Cerca:g dub

On June 5th, Tectonic Recordings will release Beatrice M.’s debut LP, Sinking, on a vinyl triple pack and digital download. The vinyl edition will be split across 3 separate 12” vinyl releases, packed in matching printed disco bags. This is part 1 of 3.
Beatrice M. pushes the needle forward for a sound and scene that nestles among a niche that blends UK dubstep, techno, and the golden era of tech house. The Paris-born artist is in their mid-20s and has been building up a grassroots following and plenty of momentum over the last few years, through their Bait label and its output of sonically resonant artists, alongside numerous remixes and collaborative and solo releases for labels such as Tectonic, Tempa, and Rinse. There are plenty of accolades coming in for Beatrice's work too, with notable DJ mixes for respected heavyweights such as Mixmag as well as featuring in Resident Advisor’s best mixes of 2025.
Beatrice is known for making deep explorations into the history of the scenes that have interested them, tracking and highlighting connections between dubstep, tech house, jungle and beyond across various self-produced, one-off radio shows, often taking a journalistic approach to subjects of true passion. They travel across Europe on a packed-out DJing schedule, avoiding air travel, and doing it mainly by train. Many of the LP's tracks started life as sketches put together on these long journeys, as the sights of different countries rolled past the window.
Having taken inspiration from Tectonic artists such as 2562, the label – a home to music that was originally placed in the dubstep-techno crossover spectrum—feels like the perfect place to host Beatrice M.'s debut album Sinking, beginning a new chapter for this kind of sound.
Opening track ‘Ever’ plunges us into deep waters with a sense of dubwise command. The momentum picks up on ‘Ocean’, where the vocal snippet "everyday life" circles around reverbed stabs and intricate hi-hat moves. ‘Motion’ sets the pace with its jumpy but rolling rhythm, leading straight into the eyes-down, party-time energy of ‘Disco Corner’.

Timeless remixes by Ron Trent, reissued in a special limited edition.
Featuring three versions of Ron’s signature deep vibe — including “7AM Dub,” appearing on vinyl for the first time.

Berlin-based producer and DJ Benjamin Fröhlich returns to his own Pleasure Principle imprint with the long-awaited vinyl edition of The Muv It EP -
Rooted in dusty, dubby house music and inspired by the open spaces and raw energy of a recent desert trip, the EP channels warmth and groove in equal measure. The title track Muv It sits at the heart of the release - a driving, hypnotic floor-burner that showcases Fröhlich's instinctive feel for rhythm and texture.
Alongside it, Get Up raises the energy further, bringing a higher-octane dancefloor urgency to the EP's middle section. Its dub counterpart Get Dub then strips things back - a spacious, reverb-drenched variation that lets the groove breathe and reveals the track's deeper, more meditative side.

The vinyl edition comes with an exclusive bonus track: Gruv It - a stripped-down, atmospheric rework of Muv It that trades hands up moments against a hypnotic rolling vibe.

* Edition of 500 colored vinyl (transparent purple)
* Artwork developed in collaboration with Paris-based visual artist Caroline Ventura
* Including download code

i got a song, it’s gonna make us millions is the highly anticipated new album by Sirens Of Lesbos, led by sisters Jasmina and Nabyla Serag. The dynamic release is a vibrant showcase of the group's expansive musical range, blending R’n’B/Soul, Afrobeats, electronic music, and lo-fi indie pop into a rich, genre-defying experience. With its eclectic sound and captivating melodies, the album solidifies Sirens Of Lesbos as a standout force in modern music.

Featuring on the album are the singles “Room 333” feat. Kendrick-Lamar-collaborator Zacari, a futuristic R’n’B song with progressive club beats; the epic “Call Me Back” (feat. Drake-co-signed rapper SadBoi and the Kabusa Oriental Choir); and dub-infused reggae song “Let It Hurt”, plus new song “My Moon”, which draws inspiration from artists like Bruce Hornsby, Justin Vernon, and Jai Paul. Sirens Of Lesbos have earned widespread acclaim from outlets like CLASH, COLORS, Dork, Tsugi and Earmilk, with BBC 1Xtra’s CassKidd calling the collective “magical.”

As Black women living in the diaspora, Jasmina and Nabyla navigate the intersection of their parents’ collectivist North-East African culture and the Western emphasis on individuality. Questions of identity have always been central to their journey. While society often demands clear-cut definitions, the sisters have come to embrace their multifaceted identities: “We have always been many things.”

Both artists are deeply rooted in the technical and philosophical dimensions of sound. Jasmina recently completed her Sound Arts degree, and Nabyla is now finishing hers. Their academic pursuits have included creating abstract sound installations in exhibition spaces. However, their focus for the foreseeable future is on elevating the Sirens Of Lesbos project, writing and producing standout indie pop tracks, performing live, and delivering unforgettable experiences for their audiences.

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The vinyl version of i got a song, it’s gonna make us millions is published by Präsens Editionen, a Switzerland-based publishing house and music label. Founded in 2011 in the process of launching zweikommasieben Magazin, Präsens Editionen has since released music on vinyl, cassette, CD, and digital formats—alongside magazines, books, and other printed matter. Recent audio releases include works by Martina Lussi, spalarnia, Magda Drozd, Anom Vitruv, Belia Winnewisser, and Red On, among others.

Titans of the jungle world collide for the latest Over/Shadow boxset. 4 x OG Black vinyl presented in a stunning de-bossed box set.

Do You Feel Me sees New York house staple NY’s Finest (Victor Simonelli) return with one of his most iconic productions, bringing the unmistakable garage house sound back to vinyl.

Built around uplifting piano lines, soulful vocal elements and groove-led rhythms, the track captures the feel-good energy of classic New York dancefloors and remains a timeless cut for DJs.

A recognised name within the New York house scene, Victor Simonelli’s productions sit comfortably alongside legendary artists such as Masters At Work, Todd Terry and Tommy Musto.

Back on fresh 12" red vinyl and featuring full suite of mixes including Club Mix, Instrumental, Dub, Bonus Beat and Piano Pella, this release brings an essential garage house record to a new generation while maintaining strong appeal for long-time collectors.

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

Deeply rooted in dub techno but reaching far beyond genre routine, weight, atmosphere, restraint and absolute emotional pull. This is dub techno at a truly exceptional level, elegant, deeply absorbing and crafted with the kind of vision that separates strong releases from genuinely unforgettable ones. A massive record with real staying power, and another stunning transmission from Notta Records.

Die Synthesistin und Komponistin Emily A. Sprague verbindet intuitive Klangstrukturen mit ausdrucksstarkem Songwriting und schafft so weitläufige Klangwelten, die unmittelbar und mitreißend sind. Nach ersten Experimenten mit Gitarre und Keyboard als Teenager gründete Sprague Anfang der 2010er Jahre die Indie-Band Florist, mit der sie ein treues Publikum gewann, bevor sie sich 2017 unter ihrem eigenen Namen auf Umwelt- und Ambient-Kompositionen verlegte. Zu ihren Veröffentlichungen zählen mehrere Alben aus beiden Projekten, zuletzt Florists ,Jellywish" und ,Cloud Time" aus dem Jahr 2025 sowie nun die EP ,Double Moon". ,Double Moon" zeichnet psychische und greifbare Landschaften als parallele Welten nach. Durch beschwörende Wiederholungen und durchscheinende Klangfluten ebnet Sprague einen initiatorischen Weg mit modularer Komplexität und lyrischer Weitsicht, untermalt von V Haddads transparenter Stimme. Mit instinktiver Präzision offenbart ,Double Moon" sensorische Weite durch viszerale, szenische Komposition. Geprägt von gepatchten Farbverläufen, frostigen Winkeln und warmen, melodischen Wellen dreht sich jeder Klang um den nächsten, taucht gleichzeitig auf und verschwindet wieder in einem fesselnden Klangbogen. Dieser Track bewegt sich in schillernder Subtilität - die Farbe der Nacht, die sich über den Himmel zieht und die Silhouetten beleuchtet, die sie erst möglich macht.Der mittlere Track, ,Dusk (How to Fly)", ist seinem Titel getreu ein subtiles und bewegendes Experiment, das den Ausklang des Tages heraufbeschwört, zusammen mit einem flüchtigen Anflug von Erhabenheit und der nahen Möglichkeit des Fliegens. Faszinierend in seiner nachdenklichen Drift und leuchtenden Bildsprache verschmilzt der Track sanft synthetisierte Fäden mit einem langsamen akustischen Rausch - eine Melodie, die in grenzenlose Richtungen treibt. Geleitet von Spragues unverwechselbarer Gesangskaskade und briefartigen Fäden webt sich eine beschwingte Sequenz mühelos von grundlegenden Erinnerungen zu einer weiten emotionalen Öffnung und fragt: Wie könnten wir auf andere Weise hier sein? Wie können wir überhaupt etwas fühlen?« ,Double Moon (Andras Dub)" verleiht Spragues Originalkomposition eine strahlende Note: Der australische Produzent Andrew Wilson, alias Andras und eine Hälfte von Wilson Tanner, verwandelt die Textur des Originaltracks durch tiefe, strahlende Rhythmen. Jeder Takt springt und zerstreut sich, um etwas völlig Neues zu erschaffen.

(*Previously unreleased)

Two lost cuts from the orbit of Tony Humphries surface at last, pulled straight from acetates in his private archive and pressed here for the first time. Unearthed like messages from the booth itself, they capture that raw, transitional moment when club music was still inventing its own language night after night.
On the A-side, Kerri Chandler with “Kerri Kaoz Beats”, a stripped, swinging tool full of basement pressure and early-morning intent. No excess, no compromise, just Kerri doing what Kerri does best. Flip it over for Dee Dee Brave – “My My Lover (Tony Humphries Dub)”, a previously unheard Humphries reconstruction that stretches the vocal into something deeper, moodier and unmistakably floor-ready. Spacious, patient, and quietly euphoric.
Two pieces of house history that never made it past the acetate stage until now. Not revisions, not edits, but originals finally stepping into the light. Essential documents from the roots that still point forward.

Phara returns with a second project under his In Glass alias. In 'Scratching the Surface', we're light years away from the heavier, more instructive dance records that have become synonymous with Phara's style. In this EP, the Belgian artist reaffirms his celestial, delicate sound in four tracks that delve further deeper into the emotional soundscape proposed in the first EP.

'Sally' begins the project with the most dance floor oriented of the four tracks, proposing an intoxicating blend of styles that bloom throughout its six minutes. Soft pads and bright keys twinkle along a cradling rhythm as In Glass delivers a truly musical piece that sifts through memories. Percussion is then taken out of the equation as 'All Things (424 Version)' comes and lands softly on the center stage. Lush, ambient waves come lapping at the shore of 'Scratching the Surface', describing nothing but space and serenity - a breath from everything. The dreamy tone of 'All Things' oscillates along reassuringly into the B side, keeping the tempo low and the sound design organic. Here, we step into In Glass's world of dub techno and adjacent sounds that defined his first record last year. 'Plateau' rises slowly from the wax with a round low end and suspended chords that hover high above. Opening stabs over a harmonic bassline make a head massage of a track that sways along. The raw emotion behind In Glass's music is inviting, flashing by as ethereal synths open and close to install a personal, meditative experience of electronic music. The percussion remains discrete, allowing the harmonic information to wash over the listener into the last track of the EP. He concludes with 'My Idle Hands', pressing further into the dub techno sound that echoes through a cathedral of memories. Blurry shapes pass by over a more determined rhythm section, confirming the intimate nature of In Glass's music. The music wanders along, its head in the clouds but with a full heart, telling stories of being lost and finding home.

An introspective journey led to the recovery of five tracks that form Unearthed Forms: The new 12” EP by Gent1e $oul & Finally Julius on Fast Castle. Focused on rhythm, texture, and low-end pressure, the record is built around contrasts between organic movement, sharp percussive design, and fluid, broken rhythmic sections.

The A-side opens with Pantanal, a slow-building, humid groove driven by deep sub pressure and layered percussion. Obsidian Arrows introduces a tighter, more direct energy, a modern fast-paced dub stepper with future-facing sound design. Spore Inscription shifts into more evolving patterns, where rhythmic elements gradually reorganise and reconfigure over time.

On the B-side, Where liquid forgets to flow breaks away from steady structure, moving into unstable, shifting rhythm work and loose timing. The closing track Bloom Archive brings things back into a warmer, more open space, with smoother textures and a slower, more continuous flow that feels reflective rather than resolved.

Across five tracks, the EP moves between dub-weighted bass systems, broken beat influence, and techno-focused arrangement — keeping a strong focus on physical low-end and detailed percussion throughout.

Moonshine Recordings is thrilled to welcome Tokyo-based producer Flatplat to the family for his captivating debut release: Mystery Of The Belly Button EP.
Deep-diving into the realms of hypnotic dub techno and stripped-back minimal dub, this four-track record delivers smoky delay chains, pulsing sub-bass, and meticulous sound design.

The Coyote-affiliated Magic Wand wafts its mercurial charm over a series of mega-useful and equally effective edits here. Robot 84 kicks off with a slow, cyborg-infused and digitally finished dub of a Prince classic and Ali Renault brings sugary synth charm to 'Indovina Key'. Bratley himself then steps up with the whacked out piano house of 'PNO', a slow jam with oversized impact. 'Song To The Hills' gets a Secret Soul Society mix that's infused with subtle psychedelic charm and fresh disco chug.4 new heavyweight reworks from Secret Soul Society, Robot 84, Ali Renault and Craig Bratley.

The latest contribution to Organic Signs’ Monolith vinyl series, Sefarae, unveils the spellbinding collaborative EP debut of Paris-based rising figures Bambi & Forest.
Elephants drifting through subby realms, birds singing across open skies, distant whispers echoing through warm air…

Sefarae unfolds as an ethereal space where the realm of living creatures merges with our own. On the edge of waking life, vast terrains of golden sand stretch endlessly, hidden oases vanish at dawn. Sefarae invites listeners into thisoneiric territory, a space where wild forces intertwine.

Through a shifting lens of perception, the EP evolves across multiple versions of a single track, each mix revealing a unique facet of the same core essence. Blending percussive textures, organic atmospheres, and psychedelic synths, the release moves seamlessly between hypnotic, playful, and introspective phases.

From the gentle emergence of the Oasis Opening Mix to the mischievous energy of the Cheeky Dub Mix, and finally the soft descent of the Dawn Mix, Sefaraetraces a continuous arc – guiding listeners on an esoteric, immersive journey.

Side A’s “Mysterious Vibes” comes from Action (1977), the later-era The Blackbyrds LP produced by Donald Byrd. By this point the group had fully locked into that hazy jazz-funk pocket—rhodes, bassline glide, & drums that feel tailor-made for loops. It’s been a quiet weapon for producers: Kurious (“I’m Kurious”), Paris (“The Days of Old”), plus later flips from Big K.R.I.T. & Dom Kennedy. The Jazz Dub leans into that—stretching the groove, letting the atmosphere breathe, keeping it playable.

Flip side is certified soul-collector territory. Tom Brock’s “When There’s Nothing Left…” is lifted from I Love You More and More (1974), produced by Barry White & Gene Page. Lush, aching, full orchestration—exactly why Just Blaze flipped it for Jay-Z’s “Girls, Girls, Girls” off The Blueprint. One of those samples that instantly connects eras.

This isn’t just a “nice edit” 45—it’s a bridge between jazz-funk heads, soul collectors & hip-hop producers. Both sides rooted in records that already did damage, now reworked for the floor.

'Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.'

'Overall, Double Seven melds the soul, funk, reggae and dub elements that were constant in Perry's work during this phase. His enhanced audio spectrum and endless reference points would keep his music continually apart from that made by his peers.'
—David Katz (excerpt from the liner notes)

2025 Repress
2xLP 140g smokey green vinyl, gatefold sleeve including board game with tokens.