versa & Rowl – “If You (Rowl’s Grey Skies Remix)”, a weighty reworking of an unreleased Versa & Rowl dub. Raw, swung drums, deep sub pressure and a distinctly old-school UK garage atmosphere run throughout — a sound described in early feedback as a “future retro garage classic” with that early deep dubstep / 2-step crossover feeling. The remix has also picked up support from Mat The Alien, BunZer0, Deep Tempo and Richard Dorfmeister, amongst others.

“Signal” follows — a heavy, stripped-back 2-step roller built around swinging drums, commanding low-end and Rowl’s unmistakably deep production style. The track represents the classic Smokin’ Sessions sound while pushing it forward with the precision Rowl has developed over more than a decade of production. The track has received strong DJ support, including J:Kenzo, who called it a “Great track”, Synkro, BunZer0, Mat The Alien and others.

On the B-side comes “Sierra” featuring Bristol lyricist and vocalist P.A.B MC. Written and recorded together in Bristol, Sierra takes things into warmer territory: chilled two-step garage rhythms, dubstep-weight low-end and an almost astral atmosphere underpin P.A.B MC’s melodic, conscious vocal delivery. It sits somewhere between soundsystem music and reflective storytelling — equally suited to a late-night system or headphones.

Early response to “Sierra” has already included Synkro, who described the track simply as “Killer”, alongside further underground DJ support.

Exclusive to the vinyl is the instrumental version of “Sierra”, giving the full production room to breathe and making this pressing an essential version of the EP for DJs, collectors and anyone wanting to hear the depth of Rowl’s production without the vocal.

Rowl first appeared on Smokin’ Sessions in 2011 and has remained closely connected to both Smokin’ Sessions and Deep Heads ever since. His catalogue includes collaborations with Versa such as Lunar, Jupiter and Solstice, alongside his 2013 Cosmic Visions EP. His music has previously received support from Don Letts on BBC Radio 6 Music, Tim Parker on NTS, Synkro and J:Kenzo.

For the physical release, no corners have been cut. The record has been vinyl cut and mastered by Beau Thomas at Ten Eight Seven (Ten Eight Seven Mastering) — one of the most respected engineers in UK bass music and someone whose experience with low frequencies and vinyl makes him the perfect choice for a Smokin’ Sessions pressing.

Greek producer, Lex (Athens) returns to Delusions of Grandeur with a four-track excursion into the deeper, more playful corners of house music, bringing together dusty Chicago grooves, Mediterranean warmth, jazz-inflected instrumentation, and a little Italian cosmic weirdness along the way.

Theory Therapy presents “Smoker’s Choice,” the second release and first full-length from Alien D, the project of New York producer Daniel Creahan. Following last year’s “For the Early Hours of a World in Bloom” EP, the record takes on a decidedly more spacious, inward bent, with softened rhythms and arrangements given more room to breathe, folding electronics and acoustic composition into a shifting, ethereal wash.

Featuring a range of collaborations across the record, including guest vocals from his wife Ellen, Creahan’s electronics serve as a base for a series of dubwise interpolations of his collaborators’ work, from washed-out zither and bowed banjo to scorching saxophone leads.

There’s a particular pleasure in the obfuscation here, each instrument buffed into a mass of sound. A sub-bass tone might linger beneath the surface before receding into the haze; a groove can feel steady one moment and subtly shift the next. Repetition becomes less about locking into a pattern than watching it slowly change, like the same view seen through moving water.

“Smoker’s Choice” finds its depth in these small shifts, with dub rhythms, soft-edged electronics and acoustic inflections reaching something dreamlike but tactile, where atmosphere and groove are never quite separate. The record feels like a snapshot of several forces moving in slow motion – a landscape of drifting forms and blurred boundaries, where nothing feels entirely fixed.

Helene Rikhard had remained a hidden gem in the Norwegian electronic music underground for years, before she fully emerged on the international scene with these two critically acclaimed albums. Her sound is an ingenious mix of psychedelic disco, 80’s wave music, techno, krautrock, ambient and it truly operates in a world of its own. Drawing inspiration from the cosmic disco of Daniele Baldelli, the jazzy depths of Detroit techno and the esoteric dreamscapes of Laraaji, it’s astral music for astral people! Psychedelic to the core, but also warm, adventurous and highly original.

Her debut album Unpredictable Express is a dark, brooding masterpiece combining elements of cosmic disco, electro and techno Everlasting High serves as a beautiful, atmospheric counterpoint to its moody and mysterious predecessor, Feeling like a blissed out, hazy summer day, echoing childhood memories from Helenes youth, in the beautiful southern part of Norway. Everlasting High also sees Helene’s vocals coming more to the front. Mad Girl and Lions Eye are both beautiful, dubbed out synth pop with traces of 80’s synth, shoegaze, and reveals a fine-tuned pop sensibility, with a vocal style that’s sits somewhere between Kate Bush, Enya and Fever Ray.

Both as a producer and DJ, Helene’s style is easily recognized for her bold, genre-blending approach to electronic music. Mixing elements of ambient, techno, and experimental sounds, creating immersive, intricate and psychedelic tracks. Her DJ sets work the same way, blending Italo, High Energy and synth nuggets, effortlessly with strange, modern club sounds.

Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.

Label co-founder CRYME releases his third solo EP on the Berlin-based imprint, paving the way for a new, more subtle direction. Across these four tracks we find the artist diving deeper into a sound he's been shaping over the last few months. More adventurous, experimental, still driving and dancefloor-focused. This one is for the early mornings at festivals - that moment when the sunlight starts to break through the fog and the night turns into day. From bubbly, techy and quirky minimal on the A-side to more dubbed and spaced-out cuts on the B-side with a more atmospheric feel. Overall complex music full of movement that's still easy to listen to but keeps the crowd moving.

Downtempo legends Coyote offer up a full length of Balearic bliss with Go With The Tide on Universal Cave Records. With one foot in timeless chillout electronica and another in the dubby soundsystem psychedelia of our times, Coyote expand on their distinct cosmic groove with seven songs that dive deep into the sonic underground.

Go With the Tide is a tale of three islands. Coyote drop a heavy dose of modern UK stylings, rumbling bass and chilling vocals, on top of a familiar White Isle dream state while radiating Jamaican dub sensibilities. It’s like coming home from summer holiday and returning to the day to day of city life. The nights grow longer and the air chills, but the shimmering sparkles of sunshine still reflect and refract through your soul.

Coyote pick up that tension between the escapism of summer and the heavier waves of fall, and weave it into a remarkable LP that makes as much sense for a forever summer as it does for an impending winter. For whichever side of that you fall, just Go With The Tide.

Over the last decade and a half, Rotation Sound System’s annual gathering in the Staffordshire countryside has become one of underground dance music culture’s true success stories – an intimate gathering of like-minded friends and partygoers, powered by a custom-built six-way sound system, with music provided by a carefully curated line-up of dusty-fingered diggers, selectors and hand-picked live performers.

At the heart of the collective’s unique and much-loved approach lies a dedication to finding and sharing lesser-known gems and audio obscurities – fantastic records whose charm and quality has long been overlooked.

Last year, the core members of the crew – founders Dean Meredith and Ben Shenton (renowned for their productions as Mind Fair), and Wrekin’ Havoc trio Rob J, Stuart Robinson and Rich Hall – offered a snapshot of their unique musical approach via debut compilation Everything You Are About To Hear Is True, Volume 1, in the process introducing a global audience to some of the countless unknown mid-tempo classics nestled in their collections.

Fresh from another sold out edition of their acclaimed micro-festival, they’re back with volume two, another must-have collection of slept-on classics, loved-up shufflers and wide-eyed Balearic beats, all of which have played a part in Rotation’s story over the last 13 years.

Appearing on gatefold double vinyl with extensive liner notes telling the stories behind the tracks, Everything You’re About To Hear Is True, Volume 2 is full to bursting with music that sounds mind-blowing on the crew’s high-end sound system.

For proof, check the analogue-rich intergalactic shuffle of Paul Atreides’ 2015 jam ‘Arrakis Walk’, the relaxed boogie-soul of Rocky Winters’ Chaz Jankel produced ‘Vicious Circle’, the easy-listening-jazz-rock bliss of Vincent Maclin’s ‘Should’ve Took a Chance’, the 80s soul squelch of ‘Ecstasy (Centurion Mix)’ by Endgames and the immersive British dub drift of Sigma’s ‘Remember (Dub Style)’.

Everywhere you look, you’ll find eye-opening and ear-pleasing delights. There’s Pinky’s lightly acid-flecked, breakbeat-fuelled, acid house-era street soul classic ‘I Wanna Be The One (Instrumental Groove)’, the 1992 new age downtempo seduction of Linda Myers (‘Shine On Me’), the Clavinet-and-synth sporting jazz-rock/space-rock fusion of Wolfhound (1984 gem ‘Another Moon Song’), the Gallic colour of Buzy’s ‘Keep Cool (Version Maxi)’ and the guitar solo-laden electrofunk explorations of mid-80s UK act Lifesighs (‘Get Serious’, here presented in its extended instrumental form).

A couple of years after his last outing on Constant Black, Rotterdam-based Fabio Santos is back with another precision -tooled tech house EP that mangles dub, tech, minimal and house. 'Slow Burner' isn't really - it's a full-flavour sound with a dubby undercurrent and weighty kicks. 'Fever Dreams' pulls back and zones out musically, but with another forceful and deep groove that burrows into the cosmos. 'Changes' is balmy tech house that marries an irresistible snap down low with nice swirling pads up top, perfect for smooth cruising in the club. There is a more playful vibe to 'Feeling It?' With its tribal percussion and wigged-out synth details, 'Dancing To The 00's' throws it back to prime tech house dons like Terry Francis. A very useful EP

Paraiso has been doing vital work in Portugal - documenting the underground dance scene's history and pioneers in various mediums while also showcasing equally brilliant artists from newer generations. And they've been doing it for a decade now: we all know that a label dedicated to its local scene through and through is something rare and should be celebrated. This compilation 'X - 10 Years of Underground House Music from a Paradise Called Portugal' is a manifestation of that cross-generational spirit, with ten never-before-heard pieces of music by initiators and legends like The Advent alongside more recent veterans like Roundhouse Kick and Vil or younger talent like Phoebe or Van Der. Things start off with Salbany's 'Trax 10', oozing a techno elegance and irrefutable groove that wonderfully portrays the spirit of the Lisbon sound: raw yet ethereal, disarming in its simplicity while containing rave, romance and rhythmic complexities. Label founders Maria Amor & Shcuro firmly carry on the torch with 'Intracellular', gelled by dubby washes, syncopated drums, infectious rhythmic sense and layered with a melodic vocal motif. Vil's 'Cave' brings in stone-cold tight percussion offset by rich, evocative pads and technoid know-how for days. The Advent steps in with an ode to acid-minimalism, raw and slow-burning, with curious and twisted moments peppered with the skill of an expert. Van Der storms in with a piece of hybrid qualities, impeccably blending a swing onto industrial territories for a hypnotic-yet-banging hands in the air dancefloor moment. Scam Dust (the duo of Tiago and Shcuro, from adjacent generations) picks up on the industrial flavours, adds furious jacking rhythmics and live sonic experimentation that takes us to peak-quality effect and noise manipulation. 'Subvert' follows and goes deeper, as if into the depths of the ocean, with aquatic arpeggios and sparse drums that morph into an 303-driven state of mysterious oceanfloor mania - Roundhouse Kick sending us messages from the South. Violet and her 'Dream Machine' emerge with its mutant noisy motif, delay-drenched percussion and steady beat interrupted by keys, drum variations - and a u-turn to its paranoid loopy beginnings. Phoebe enters the chat and brings sonic sun rays in 'Galaxia 2000', a wide-eyed moment lead by colourful, open synthesisers with gates and filters taking us on a beautiful ride on tense, swingy drum patterns. The tenth track comes from Lisbon's rkeat and is full of closing act ear-candy with its beautifully chiseled, groovy as hell percussion, organic sonics and metallic instruments that seem to announce that the next decade is about to be just as good, if not better than this lovely 2016-2026 stint of boundary and scene-pushing.

'Life As A Duck' marks the return of Fergus Sweetland's imprint Pressure Systems and the label's first vinyl release. The title originates from a joke between two friends - friends that are ducks. These ducks found one another whilst discovering themselves, trying to navigate a world built for humans. Being a duck is another way of saying neurodivergent; existing adjacent to everything whilst trying to make sense of a strange planet, determined to remain as true to themselves at the same time as trying to be accepted in society. The tracks were made in direct response to a challenge presented to Fergus from a close friend: strip it back. The test was to apply brain-licking sound design to as few elements as possible and work them into functional club tracks. 'Tickle My Tism' meets the challenge. Fergus' signature low end captures the hips as the tension builds, expanding into an unexpected soundscape with precise smoothness. 'Trouble In The Bubble' is a dark yet dubby rolling club track full of texture and soundscapes. Nørbak's remix of 'Trouble In The Bubble' strips things down further with the Portuguese Garage (PTG) version, providing a more club-focused slant to the tune. 'Mind Easer' closes out the EP. The concluding track was written to ease the mind of a fellow duck when their feathers were ruffled by life. Its soothing focus allows one to melt into the sound and calm their mind. It tells you that everything is going to be okay. Expect the unexpected as Fergus' distinct sound design carries you through a four-track journey that emphasises that less is more - from a duck just trying to do his best.

2026 Repress

Rhythm by Nature is back with Somefink Old, Somefink New, a three-tracker from seasoned producer Grant Dell that bridges past and present: sketches first laid down in the mid-2000s rediscovered and reworked alongside a brand-new cut, forming a dialogue between memory and renewal.

The EP opens with Feel Me?, a deep tech construction driven by a heavy low-end, its groove unfolding patiently while flashes of disco glimmer through the framework. On Light of Day, Dell shifts into full deep house territory — spacey pads and floating strings suspended across open structures until acidic stabs break through, twisting the track into brighter, playful directions. Closing with Death Disco in Dub, Dell channels the hallmarks of his Tribalation project: dub-infused atmospherics, light percussion and echo-drenched fragments circling around a hypnotic core, equally suited to open or dissolve a night.

With Somefink Old, Somefink New, Rhythm by Nature traces the arc of an artist deeply embedded in the underground, reuniting past forms with present gestures in a release that reaffirms the label’s consistency in quality and commitment to timeless club music.

Skarra Mucci, the globally acclaimed Jamaican MC known as the "Dancehall President", partners with Manudigital, one of Europe's top producers, to bring us the full-length album Ragga Blasta.


Following the success of their self-titled EP, the duo doubles down by expanding the concept into a complete 10-track album, delivering a varied, multi-inspired showcase where hybrid beats meet core sound system culture. This project retains the essence of their initial release: the energy of title track Ragga Blasta blending reggae and boom-bap hip-hop, Angel’s ragga beat and intoxicating Likkle Devon sample, alongside the heavy basslines of Freedom Fighter. It also features the more introspective rub-a-dub vibe of Inna Mi Brain, the explosive ska collaboration with Queen Omega on Feel It, and the atmospheric dub of Natty, where Skarra delivers razor-sharp rap flows.


This long-form edition packs an even bigger punch with four brand-new tracks built to shake sound systems and dancefloors alike. Skarra Mucci showcases his technical mastery on Lyrics Machine, a hard-hitting, hip-hop-infused track, while delivering a powerful, anthemic dancehall tune with Nah Fraid No Police. The tracklist further elevates with a legendary feature from Johnny Osbourne on What A La La, before broadening its musical horizons through the festive, hybrid sounds of Rock This Cumbia.

After almost twenty years of releasing music, Sven Tasnadi finds himself circling back to some of the sounds that first drew him into house music. Explorer was written at home following a longer break from producing and after moving out of his studio, a change of setting that coincided with a shift in priorities. "The tracks on this EP came together at home after a longer break from music and after I moved out of my studio," he explains. "Musically they are very deep and minimal, at times almost meditative. They were inspired by a new chapter in my life as well as my never-ending love and connection to artists like Lawrence from Smallville and Frank & Tony from Scissor and Thread."
That sense of returning to something runs through the whole record. For much of Tasnadi's career, producing and DJing were closely connected, with many releases naturally shaped by the club. Things have changed. "DJing is no longer my main focus, so I can dedicate myself to these deep and minimal sounds again, free from pressure or expectations," he says. "In a way, after almost twenty years of releasing music, things have come full circle for me."
"Atlas (Chapter 1)" and "Atlas (Chapter 2)" grew from the same initial idea but followed separate paths during production. Chapter 2 came first, while Chapter 1 emerged later from a variation Tasnadi discovered while the track was still essentially a loop. "I was still looking for the right theme for the original idea when another version suddenly opened up," he recalls. He saved that variation for later so he could stay focused on the first version. When he returned to it, the two had developed distinct enough identities to stand independently. Their shared DNA is still audible in the restrained rhythms, slowly shifting details and the way small changes carry much of the movement.
The title track moves further into dub techno, another longstanding passion for Tasnadi. "Explorer is almost a classic dub techno track," he says. "Subtle movements within a constantly repeating pattern create a particular atmosphere. It feels like the track could just keep going forever." It is a patient approach to repetition that he connects to artists such as Moritz von Oswald and his friend Daniel Stefanik.
"Megasektor", one of the first tracks Tasnadi made at home with a new equipment setup, brings the EP into deep house territory. "To me it's almost classic deep house, or at least how I define deep house for myself." Warm, compact and gently propulsive, it provides a natural closing point for a record that is ultimately less about changing direction than reconnecting with an instinct that has always been there.
Explorer captures Tasnadi at a point where making music has become more personal again. The four tracks come from following ideas for their own sake and from rediscovering the deeper, more minimal sounds that have stayed with him throughout his career.

2026 Repress

Dial Records boss makes a welcome return to Smallville in March of 2024 with a fresh four-tracker EP ‘Gravity Hill’. Peter Kersten, better known to most as Lawrence, has been at the forefront of underground house and techno for decades now. His Dial imprint, co-founded alongside Carsten Jost, has grown to become a north star for many seeking out raw, emotive and understated electronic music and Lawrence’s own productions follow a similar path, finding a home on many beloved labels beyond Dial such as Kompakt, Mule Musiq, Ghostly
International, Giegling, Pampa and of course Smallville, that he co-founded together with Stella Plazonja and Julius Steinhoff in 2005.
Title-track ‘Gravity Hill’ opens the project and perfectly sets the tone with Lawrence’s distinct atmospheric haze of keys, chords and pads billowing atop swaying bass tones and crisp drums. ‘Beaver’ follows next and edges into dubbed out realms with expansive stab delays, rounded subs, modulating percussive flutters and a robust rhythmic drive.
‘The Swamp’ then leads the B-side, diving into a deeper territory via airy Rhodes melodies and subtly unfurling pads, intertwined with organic percussion and a jazz tinged bass line. ‘Stargazer’ then concludes the package and shifts back to a more straight, dance floor- oriented feel via a twitchy acid bass, circling resonant synth licks, hypnotic textures and a swinging drum groove.
Smallville 62 artwork by Stefan Marx as always and it's the first 12“ Smallville cover in full colour ever after 61 black/white releases.

JUDDER announces the second installment of its vinyl series, bringing together a diverse selection of artists united by their passion for experimental bass music. This time, the record is fully focused on a raw, soundsystem-driven aesthetic. On Side A, French producer Amor Satyr—known for effortlessly navigating between dembow, breakbeat, and techno—ventures into dubstep territory for the first time. On 'Over', he translates his signature style onto the genre’s foundations while retaining the distinctive energy that defines his sound. The record continues with a collaborative effort from Thematic and Nattah. ‘Aurora Pulse' is a cold, restrained piece of leftfield bass at 130 BPM, where a sharp, syncopated subline forms the backbone of the groove, pulsing like the heartbeat of a northern metropolis. Opening Side B, Dawn RAzor and Mani Festo deliver 'Awared', a track where techno and breakbeat converge through layered sound design and spring-loaded drum fills. As it unfolds, the composition gradually draws the listener into a hypnotic journey, dissolving familiar genre boundaries along the way. The release closes with ‘Lockjaw'—a true soundsystem slow-burner from Kahter and Mercy System. Broken tribal rhythms and a constantly evolving arrangement keep the listener suspended in a state of mounting tension, one that intensifies with every new detail introduced. Tracklist: A1 Amor Satyr — Over A2 Thematic & Nattah — Aurora Pulse B1 Dawn RAzor & Mani Festo — Awared B2 Kahter & Mercy System — Lockjaw

Built with the immediacy that comes from limitation, iPhone Grime is almost exactly what it says on the tape case. Pulled directly from the portable communication device of Front Left Life's Louis Payne, iPhone Grime is the perfect distillation of raw ideas through a simple medium. When producers can drown in the infinite possibilities of the DAW vortex, a simple phone app can steer you swiftly to the sharpest results. Snippets of real world sound captured on the mic ground these quick-fire beats in a time and place, dynamic and street-level like grime and early dubstep was when it was being imagined on PlayStation games and filmed on ropey phone cameras.

Payne is undoubtedly bringing perspective to his sketches, having forged a connection with London's club scene through his part in the widely hailed Front Left Life parties in Catford, at Venue MOT and elsewhere. With a roll call of guests that cuts a sharp line through the best of bassweight club music right now, his taste and knowledge precedes his first steps into the production arena. Rather than puzzling out the path to a thousand likes for a hardware jam reel, he's opted for a direct line between his brain and the beat at the end of it.

You can hear the naivety behind vocal loops like the one nagging away on 'Follow That', calling to mind the first time you ever tried making a Fruity Loops beat. But these are no amateur throwaways — the technology has moved on and Payne's instincts guide him towards legit constructions that could easily do damage in the club. Sometimes they exist as no more than an eight bar loop, while others like 'Wind It Up (Dream Dealers Version)' or 'Extra Dimensional Being' stretch an idea out. Throughout it all, the looming throb of square wave bass glues the record together and anchors the grime dimension of Payne's job lot of phone jams.

Payne's work is all his own, and the snatches of real life around the beats anchor this music in his own London life. But, like previous shifts in technology and accessibility, iPhone Grime also raises an important prospect—that anyone with one of these apps, a Bluetooth speaker and an idea can bring music out of studios and into the world. History has already proven, when that happens the possibilities become thrillingly unpredictable.

Spanning Portland, Bristol, London and beyond, Cold Light has evolved from a friends-and-family label into something stranger but more cohesive. It's a collective spanning Best Available Technology, Birthmark, Withdrawn, the wind between, CSNL and Rael, plus a wider orbit including Elaine Malone and Tony Onuchukwu. What began as a 2019 tour experiment and crystallised during lockdown into the Live at the Laundromat sessions has now fully matured into a singular sound rather than a patchwork of ideas. Dub sits at the centre, most clearly on the sprawling 'Fields in B', but the group folds in haunted boom-bap, gritty noise-rock and ghostly trip-hop with equal confidence. 'Riot' and 'I've Known Fires' both hover in that murky, half-familiar space the collective has made its own.

Mysticisms completes its archival releases of the Dub Specialists with a 3rd EP of the outer reaches of the Digi Dub realm, this time mainly drawing from the project’s final album Loop To Loop.

Conscious Sounds head honcho Dougie Waldrop, working again with Chris Petter (Love Grocer) runs the desk, the heavy sample originals move from House to Breaks, Dub to Funk.

For the final reversions, label co-owner and editing specialist Piers Harrison returns, turning Love Song in a long form 4/4 romantic digi bounce. A sure-fire winner, the catchy groove and trippy beats, the template of what makes Dub Specialists come alive.

Following is Lotion Dub, edited by Vanity Project. A key part to the project, working with Millie Mckee, as well assisting Chuggy, his solid arrangements and engineering skills take the old school original, with digi horns, electro stabs and reggae “skanking” guitar, accentuating the drum and bass to effect.

The final side of edits come from Chuggy, taking the steppers of Dub Downtown, teasing the drop, looping and riding the riddim and also, finally, from rising producer and label head of Spiritual World Recordings, N1 Sound who sticks to the true essence of re-editing, creating a DJ friendly excursion, extending and live dubbing the sought after 808 Dub from Dub Specialists debut Break To Break, thus bringing the whole project full circle and complete.

Beat The Loop.

Function has long since cemented his legacy in the underground world but it's always worth reminding yourself where an artist's story began. In David Summer's case, that's with this EP, which dropped on Damon Wild's Synewave, who now reissue it in full, 30 years on. It's an impressively fully-formed sound for a debut: 'F1' is a jacked-up techno rhythm with a fat bassline and frazzled synths that bring it to life. 'F2' is a more experimental and beatless piece with modular pulses, echoing frequencies and decaying sine waves then 'F3 rides a dreamy dub rhythm that undulates gently amid some gorgeous sustained pads that recall Thebes of Detroit. 'F4' comes with more Millsian-style minimal that fires up your brain.

A document of chill-out room dreamscapes transmitted from San Francisco circa 1993-1994.

Rooted in live improvisation and arriving at the sweet spot where nascent dance music collided with dub tradition, Selene Songs marked an early highpoint for Sunshine and Moonbeam Jones' enduring partnership as Dubtribe Sound System. This collection of dreamy, harmonious grooves and ambient excursions were recorded between November 1993 and January 1994, captured live in the chill-out room at the duo's legendary Come-Unity parties held at their home on Bryant Street in San Francisco.

Selene Songs was originally released on Chicago-based label Organico in 1995 as a CD and abridged 12" EP. Now it receives a full reissue that spreads the blissed-out majesty of the full seven-track album across a double vinyl pressing and CD digipak edition. Across all formats, Kristen Anderson's original artwork has been faithfully reproduced.

“… All the elements of classic ambient dub with the Tribe’s own sense of love wonderment. One from the heart." - Muzik Mag - 1995

“ We have faith that the universally accessible warmth oozing from these tracks will eventually entice a larger audience." - Billboard - 1995

Number 1 on the Eastern Bloc shop chart - Muzik Mag - 1995

A document of chill-out room dreamscapes transmitted from San Francisco circa 1993-1994.

Rooted in live improvisation and arriving at the sweet spot where nascent dance music collided with dub tradition, Selene Songs marked an early highpoint for Sunshine and Moonbeam Jones' enduring partnership as Dubtribe Sound System. This collection of dreamy, harmonious grooves and ambient excursions were recorded between November 1993 and January 1994, captured live in the chill-out room at the duo's legendary Come-Unity parties held at their home on Bryant Street in San Francisco.

Selene Songs was originally released on Chicago-based label Organico in 1995 as a CD and abridged 12" EP. Now it receives a full reissue that spreads the blissed-out majesty of the full seven-track album across a double vinyl pressing and CD digipak edition. Across all formats, Kristen Anderson's original artwork has been faithfully reproduced.

“… All the elements of classic ambient dub with the Tribe’s own sense of love wonderment. One from the heart." - Muzik Mag - 1995

“ We have faith that the universally accessible warmth oozing from these tracks will eventually entice a larger audience." - Billboard - 1995

Number 1 on the Eastern Bloc shop chart - Muzik Mag - 1995

Not many can match V.I.V.E.K when it comes to pushing sound system culture.

With over two decades worth of releases, dances and low-end pressure, the Southall-born, System Music label owner announces the imminent arrival of his debut album, ‘The Escape To Nowhere’.

Spanning eight deep and meditative tracks, ‘The Escape To Nowhere’ is a fully realised exploration of dubwise tradition, reimagined through V.I.V.E.K’s unmistakable expert approach and unbound from one specific genre

Drawing from a lifetime immersed in bassweight heritage and club-ready experimentation, the record distils his musical journey into a fully formed and immersive statement, featuring the haunting vocals of Dandelion and Dego Ranking, experimental percussion and a meticulously sculpted low-end design.

‘The Escape To Nowhere’ will mark the 50th release on System Music, a landmark that underscores both the label and artist’s enduring commitment to forward-thinking bass music firmly rooted in culture and craft.

2026 Repress

Regelbau chief Natal Zaks, who you may better known as Danish house talent Central, returns to his Picture alias hot on the heels of a full-length under the same moniker on his usual home, Short Span. This EP comes on P-TON, NMP's sub label, and is pristine dub techno with clean lines and minimal fuss. 'Faaaaaaaaa' has the right amount of swing and pop under sleek chords, 'Gaaaaaaaaaa' is less about firmware demotion and more about locking you in an endless cycle of brain cleansing thought. 'Kaaaaaaaa' is a darker world of cavernous bass and icy futurism and 'Tuuuuuuuu' nods to the best of Basic Channel. Proper dub techno that reinvents nothing but does everything exceptionally well.

Radiant, spring-loaded and alive with movement, Lab Boogie sees Jupiter’s Depth go full dancefloor as Vienna-based Nizar Sarakbi makes his first appearance on the label.

The A-side cuts a brighter path through house, with rolling low-end, dubby flashes and percussion flickering from every angle. Across the B-side, the groove turns techier and the mood slightly darker, before Bella Sarris closes the record with a warped, off-centre take on “Angel Dust”.

Ukrainian-born and now based in Vienna, Nizar follows releases on Outdom and Naked Groove Records, including the recent *Truth Seekers* EP alongside COZi. The record is already picking up support from label favourites Julian Anthony, Christopher Ledger, Roza Terenzi, Eoin DJ and Jennifer Cardini.

Amazing Album! Following his remix on Massiel's Echoform, Nicolas Barnes returns to Devilish Affair for his first full EP on the label, joining Genning for the label's first double LP. Each producer contributes three original tracks before remixing one another, bringing together eight tracks that showcase two different but complementary approaches to deep electronic music. While Barnes leans into darker, dubby grooves, Genning brings a brighter, more driving energy, giving the record a natural balance from beginning to end. The artwork features a photograph taken by Devilish Affair founder Eric Louis while hiking through The Narrows in Zion National Park. A winding stream cuts between shadow and sunlight beneath towering canyon walls, creating a scene that feels right at home alongside the music. Whether you're listening at home or deep into a late-night set, Through the Narrows is meant to be experienced as a complete journey across four sides of vinyl

This is Timmy Stewart & Jordan Nocturne's debut single together as TNI, a raucous percussive club weapon designed by The Night Institute residents to reflect the pair's shared history & energy as DJs.

First up on remix duties is Shit Robot. The Dublin-born, DFA mainstay cranks the energy right up, driving things further forward with punchy drums and bright insistent synths built for the peak of the night.
Irish collective LA Dysto have been on a roll recently, with their unique brand of chugged-out electronics. Here they get psychedelic, dubbing out the vox and adding a driving hypnotic bassline,
The finale belongs to fellow Belfast artist Viper Patrol, who strips the track back to its bare bones and heads off on a tripped out breakbeat mission with even more middle-eastern twists.

A full Irish with eastern promise!

*TIP* Previously released on Low Company in 2023, now back... a weirdo lo fi gem

Naturestrip, Naarm, Australia write:

"purely physical teeny tapes perform an invaluable public service in exhuming static cleaner lost reward’s ‘breathing under honey from the heady year o’ 2023’, a slack-jawed riddle within the all-consuming enigma that is thee world of tarquin manek™.

few records command a reissue so soon after their release, the soil heaped atop the (sainted) low company corpse still remaining more than a little damp, but this one’s discreet-to-the-point-of-fury initial release justifies the flogging of the proverbial carked horse, boiled back down into glue for a fresh round of rollicking mucky. arriving as the last release on that fine imprint, ‘breathing under honey’ represents (obliquely, natch) something of a convenient summary of that aforementioned elegantly sloshed world™, condensing as it does the artist’s proclivities exercised among the sweetest of contemporary depth-dwellers, articulated alongside/within y.l. hooi, bum creek, carla dal forno, f ingers, kallista kult, under endless solo monikers…the fun never ends.

let loose here in a suitably gonzo/spellunked mood, the second full-length under the static cleaner moniker (see debut $mile$ from 2013 thru altered states) is compiled of delirious half-thoughts & riddimic gestures accumulated between 2013 & 2020, everything wet & awash with a fine sprouting of lysergic mush between its digits. the implication thereof might suggest something schlonky or amateurish, but fear not, prospective listener, for your ears are in the sticky hands of one of the finest shit-savant prodigies these times have known, crud-caked technoid shapes & blissed pop-glob nous submerged in sublime dubbed-out grog, the resulting sonar-pong shards positively chemical in their ability to simultaneously slant + seduce.

think: martin denny face-deep in a paper bag at the black ark, graciously fucked tropicalia, liquid dub techno housed in vat of spiked quaff, the skaters infiltrating urban tribe, lopsided + caked to the nines in glitter for the gutter.

utterly tranced, sumptuous/sweet & patently ill. a classique of this modern horror epoch if there ever was one."

2026 Repress
Berlin-based duo Disguised land on Mutual Rytm with a splash of signature driving techno on ‘Nightrun’. German-born, Berlin-based pairing Alvaro and Domenik are Disguised, a duo that feels closely connected to their favourite club RSO and its Robus Floor, where most of their musical inspirations happen. They head up their own label, Inherit Records, and also host parties at Berlin's new C115 venue on the Berlin highway. Already this year, they have dropped an impressive collaborative EP with their studio partner and close friend Fabio, aka FANK, who features on this EP with his own vocals. Their sound is always defined by driving drums and hypnotic melodies that build up to intense dancefloor peaks, and here they showcase this to its fullest on their Mutual Rytm label debut via five vinyl-only cuts and three digital bonuses built and crafted to make a lasting impact. The powerful 'Where Thoughts End (ft. FANK)' rises up through the ground like an oncoming train, as drums rumble, synths peel off the groove, and moody voices have you looking over your shoulder. 'Nightrun' is glitchier and more textured, with a fractured energy that keeps you on your toes. 'Crusher Wheels' is a deep, back-lit, and trance-inducing sound made for 4am, while 'Ashes and Algorithms' layers up eerie melodic details with bulky drums for a spare but atmospheric trip. 'All You Find (ft. FANK)' is dubby, greyscale techno with a muscular rhythm and unsettling synths, taut and tensile, balancing right on a knife-edge. Three digital bonuses explore different moods - the subtle melodic touches of 'Silent Pulse', the cosmic energy of 'Sceptre Rd', and the rising optimism of 'Twinfall’.

2026 Repress

Ribe & Roll Dann serve up potent techno on Mutual Rytm with 'Virtus Occulta'.

Built around concepts of unacknowledged work and enduring merit, the release marks their first EP on SHDW's widely
respected label.

Based in Toledo and Madrid, Ribe & Roll Dann are exciting residents at Laster Madrid and Lanna Club, two of Spain's leading venues. Emerging as driving forces in their national techno scene, they have also made an impact on the global landscape, making wider moves through collaborative releases on Klockworks, and individual outings on a number of other influential labels. Having previously featured in the label's Federation of Rytm IV compilation, the pair make their full EP label on SHDW's Mutual Rytm imprint to open March with a deep dive into their expansive sound.

Opener 'Sub Terra' is a pure club tool that is direct, physical and rooted in the underground with a seriously heavy low end. 'Extra Lumen' is more restrained but still built on a steady, forceful rhythm with controlled energy that prefers to operate in the shadows. 'Ars Non Placens' stays true to the idea that music is not made to please, but to exist on its own terms with hunched drums and dubby undercurrents. Next, 'Meritum Negatum' fizzes with static electrical charge and minimal drum funk and is a direct reflection on overlooked skill and unacknowledged work, before closer 'Virtus Persistens' delivers a continuity and a steady pulse rather than an explosive ending, keeping you locked throughout.

In addition, three digital bonus cuts come alongside the vinyl package. 'Labor Inauditus' speaks to hours of technique, production and booth experience that remain invisible. Next come the taught, rubbery rhythms and unrelenting atmosphere of 'Silentium Testium', while 'Sine Aplausu' - which means without applause - brings a ghostly late night vibe that you will never want to end.

California-based couple Allie Schulz and Alex Pasternak are Florecer, a producer and vocalist combo who draw on the energy that having their daughters gave them. 'Babies' and 'energy giving' are not often heard in the same sentence together, given the demands newly born small people often have on parents' time and sleep, but judging by these sounds, this pair have been fully inspired. The title cut is tropical and dub and kosmiche all collide into an undulating rhythm that's bright and demanding of your attention. Coyote dubs it into a more smooth affair and then 'What I Knew' rides world dub with steel drums. 'Running Behind' slows to a deep, soft plod with whimsical vocals this time, and Chris Coco turns up the reverb for a lovely, sleepy dub of his own.

Alek Lee and vocalist Margeeah come together for a boutique 7″ pressing limited to 200 copies, featuring two tracks blending soul, reggae, disco and dub. Lee, whose catalogue includes releases on Antinote and Isle of Jura, brings his background in slower, dub oriented productions to a collaboration built around Margeeah’s vocals and live instrumentation. The sound sits somewhere between Massive Attack’s Blue Lines and Grace Jones.

Margeeah comes from the Israelite community, whose musical history includes The Soul Messengers. Her debut album, Looking for Love, was recorded in 1983 with Kingdom Sounds, originally issued as a private press LP and reissued by Frederiksberg Records in 2025. Its musicians included Abshalom Ben Shlomo, associated with Sun Ra. Her vocal style spans soul, jazz, funk and reggae, with reference points including Roberta Flack and Doug & Jean Carn.

For this release, Lee records his own live drums and percussion for the first time, alongside his signature smoky melodica lines. The production develops the reggae elements of Margeeah’s singing, combining bass driven arrangements with live rhythms, spacious guitar lines and dubby approach.

On the A side, “The Music Inside”, Margeeah effortlessly projects Lee’s lyrics about optimism and the desire for inner and outer freedom. Built around a recurring vocal refrain, the track places her voice over a rooted reggae arrangement.

The B side, “Can You Feel It?”, moves seductively towards a slower disc-dub sound. Bass and drums provide the foundation, with the percussion developing from a restrained groove into a fuller live kit arrangement. Melodica and guitar weave around Margeeah’s lead vocal and the hypnotizing title phrase.