quête:full time

DAYBREAKERS are back from their first dive into the Music Station catalogue and hop from New Jersey to land in Germany’s Black Forest region for 002, more specifically they arrive into a basement in Freiburg.

In 2008, Rainer Trüby started on an album that ended up getting lost due to a crashed macbook. Two tracks were saved from this lost album and see the light of day 17 years later. After playing one of these tracks “Schoko-Bolla” in the woods at “Root Down With Love” at We Out Here 2024, miche and Rainer decided it was finally time to take this secret weapon for a full release.

The A Side is “Schoko-Bolla” features a looping brazilian vocal from an all time great, building gently into a real groove and the B side, a deeper than deep house track with latin elements. House deeper than the Neckar river, perfect for any dancefloor.

Don't miss out, buy or cry.

Originally released in 1978 on Americom Records. Officially reissued for the first time with love by Celestial Echo Records.

Some records just have that magic. A vibe that pulls you in from the first note and doesn’t let go. Phylliss Bailey’s 1978 cult classic Phylliss is one of those records—a hidden gem of modern soul and disco that’s been doing the rounds for decades in underground scenes, on dancefloors, and among collectors who know. It’s been whispered about in the right circles, bootlegged and then bootlegged again—but never given a proper reissue… Until now.

Celestial Echo Records proudly presents the first official reissue of Phylliss, a record that’s as essential today as it was back then. Originally released on the independent Americom label, the LP flew under the radar in its day but has since become a secret weapon for DJs with a taste for the modern soul & disco sound.

Phylliss Bailey’s voice is pure class—gliding over lush arrangements, tight rhythm sections, and dreamy strings with ease. Whether she’s riding the groove on dancefloor bombs like 'Focus' and 'Release Me' or slowing it down on the smouldering 'Feeling Of Love,' Bailey brings emotional weight and undeniable swagger to every track.

Fully remastered and officially licensed, it brings Phylliss into the light where it belongs. With a reimagined sleeve and labels (to distinguish from some shady copies going around!). This record is looking and sounding better than ever.

Celestial Echo Records is a label devoted to the soulful and the timeless. Based in London and run by miche & Stu Clark, the imprint has been steadily carving out a reputation among collectors and DJs for high-quality, lovingly curated reissues of rare modern soul, boogie, and disco. With each release, they shine a light on overlooked gems that still resonate deeply in today’s clubs and dancefloors. Phylliss is the next jewel in their growing catalogue of essential rediscoveries.

A1. Live in Holland (5:32)

A loose-limbed roller that feels like a half-remembered set from a sticky Rotterdam afterhours. Dubby chords smear across the beat like fog on the dancefloor, teasing tension without ever breaking stride. Full sleaze mode.

A2. Morning, Noon and Night (5:46)

Subtle and sensual with the swing only V.I.C.A.R.I can conjure — this one works in hypnotic repetition, layering hissy hats, muted stabs, and a gliding low-end that keeps you deep in the pocket. Time melts here.

B1. Partial Disk Recovery (5:48)

A gritty tech groove, sputtering like corrupted hardware—yet never missing a step. High-end percussion twitches and snaps while submerged bell tones bubble underneath. Peak-hour ammo for selectors who like it bent.

B2. Show Me That You Care (5:41)

A late-night house cut with a heavy emotional pull. Warm pads and delicate vocals ride a chugging rhythm that feels both intimate and urgent. A closing track with real staying power.

Past Inside The Present is back with another of its quietly powerful ambient records, this time from Almost An Island, which is a collaboration between Kenneth James Gibson and husband and wife duo James and Cynthia Bernard. This black version of the self-titled oeuvre drifts through ambient, Americana and experimental soundscapes with musical elegance and tasteful restraint. Muted textures, swirling guitar, pedal steel and subtle vocals create a mood that draws you in close but is also grand in scale. Tracks like 'Quadrivium' and 'What Got Us To Our Feet' blur the line between memory and melody, while 'Palo Verde' and 'Promise to Fade' linger like a half-remembered dream. This isn't ambient as background-it's a fully formed emotional landscape that is both meditative and melancholic.

Spanning 14 tracks, Serotonin includes standout singles like the acclaimed ‘Burn’ with Tom Walker, ‘Seventeen’ with YOTTO & White Lies, and ‘You & I’ with Nathan Nicholson. Written over several years in his studio, on tour, and at his childhood home in the Netherlands, the album’s creation spanned a period in Joris’s life that possessed significant emotional challenges, but as the title suggests, is firmly fixed on a strong sense of positivity and euphoria for the path ahead.

From ambient soundscapes, melodic house and immersive techno, Serotonin spans a rich emotional and sonic range—always warm, organic, and unmistakably Joris Voorn.

Marking more than two decades at the forefront of electronic music, Serotonin captures the sound of an artist in full bloom.

“This album really reflects how I’ve grown into my own sound,” says Voorn. “I’m not chasing trends—just making something honest, hopefully timeless, and able to move people on the dance floor. I want listeners to feel Serotonin—to let go, be free, even if just for a moment."

It’s very difficult to describe someone as prolific as Misha Panfilov. So, I feel the best way to define him is to think of a “Trivial Pursuit Playing Piece,” where each pie piece represents one of the bands he heads up, and each band has its own distinct style and genre. Yet, when looked at all together, create the whole musical persona of Misha. This is the lens I would like to view his latest endeavor, Days As Echoes.

The vibe on this sophomore release channels Krautrock philosophy and Library music, peppered with elements of jazz, Ethiopian, cinema, ambient and bits of everything between. This atmosphere is created from all the instruments Misha uses and the resulting compositions are heard as repetitive patterns that are forged from the multiple layering of melodies. Thus, creating six unique songs with emotional granularity, yet collectively encompass a genuinely positive “feel good” vibe…with a hint of nostalgia.

Moods of the day, moods like echoes say, A future of hope is yours, by following the Sun’s ray.

The opening track, “Days As Echoes,” is a dedication to a much simpler time when the sky was bluer and the snow was whiter…just like how you remember it when you were a child. A time when people honestly cared more about everything as a given, and not as a selfish accolade. A time when optimism seemed within reach. In other words, nostalgia marred by awareness.

…Leading to a path where the skies are not gray. Where dreams of castles in the air are the mainstay.

“In A Dream” has a style that pays homage to both spiritual jazz and ambient music. A simple theme is introduced and leads to the climax of this stormy dream, putting it all in perspective. That pivotal point when one realizes the truth by re-tracing the events, which led to the epiphany of how to find the answer while traveling within this airy soundscape.

…Diurnal or nocturnal, day or night, Traveling the path of truth must be done without fright.

One can’t help but feel a definite traveling vibe that comes from “Moonscape Waltz” To me, it has a dual-characteristic that can be visualized as a train trip, either at sunrise or sunset. Regardless, the time is not of major relevance, but the actual pursuit is. Lao Tzu said, “The journey of a thousand miles begins with that first step.” This track takes you beyond that initial step into this vast world toward your destination as you search for the truth.

…The unknown is real, but you know the deal. People need people to show which direction you point the wheel.

“Together” is the most peaceful and solo oriented compositions of this album. It shows how one cannot achieve happiness alone, but the importance of having someone special or a group of others to help along the way. Not only to help seek your goal, but also the ability to enjoy the scenery while on your journey

…The end of this tunnel has a light that’s so bright. Illuminating the trodden way, your destination, now in sight.

One is free from the chains of the unknown as you listen to a “Few Layers For Smith”, a dedication to a friend. A song that draws energy from the ECM works of Steve Reich, thats married with a primitive lo-fi basement setting. Its positive force breaks those encumbrances and gives you a glimpse of your prize. But you ruminate on this and come to the conclusion that the path that led you there is equally important as the goal itself. Question is, how do you share your realizations and experiences?

…The route was cast, the trials have passed. The glittering treasure you sought is yours now, at last.

“Ocean Song” meanders from the ritual rhythms of its shoreline to the crashing riptides of unbridled guitar feedback, creating this raging ocean atmosphere. However, its message is quite clear and states that people’s goals and experiences are not just meant for personal growth, but to be shared with
others, so that they too can live vicariously thru your story and somehow utilize it for their own.

…The prize has been won, but the journey is never done. You now have the responsibility to share everything under the Sun.

These six songs, each with its own sound, collectively comprise the vibe of this album. One cannot help but feel a sense of joy and fulfillment when listening to it. Each song has its own unique mood, yet together create an atmosphere of hope and happiness that has no choice but to spill out of the listener. I feel this was the ultimate goal of Misha’s on this record. Quite a challenge for the man who never sleeps, but is always searching for the perfect beat. One may not fully grasp his musical mind, but this album does give you a gateway into the moods and magic of Misha!

- Brent Sawicki

Four Flies is thrilled to present the very first release of Gianfranco Reverberi's hidden masterpiece: a mind-blowing soundtrack, possibly his wildest and most daring. This Italian score is sort of a Holy Grail for fans of the spaghetti sound, especially thanks to the legendary track "Psicolimite".


In 1973, a mysterious 45 rpm single surfaced under the name 'Sharon Chatam e la sua Orchestra.' The single seemed to be a harmless cover of the theme from Last Tango in Paris, complete with a typical image from the film. But behind the innocent facade, a secret was hidden: the B-side track, "Psicolimite," was actually the main theme from Rivelazioni. When someone in the United States figured this out and realized the 'Sharon Chatam' moniker was a pseudonym for Reverberi and his team, the price of the record skyrocketed, making it a coveted collectible.


This makes the discovery of the full soundtrack even more exciting, considering that the music Reverberi composed for the infamous film by Renato Polselli - one of the most outrageous and uncompromising Italian genre cinema directors - was thought to be lost forever, perhaps vanished into the depths of some film processing lab. But thanks to the sleuths at Four Flies, this enigmatic masterpiece has been resurrected and presented in all its glory. It's available now as a luxurious gatefold double LP with original artwork by the brilliant Eric Adrian Lee.


While the film, despite some critics praising it as "psychotronic," is a bizarre mishmash of rambling pseudo-psychoanalytic theories and sexual deviance voyeurism, the music stands out as a foremost, vital element, able to exist on its own.


Reverberi's reputation as a serious, refined producer (for artists like Lucio Dalla, Gino Paoli, Luigi Tenco, and many more), however, led him to keep his distance from exploitation films like Rivelazioni. To maintain his image, he had his friend and former schoolmate Umberto Cannone take credit for the score – a tactic he also used for Polselli's next film, Mania (1974).


But this anonymity might have unexpectedly increased his creative freedom, for the score he put together and recorded is experimental, at times raw, and driven by a relentless rhythm section where bass and drums lay down the groove. The use of electronic instruments is impressive for the time, with drum machines and spacey synths creating a dark and dreamlike atmosphere. Psychedelic flutes, piano phrases, crazed percussion, filters, compressors, and jazzy improvisations on sax and vibraphone complete the mix.


The full soundtrack was recovered following the discovery of the original 1-inch, 16-track tapes, which were transferred, mixed, and mastered for optimal listening on both vinyl and digitally, with the digital version featuring 8 bonus tracks.


Available from November 22!

For the first time on vinyl a collection of tracks by Cortex, Alain Neffe (Bene Gesserit,Insane Music) experimental spoken-word project originally released on tape in 1984.

Cortex was never intended to be a conventional musical project.
From the very beginning it was centered around free live performances. These encounters were stripped down and highly visual: Alain Neffe constructed a trapezoidal fluorescent white screen lit by black light.

The narrator—la récitante—was only illuminated in the face, while the rest of the stage remained in complete darkness.
This created a ghostly effect where the audience could see only her glowing face and dark silhouette. She was a beautiful young woman, with a striking presence, and beside her, Alain Neffe played synthesizer and created sonic effects.
The aim of Cortex was to deliver a minimalist and emotional experience, one centered on text and the voice of the narrator.

Most of the tracks that exist today were recorded informally during rehearsals, using two microphones placed in front of Marshall amps, captured directly to cassette.
La récitante could choose a text from a collection of hundreds. Then, the music was improvised in real time around her voice. That process, simple, direct, and instinctive produced a body of work that’s rough around the edges, but full of presence. It’s not polished, but that’s the point.

Cortex was focused entirely on the connection between voice and sound.

Limited to 300 copies

2025 REPRESS

THE STRICTLY JAZ UNIT (GLENN UNDERGROUND & BOO WILLIAMS) present this epic album masterpiece of electronic dance music. Every track is naturally dynamic with sonic rich musicality & keyboard melodies. Most likely the last LP of the SJU collective. Comes with full picture jacket! Essential Chicago house music.

In recent years, Blackploid has come to be one of Central Processing Unit's signature artists. The German producer has averaged more than a record a year for the Sheffield imprint since he first landed on CPU in 2021. This prolific run continues withCosmic Drama, Blackploid's second LP for the label. The album takes the baton from its predecessorEnter Universein style, delivering twelve tracks of top-quality machine-funk that draw down from electro's classic artists while also imbuing proceedings with a playfulness that very much gives things a signature Blackploid-ish flavour.

Cosmic Dramasets its stall out from the off. The opening run of 'Alien', 'World Construction' and 'Virtual State' all deliver piston-snapping beats which anchor pleasing melanges of B-movie synth lines. Alongside this, Blackploid adds little flourishes which add buoyancy to each joint - a syncopated bassline reminiscent of I-f's late-90s classic 'Space Invaders Are Smoking Grass', crackling robo-voiced commands, skittering synth chords which wash across the mix and so on. It's the work of someone completely at ease with their craft, comfortable enough to take risks without upsetting the apple cart of their sound's core appeal.

Blackploid's idiosyncratic approach to synth work is something which distinguishesCosmic Dramafrom the pack. Electro has long been a genre which prides itself on innovation on the keys, but few producers are willing to push their sonics as far as Blackploid does - take the seasick churn of pads and processors on 'Multiverse', for instance, or the way John Carpenter-esque single-note lines dovetail with gurgling synthetic pulses and eerie, spacious chords on 'The Lab', a highlight ofCosmic Drama's midsection.

Cosmic Dramaskips along at club tempo throughout - every one of these joints will get bodies moving in dark rooms across the galaxy. However, even when tracks maintain their single-minded pursuit of machine-funk perfection, they never forget to deliver on the hooks. Blackploid has lead lines (and counter-melodies) to burn here, and each track knots them together in ever-more intriguing ways as they plough onwards. Drexciyan heads will be thrilled by the sci-fi delights of 'Species', for instance, while Blackploid brings melodies as cold as they are catchy on the aptly-named 'Polar Dunes'. By the timeCosmic Dramahits upon the vroom-vrooming bassline line of closer 'Contact', you're fully enthralled to the album's combination of broken-beat heft and synthetic melodiousness.

Central Processing Unit mainstay Blackploid comes through with another delightful dozen of electro heaters for the Sheffield label.

RIYL:Drexciya, I-f, Cygnus, AFX

While some guys will tell you now it’s all computers, at Turbo we know in our hearts that everything in life can be understood as a funhouse mirror. Sascha Funke’s massive 2017 hit “MZ” is one of the most iconic house records ever released on our label, and thus deserving of the ultimate honour: a remix pack reflecting each of the manifold facets of a modern dancefloor classic from the most prestigious and respected angles imaginable.

As studious Turbo watchers have no doubt clocked*, we have paid access to the halls of European power, where you get to make backroom deals with Emmanuel Macron and British Seinfeld as Opus’ “Live is Life” blares over a gigantic bluetooth speaker. And, yeah, you’ll probably run into the most celebrated European producers of our time. Pional, Axel Boman, Mano Le Tough, and Roman Flügel — these are the kinds of names you only see once you’ve reached the highest levels of success, be it in dance music production or purchasing the hottest tickets in town on your favorite mobile device. We called each on these titans to anoint “MZ” into the modern pantheon of club anthems, and you can bet your last eurobond that they delivered. But we also wanted some new blood, so we turned to rising Lithuanian superstar DJ JM. JM is now a deep part of the Turbo family, and he’s made the theoretical space between bad-boy cousin and beloved nephew fully his own with what we hope Rolling Stone Magazine will call “a distinctively modern edge."

*Clocking is a cool way of noticing things. Try it sometime!

2025 Repress Cherry Vinyl limited

A mystery bag of magical editing tricks is on full display here with a groove so sweet you could sprinkle it on a donut. This is a track that bobs, weaves and ducks like a seasoned Heavyweight Champion - all perfectly timed to an outrageously hypnotic rhythm that’s layered with heavy-slap bongos, triangle percussion and crisp congas. When the familiar bassline and unmistakable vocal kicks in, you’re certain you know where this journey is going. But you’d be wrong. All wrong. Reality is swiftly flipped by the mother of all rug pulls. Suddenly, you’re off-road; driving through a hazy, surreal combination of twisted sonic reverb cuts and delicious diva-drenched vocals. This is a masterclass in the art of the edit - adding subtle ingredients to make something so individual and so unique. Good enough to eat? You bet it is. Any self-respecting selector will want this gem in their record bag, so grab it while you can!

Efficient Space honours trailblazing Australian imprint Volition Records with Volition Cuts Vol. 1. Evolving from Andrew Penhallow’s time at GAP Records, which smuggled Cabaret Voltaire, The Fall and the Factory catalogue into the region, Volition shifted focus to homegrown talent over imported sounds. Echoing its precursor’s blend of indie friction and electronic curiosity, the label wired itself into the pulse of club and rave culture, linking city scenes and amplifying them for the mainstream. With retina-scorching design, uncompromising packaging and top-tier remixes, Volition consistently bent the major label machine to its will.

No Volition retrospective would be complete without Sisters Underground’s intergenerational anthem ‘In the Neighbourhood’. Otara teenagers Brenda Makamoeafi and Hassanah Iroegbu brought their Pasifika perspective to Proud (An Urban-Pacific Streetsoul Compilation), a commercial success that platformed NZ rap and R&B with a clarity that outshone its overseas counterparts. The quiet architect of Volition’s sound, producer prodigy Robert Racic flipped the classic as a hip-house dub before his untimely passing in 1996.

Its A-side companion comes from Brisbane synth-pop unit Boxcar, who signed to Volition after frontman Dave Smith handed a cassette to Tom Ellard of Severed Heads during a school newspaper interview. That unlikely handoff led to their 1990 debut Vertigo. Here, their ritual-laced, body-jacking industrial is retooled by Miami freestyle maverick Tony Garcia.

Further cherry-picking from the VOLT vaults, Sexing The Cherry unleash a bleep-addled meltdown from Brisbane’s Edwin Morrow and Cherryn Lomas. ‘This Is A Dream’ was recorded exclusively for High (A Dance Compilation), the first all-Australian V/A to top the ARIA charts, propelling the local movement into national consciousness.

Closing the sampler, Sydney’s Single Gun Theory joined Volition as they moved from post-punk abstraction and electronic collage toward downtempo, sample-based mysticism. Their 1994 ambient-pop reverie ‘Fall’ is reimagined by Stuart Crichton and Apollo 440’s Norman Fisher-Jones as full-throttle Goa trance, a final surge that channels the label’s relentless push into new terrain.

Volition Cuts Vol. 1 is dedicated to the loving memory of Volition’s visionary founder Andrew Penhallow, and key contributors Robert Racic and Edwin Morrow.1

Journeys are never just about distance. They stretch time, reshape perception, and demand transformation. With its latest vinyl split EP, Standard Deviation presents four tracks by Nastya Vogan and Phase Fatale that serves as a vessel for tracing displacement, memory, and the liminality of return. These melancholic yet powerful techno cuts serve both the concrete dance floor and moments of intimate self-reflection. Two artists--Nastya Vogan and Phase Fatale--approach Kyiv from different trajectories, but they both keep returning to the city. Vogan, a Ukrainian musician and resident DJ of Kyiv, and Phase Fatale (Hayden Payne), Berlin-based producer, Berghain and Khidi resident and founder of BITE Records, share a longstanding musical friendship. They've played B2B sets at K41 and Vogan, appeared on BITE's ''Shedding Skin'' compilation in 2023, and they share a vision for music selection, from aesthetics to philosophy. Vogan's 'Transitioning Territory' and 'This Is Not a Love Song' unravel the psycho-geography of transition. The first track captures the 24-hour journey to Kyiv as a rite of passage where 'time seems to fold; you are profoundly present yet paradoxically far from the world you left.' In this suspended state, memories surface and ordinary life recedes as the train's rhythm becomes its own meditation. Her second track explores Lacanian limerence--consciously falling for something not fully known, filling absences with personal projections as a way to discover what lies within oneself. Phase Fatale's contributions capture movement and distance with mechanical precision. 'Kekkai,' takes its name from the Japanese word for boundary, echoing 'respect my borders' ethos while reflecting on crossing into wartime Ukraine. The term also suggests a protective force field in Buddhist thought--much like Kyiv's current aura of resistance. 'Neosyazhna Rosa' (Unreachable Rose) honors Payne's Ukrainian grandmother Rose, weaving family history into his present connection with Ukraine. Both pieces balance melancholy with light, their sound palette of lush pads and rhythmic breaks crafted with K41's dance floor in mind.

* V Recordings and Tim Reaper's Future Retro London have joined forces to unleash "One Stop Mr Driver," a track that channels the raw energy of '90s jungle. This release features both the original mix by the legendary Krust and a fresh remix by Tim Reaper, bridging the genre's roots with its modern resurgence.

* Kirk Thompson, professionally known as Krust, is a seminal figure in drum and bass. Emerging from Bristol's vibrant music scene, Krust co-founded the influential Full Cycle Records alongside Roni Size, DJ Die, and Suv. His innovative approach has produced classics like "Warhead" and "Soul in Motion," tracks that have left an indelible mark on the genre.

* London-based DJ and producer Tim Reaper has been pivotal in the revival of jungle music. Through his label, Future Retro London, Tim has showcased a plethora of talent from the modern jungle scene, earning accolades such as DJ Mag's Best of British Breakthrough Label award in 2021.
* "One Stop Mr Driver" was a coveted dubplate from the '90s, never officially released but highly sought after by enthusiasts. Recognizing its timeless appeal, Tim Reaper has crafted a remix that preserves the original's amen break-driven intensity while infusing it with razor-sharp modern production.

* Bryan Gee, the visionary behind V Recordings, has long admired Tim Reaper's contributions to the scene. This collaboration marks a rare partnership in V Recordings' three-decade history. The fusion of Krust's pioneering sound with Tim Reaper's modern touch honors its roots while embracing the future of drum and bass and jungle music.

* "One Stop Mr Driver" will be available digitally and as a limited edition 12" vinyl release.

Multi-instrumentalist, visual artist, and scene creator, Jonathan Uliel Saldanha, has been releasing music under various guises for two decades. With the successes of his moniker HHY (Nyege Nyege Tapes) whether in symbiosis with The Kampala Unit or the syncopationophilic big band of The Macumbas, Jonathan Uliel Saldanha's sonic signature continues to grow more and more singular. Ever synthetic and digital, Uliel Saldanha's work-ethic never eases—having recently started a label of his own, Horror Vector.

Surface Disorder sees the release of the music from Jonathan Uliel Saldanha's large-scale exhibition of the same name that occurred in Porto & Lisbon, (2024-25). As with much of his work, there is a Ballardian sense of a near-future in dystopia. And since we're already living the apocalypse, there's never a hidden moral to veer away from the torment. Instead, Uliel Saldanha dives into it and catalyzes it further.

Information from Angels feels like a cunty John Dee AI (credited as The Mouth) becoming an oracle of information overload, accompanied by an instrumental bidirectionally that splits into a lush harmonic layer of blissful punctuated pads and another that is a speedy but subdued melodic bassline. The Mouth intones a 15-minute fever dream that flows through themes that have occupied Uliel Saldanha for quite some time.

On Swarming the Pit, the intricacy of Jonathan Uliel Saldanha sonic wizardry is on full display. A constantly moving swarm of granulated particulates of sonic material morph into a variety of textures: coins or gunshell casings hit the floor, engines rev their monstrosity, rubber-like pulses are splayed into spectral blurs and pops. This is clearly an update on music conrète's obsessions.

The Mouth on the closing track, Wolf & Virus Dialogues, has a completely different texture from the first, alerting the listener to the uncanny nature of its genesis. Here the instrumental sounds are all triggered by the articulations of the voice: a weird unison, it serves as its own artificial accompaniment. The reiteration of a self-model (a rabid 'my') creates a greater tension between computational self-certainty and the terror of its inevitable actualization.

Drawn from years of early-hour sets and the quiet intimacy of the booth before the room fills, Gimme The Sun marks the debut EP of Al-Veez (real name Alvise Marino). A seasoned guitarist raised in Italy with musical roots in funk, boogie, and blues, Marino’s release is a sonic travelogue of his formative years as a selector in a city, NYC, that quietly became home. The prominent guitar captures both the ache of departure and the bright, restless hope of return.


With a wistful blend of beachy, meandering textures, lush synth layers, and a hypnotic pulse, the EP lands in time for another steamy summer in the city—sure to strike a chord with longtime NYC house heads, whether they be behind the booth or lost in the crowd. Arranged in close collaboration with TSoNYC label boss Danilo Braca (also on mixing and mastering duties), theshimmering title track reads like a Dear John letter to New York. Tender, honest, and full of gratitude, it’s the kind of farewell only a true love could inspire—one that dances forward even as it looks back.

As the record warms up, “F Train Boogie” evokes snapshots of bright midsummer mornings gazing out a scratch-blurred train car window at the glistening city, while the track that follows, “Sneaky”, sizzles with cosmic allure—an intoxicating blend of luminous synths, tightly interlaced rhythms, and a commanding kick drum that locks the listener into an entrancing groove from the very first bar. “Underwater”, the fourth and final track, shares some of the same allure and mystery, but features a playful optimism, encouraging the listener to lean into curiosity of what the next chapter, night, or DJ set will hold. 


Plying refracted rhythms with an exacting poise, Aerae arrives on Samurai Music with a fully formed sound that plumbs the depths between techno immersion and D&B beat science.

An accomplished, palpable tension runs throughout Nefanda, Aerae's second solo release. Following up on the meditative pulse of her debut album on Annulled Music last year, the Paris-based artist digs deeper into ominous atmospheres filled with evocative reverb decays and taut, dynamic drum work - tools she wields to Redner tracks with specific meaning, coded by the Latin framing that runs through all aspects of her musical output. Contemplating the ancient language as an inescapable part of her European roots, on Nefanda Aerae ruminates on external trials and inner impulses, and conjures a jaw-clenching soundtrack to match.

'Mons' (translation: 'Mountain') speaks to challenges, strength and spiritual ascent, marked out by an urgent thrum of conga slaps and a 4/4 kick around the 170 BPM mark that finds power in minimalism even at the relatively high tempo.
The title track opts for a more broken framework, pivoting pointed percussion around a deft sub pulse while turning up the intensity with an exacting poise.

'Nefanda' translates as 'unspeakable,' or 'too horrific to name,' and the fraught, synthetic wraiths contorting through the track convey the dread the title implies.
'Fovea' (translation: 'pit') burrows deeper into spatial design with a looming low end rumble and subliminal sound sculpture, shaping out a dark, introspective chasm tipped towards disassociation. It's a powerful statement in any setting, but the all-consuming bass feels especially crafted for full, physical sound system immersion.

'Phrenesis' (translation: 'frenzy') rounds the EP out in fierce form, building up a high-pressure arrangement from ambient beginnings with ruthless control. There's a sense of duality in motion between half-time and double-time rhythmic elements, every incremental shift adding to the intensity of the track with the elegant, impactful touch that has fast become Aerae's calling card.

Finding her own language within the dialogue between techno, D&B and dark ambient, Aerae's music makes a vivid impression thanks to the ideas and intention that drive her in the studio. Nefanda confirms her status as a leading light in deep, psychedelic dance music, making something extremely personal that also reaches out beyond notions of the self like all the best transcendental music.

With a steely sound matching fathoms-deep echo chambers with metallic textures and precision drums, Sciama arrives on Samurai Music to press into the inspiring hinterland between techno and drum & bass.

Sciama is the production alias for Michael Watters, a producer who since 2019 has carved out a formidable reputation across a stellar run of releases on ASC's Auxiliary label. While his music references UK bass, transcendental techno and industrial, the end result is a taut, focused journey through fractured, weighty rhythms and vast, ranging atmospherics tilted towards the darkness.
Between Veils is testament to Watters' refined production, steeped in intensely detailed and layered sound design in constant fluid motion, whether locked to the grid or shifting across the surface of the track like grayscale snow drifts. Noise becomes a subtle tool in his hands, capable of delicacy as much as abrasion, and discord evokes a haunting beauty if you listen past the clangorous overtones he elicits from his pads.

For all the writhing, artful sonics, there is still ample weight in the Sciama sound to hold court over a sound system. 'Figures In Mist' rests on a constant half time cycle underpinned by monolithic bass pulses and 'Ghost Trail' finds deadly energy in the faintest flicker of double-time hats above the slow march of a 4/4 kick clocking around 85BPM. Restraint is paramount, even in the fuller rhythm section that drives 'Anima Trace', creating tension through what isn't sequenced as much as what is. 'Veil Of Mirrors' has an especially punchy kick propelling the cavernous echos and ripples that shape out yet another vivid soundscape, but at all times Watters keeps a tight grip on his arrangement to keep the energy simmering just below boiling point.
Moving well beyond the boundaries of any specific genre, Between Veils winds upas a strong, independent statement on the meeting point between broad influences and clear intentions - a formidable addition to Samurai Music's explorations beyond drum & bass and Sciama's steadily evolving, singular style.

While the drama continues and we keep fighting the demons of our daily struggle,.. a man from another place locked himself down in a black lodge, conceiving new material to share with the world. 214 isn't just a number, it's music from an extradimensional place, high up the North Bend mountains. Frequencies coming from a red room, filled with electronic circuitry parallel connected to our inner soul. Lyle At Dawn is Chris Romans third offering for the Frustrated Funk familia. Setting the pace for more to come, as we connect to the Shipwrec multiverse for a full album release to follow shortly after this mind bending EP. You have been warned..