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Kavinsky’s ‘Odd look’ is one of those songs which will haunt you for a long time after hearing them, one of Kavinsky’s acclaimed ‘Outrun’ highlights for sure.

The deep, raw and soulful instrumental brings a cinematic sound which has the power to litterally put you in a virtual movie just listening to music ! And SebastiAn’s vocal part on top is a unique rendering, somewhere between Stevie Wonder and HAL.



The Weeknd was invited to sing on the song by Kavinsky himself. As a big fan of his singing skills, the zombie wanted him to give his song the real soul touch that he’d had in mind for ages. His performance reminds of Michael Jackson, a fast and swinging vocal line, extremely addictive !



A-Trak who has been Kavinsky’s pal for years now delivers a banging remix with bass & drums and a beautiful & strange vocal hook. The kind of tune that can be played in a NYC hip hop party, as well as in a techno warehouse in Berlin with the same effect : arms up ! A-Track rules it as always.



Midnight Juggernauts have taken the spacey-progressive path for their approach towards ‘Odd Look’. Trancey sounds built around those Scarface-like choirs surround you and bring you back to the early 9O’s chill out era, It’s emotional music, as on their recently released ‘Uncanny Valley’ album.



Prince 85 is the newcomer of this selection of X-tra strong producers. His new-hip hop sound fits Kavinsky’s moods perfectly, adding a brilliant re-cut work and some exquisite additional keyboards. Real drinving music, that’s the deal.



Surkin has the recipe for producing absolute club anthems, his re-do of Kavinsky’s tune is one more proof of his skills. Sirens, brilliantly produced vocal excerpts and his signature synth sounds alltogether create a happy and hysteric mood that one could imagine create club riots !

I am happy to present our first tape release by The Jaffa Kid as part of the brand new Digital Artefacts series.

The series is an ode to the sound of the 90s, from Electro, IDM and Jungle to further different experimental stuff and sounds. The choice of tape as format seemed fitting for the aesthetic of the series.

The first EP comes from UK based The Jaffa Kid (previously on 030303, Dischi Nottetempo, Gated Recordings and more) and is a solid mixture of Electro, Techno and beyond.

Malmö’s Mod Sens arrives on Programm LDN with an electric intersection of soundsystem styles and taut techno and electro. Pushing inventive, bassweight dance music through his Melt club night in the city he calls home, the wildly talented Swedish producer brings an international outlook to his subtly crafted workouts.

“These four tracks were all made at a time in Malmö when electro was completely dominating the underground scene,” says Mod Sens. “That had a strong influence on the creation of these tracks, but I was definitely more urgent to create my take on ‘UK’ Sounds.”

The sound on Misperceptions EP is introspective by design, cast in melancholic pads which balance the rugged impact of the crafty drums and upfront low-end. Mod Sens himself describes exploring the tension between wanting to run and feeling ‘stuck’, and that yearning sensation culminates in four elevated cuts that uphold Programm’s commitment to advancements in club music.

Visual director Blackwall and graphic designer Alfie Allen responded to the tangible mood of the EP, resulting in an accompanying visualiser and sleeve design which round out the emotion Mod Sens was reaching for while working on the music. As a complete package, it’s an audio-visual statement which leaves a lingering impression, as any art worth making

Drumcode hits 300 releases as the brilliant Mha Iri returns to the label for her second EP, 'Bombay'. Since debuting on Drumcode just a year ago with 'Never Go Back To Sleep', (her contribution to the debut Elevate compilation series and one of the best-selling techno tracks of 2023), the Scottish producer has rapidly established herself as one of Drumcode's most exciting new artists. A stellar debut EP followed in September with 'The Unexpected', before 'Bell' her cut on A-Sides Vol.12 charted #1 in Beatport's techno Top 100. Due to its success Drumcode chose it for the Change The Beat remix competition, and the remix from YOZÉ is a highlight on the latest 'Elevate Vol.II'. Amidst an impressive touring schedule which will include Awakenings main stage, Junction 2, Tomorrowland and Drumcode's Mysteryland main stage takeover this summer, Mha Iri has been active at Drumcode showcases, playing Watergate in Berlin and more recently the massive Drumsheds show in London. It was there her spit-fire new EP 'Bombay' shined in the huge halls of techno. A hypnotiser of the highest order, the title track is a fully-loaded barrage of tribal techno, crushing drums and vocals that unite for arguably Mha Iri's strongest track on DC to date. We can't wait to see this one launch. Pairing beautifully is 'Existence', a galloping slice of peak-time fare elevated by a rousing vocal.

Berlin underground authority Stefan Braatz returns to Nu Groove with a four-track EP showcasing his timeless sound – Outlaw. An established club DJ and producer who has donned many hats in his 30-year career, Stefan Braatz is known for his expansive knowledge that defies genre convention, with his previous Nu Groove collaboration ‘Everyman Jack’ featuring Chicago legends Virgo Four combining his respect for the old school with new school techniques. Opening the EP is the eponymous track ‘Outlaw’, featuring vocals from Chicago house pioneer Harry Dennis – a contemporary of Ron Hardy, the late Frankie Knuckles and a member of Jungle Wonz alongside Marshall Jefferson. As Braatz’s relentless synth energy powers through, Dennis’s unmistakeable free flow guides the composition with ease. What follows are three solo tracks that summarise the Berlin expert’s opposition to the genre restraints; ‘Conversation’ opens a dialogue between synth strings and piano that loops in ecstasy, while ‘Dingy Thoughts’ and ‘One More Dream’ are darker club cuts that bubble with intensity in the lower registers.

Docile Recordings is for itself. We are an expression of the beautiful moments that hold us frozen. Warm confusion that breathes life to the senses. The Docile sound captures a nostalgia for times yet to come. We are a familiar resonance always shifting for the correct approach. Always aiming for the heart and soul. Docile speaks to the basic instincts of the techno rebel; supplying sonic reasons to trudge on.

The “last of a kind e.p.” is the 32nd release from the Docile Recordings record label. The feel of this release ranges from a pragmatic spiritual funk to a loose heabangin’ frivolity. Docile 32 is 4/4 minimal held together by soulful synth and smart percussion advanced by ringing highs and detuned horns. Proper mathematics of programming moves a mix match of harmonies through a gauntlet of invisible edits gaining momentum until it is taken away. This is Docile music.

Written, recorded, produced and mixed by OMD – Andy McCluskey and Paul Humphreys – ‘English Electric’ is a 12-track letter to technology, space, love and a grand return to form for a band whose 1980 hit ‘Enola Gay’ occupied the world’s stage at last year’s Olympics Opening Ceremony.

As percolating synth-pop is pulled along at different speeds and executed with needle-sharp finesse, late night electro ballads collide with big sounding club cuts on a record which also features three interlude tracks, including dystopian missive ‘Please Remain Seated’ and ‘Decimal’, which is accompanied by this suitably mechanical video, directed by German motion and graphic designer Henning M. Lederer.

As Andy McCluskey says of the album; “the overarching feel tends to be a sense of loss, of melancholia, that things haven’t turned

out the way you wanted them to, whether it be with technology or personal relationships.” The title itself – taken from a British industrial manufacturing company

Octave One continues to visit some classic Never On Sunday tracks with a second installment of their Messages From The Mothership series. This latest 12" finds the pair release two different Mothership mixes of 'The Bearer' and 'Contemplate'.

The pioneering Detroit brothers have shown a different side to their sound with the Never On Sunday project, both back when it was devised in the early nineties, and more recently when they have looked back over some of the project's key tracks and added a contemporary spin to them. Already this year the Burden Brothers have offered up new takes on 'Price We Pay' and 'A Better Tomorrow' as well as dropping brand new cut 'Mirror Image' and now their fine form continues on this latest release on their own 430 West label.

The A-side features a new Mothership Remix of 'Contemplate' from 2022 that unfolds over an epic 11 minutes of enthralling deep techno. The synths bring classic Detroit soul and the impassioned vocals layer in emotion to the sleek, compelling drums. The Instruments Version strips out the vocals and places more focus on the sublime rhythm and drums.

On the B-side, ' The Bearer' from the 2023 album Never On Sunday gets a fresh Mothership Dub. It is another masterful and almost 12-minute journey that rides on compelling drums and is lit up with a majestic vocal that soars up high while the warm, dubby undercurrents keep things moving in dynamic fashion and smeared cosmic synths bring a great sense of scale. A Mothership Instrumentals version closes out the package.
These are for more fresh perspectives on timeless house and techno fusions from the ever-innovative Octave One.

repress !

Network’s 30th Anniversary celebrations continue with the re-issue of the debut release from the iconic label. The launch of the logo with Neal Howard “Indulge” in 1990 caused a sensation, with the track being instantly acclaimed as a Classic, and Network noted as a new label to watch.

“Indulge” hails from Chicago, but sounds like its’ DNA is Techno City Detroit.
A futuristic call to dance from Windy City mystery man Neal Howard, whose previous releases “The Gathering” and “To Be Or Not To Be” had already reached cult status. Those gems, and “Indulge” were recorded by Chicago label Phuture Sound. Plans were being laid for the transformation the Kool Kat label - the UK outlet for Kevin Saunderson, Derrick May and Juan Atkins - into Network, but the dilemma was finding something “really really special” for the first release. That search for the perfect beat ended when Network’s Neil Rushton on a visit to Chicago heard the just mixed “Indulge” on a cassette played by Phuture Sound boss Terry Baldwin, who after prolonged negotiations agreed to cancel a USA release so the new UK label could have an exclusive.

The label design for this release is a replica of the original DJ Promo 12” that introduced Network to the World with exactly the same tracks; Terry Baldwin’s much loved Club House and Deep House mixes of “Indulge”, coupled with “To Be Or Not To Be” remixes by Chicago’s Bad Boy Bill and Detroit’s Derrick May. network - it is what it was...

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

First released over 30 years ago, this EP is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Pulse State” has been described as the ‘best bleep track ever made’, and at the time dominated the airwaves on London pirate stations.

First reissue in original format since 1991!!

First released over 30 years ago, this EP, as with Volume 1, is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Stolen Beats” is a hypnotic roller with all the jazz, bleeps and bass you could want, still a regular Radio 1 ‘Essential Mix’ track, and “I’ve Become What You Were” pure hard hitting UK techno from the heyday of this music in the early 90s and the blueprint for the deep jungle sound to emerge later.

This edition of The Pulse EP is the first reissue in its original vinyl form since 1991, those initial pressings now expensive on Discogs.

First Word Records is proud to bring you a double AA side remix single from Takuya Kuroda, featuring brand new mixes from Waajeed and Kaidi Tatham.

Takuya Kuroda is a Kobe-born, Brooklyn-based trumpeter and musician, who was also a longtime player for Akoya Afrobeat as well as DJ Premier’s BADDER ban..

Club music culture necessarily shifted gears in many ways during and after the course of the pandemic. Older participants found their way into other interests and younger participants took new reigns to orient spaces they felt good inside of. The agenda for the music, and the cultural industry surrounding it at large, took a more frivolous and “fun” turn. Clubs needed to recoup lost money, people needed more refreshing catharsis for their nightlife escape, and in some pockets scattered around the globe a newer and younger cadre of producers/promoters/DJ’s pulled optical cues from a scattering of “darker” influences to give an alternate aesthetic to the aforementioned “vibes” culture. In the midst of this, a large polarization of conceptual energy shifted within the compositional and utilitarian machinations of the club music culture leaving behind the brooding and cerebral placeholders for different kind of enjoyable hedonism. Terrestrial Paradise’ “Artificial Hell” harkens to another prescient time before that shift occurred. “Artificial Hell’ might just be an illustration of what all of this fun escapism encapsulates.

Terrestrial Paradise is the latest moniker from Montreal come Los Angeles based producer Jaclyn Kendal. Having developed and cemented her sonic positionality with releases on North American labels like Ascetic House and Summer isle over the years, as well as a series of monolithic live sets, Bank is pleased to announce Kendal’s Terrestrial Paradise first full length album “Artificial Hell”. Over the course of nine recordings, “Artificial Hell” gives a master class in pressurized industrial techno of the slower variety. Fitting with the legacy of Bank’s output since it’s inception, Terrestrial Paradise’s aesthetic sensibilities sit within the canon of a certain tinge of club music imbued with a sense of natural grit, sans pretense.

“Artificial Hell” nods to artists like Scorn, Regis, and 400 PPM while maintaining it’s own territory in the landscape of cerebral and brooding rhythmic techno. Ominous, mechanistic drones sit above succinctly exacted percussion composition and sound design. Throughout “Artificial Hell”, Kendal shows her proficiency with the push and pull of building and releasing tension. On tracks like “Salvation” and “Relativity” she melds her synth wash wallscapes with driving percussion, serving as both a hint and counterpoint to the the entirety of the latter part of the album taking on spartan ambient compositions as a way to keep the listener in a subdued stasis. This album is a statement piece from a long time participant in the North American underground music sectors. It reminds the listener through perilous, considered rhythms and darker drone impositions to cement themselves back into a place where not
everything is always a good time.

Words And Music" ist eine 3xLP-Box mit dem Werk der im Jahr 2021 verstorbenen Sängerin und Songwriterin MARGO GURYAN. Als Zeugin von Revolutionen in Jazz und Pop hat sich GURYAN ihren Platz im Pantheon der Songwriter verdient. Dass sie jahrzehntelang weitgehend unbekannt war, liegt nicht an zerstörten Träumen, sondern an ihren eigenen Entscheidungen und Prioritäten. Von den bescheidenen Anfängen über die Höhepunkte ihres barocken Pop-Meisterwerks "Take A Picture" von 1968 und die gesammelten Demos bis hin zur jüngsten viralen Verbreitung von "Why Do I Cry" - das Boxset "Words And Music" fängt die gesamte Karriere von GURYAN ein, einschließlich 16 bisher unveröffentlichter Aufnahmen und einem 32-seitigen Booklet, das ihre ganze Geschichte erzählt. Produziert wurde die Box von ihrem Stiefsohn Jonathan Rosner, ihrem Freund und Historiker Geoffrey Weiss und den Numero Group-Mitarbeitern Douglas Mcgowan, Rob Sevier und Ken Shipley. Alle Tracks wurden von Jessica Thompson neu gemastert. In ihrer Blütezeit veröffentlichte GURYAN nur ein einziges Album: "Take A Picture" von 1968. Da MARGO jedoch kein Interesse daran hatte, aufzutreten, zu touren und für ihr Werk zu werben, wurde das Album damals kaum beachtet. Dennoch wurde die Platte in den 1990er Jahren zu einem begehrten Kultobjekt. Eine neue Generation von Hörer*innen lernte ihre Arbeit kennen, als "Take A Picture" im Jahr 2000 neu aufgelegt wurde. Kurz darauf folgten die gesammelten Demos, eine unglaubliche Zusammenstellung von ausgegrabenen alternativen Aufnahmen und neu veröffentlichten Songs, die MARGO selbst betreut hat. GURYANs Leben war in den dazwischen liegenden Jahren weiterhin von Musik erfüllt; sie wurde Musiklehrerin, schrieb weiterhin Songs und pflegte Freundschaften mit einem wachsenden Kreis von Anhängern. Die Geschichte von MARGO GURYAN ist die einer Frau, die von klein auf in die Tiefe ging und nie Angst vor Veränderungen hatte. Ihr Gespür für Ton, Phrasierungen, Spannung, Präsenz und Texte, die treffen, machen ihren Namen heute zu einem Synonym für ausgefeiltes Songhandwerk und die unnachahmliche Coolness der 1960er Jahre. Ihr Einfallsreichtum und ihre Technik stellen sie in die Tradition von Kammer-Pop-Ikonen wie Brian Wilson und Burt Bacharach, während die bittersüße Offenheit in ihren Beschreibungen des Frauseins einen Mittelweg zwischen Carole Kings Pop-Fabrik und der Singer-Songwriter-Ära aufzeigt. Aber die unaufdringliche Strenge von MARGOs künstlerischer Stimme ist ganz ihre eigene.

Jacken Elswyth is a London-based folk musician, banjo player, and instrument builder. At Fargrounds is her third solo album, her first for the Wrong Speed label and the latest in a rich catalogue that repositions the spectral, vulnerable sound of the banjo away from its familiar role as signifier of the past and onto lands brave, new and unexplored. “The living wood is imbued with qualities that require engagement and understanding. Working with cherry, oak or walnut involves naming it an equal partner. The parallel, synchronous transformations of wood into instrument, of growing tree into resonating sound, musical tradition into musical flourishing, lie at the heart of Jacken Elswyth’s practices both as an instrument builder and as a creative musician. One might consider her primarily as a worker in wood, but whose craft and fields of expression are absorbed by those transitional and interim processes that manifest change. The traditional tunes included here have been cultivated and maintained by generations of players and collectors, pruned, grafted, and shaped over time. However, in this setting, their long-established forms seem to morph and shift. They audibly accrue unique qualities, blossoming and swelling into new modes of being, bright-stepping arrangements unfolding with a liveliness hinting at practices of ritual and community. Meanwhile, other pieces, creative cornerstones of this collection, appear fluid, partially formed. They suggest not the cultivation of new growth from established stock, but instead the actions of something on the verge of taking form. Working with raw elements of melodic and tonal abstraction, they illuminate the process of emergence and evolution. In this context, the title At Fargrounds is telling. It suggests a point set at some distance from any centre of human concerns, a liminal space in which the cultivated world encounters the world of other living things in their living state. Here, the innate strangeness of the maintained environment–vast lawns, sculpted hedges, vacant playing fields–encounters sprawling vistas of driftwood, dense thickets of brambles, stony hillsides. Across a full century-and-a-quarter, long-standing rural and pastoral musical traditions, at some distance from their origins, have been preserved, nurtured and re-shaped under the folk revival. Placed here, these artefacts now sit in alignment with unvarnished documents featuring the raw elements of sound-making. Their working-together is achieved through a universally-applied interest in musical growth and development. The juxtaposition and combination of these elements gives evidence of new, emerging approaches to community and social music: familiar, known, yet charged with an alien vitality”–CWK Joynes. “...she knows how to knit atmospheres, and does so to especially powerful effect during Scene 4b’s three minutes of stunning bowed banjo, yearning with longing and dread, while showing off her talent, curiosity and range”–Jude Rogers review of Six Static Scenes (Guardian Folk Album Of The Month July 2022) "Jacken is an emotive player with high technical ability. Further, she builds banjos and other instruments, and that intimate knowledge of the bones and fibres holding everything together means that her playing has very few cracks" - Foxy Digitalis

In the process, the saxophonist presents some of his fiercest playing yet. The quartet's synergy is of a unique blend, with each player's distinct voice adding to an ensemble sound capable of conjuring both the quietest storm and the most passionate crescendo. Hershkovits's bountiful stylistic reach and fluent technique swirl around Oded's unmistakable tenor tone with Klampanis providing both backbone and melody, adaptable yet guiding - just like his rhythm- partner Almeid

Ackermann Ignites With My Dub Ep on Syncrophone, a Captivating 4-Track Odyssey Pulsating With Driving Rhythms, Infectious Melodies, and a Raw, Energetic Vibe. Buckle Up for the Title Track's Hypnotic Groove, the Infectious Vocal Sample "I Love My House Music" in "My House," and the Driving Synths and Vocals of "No Vacancy." but When Skudge Unleashes His Magic Groove on the "No Vacancy" Remix, Hold on Tight as He Twists the Original Into a Floor-Shattering Techno Tempest That Will Leave Dance Floors Trembling. Don't Miss Ackermann's Genre-Bending Exploration on Syncrophone. My Dub Ep Promises an Unforgettable Journey Through the Pulsating Depths of Techno Infused With Dub, a Sonic Adventure Guaranteed to Ignite Your Senses....

Echoplex Makes a Triumphant Return With His Latest Ep, "Light Strike," on Soleil Records. After Overcoming Adversity, He's Back With a Revitalized Sound That Blends Classic Techno With New Energy. the Ep Promises to Ignite Dancefloors With Its Haunting Pads, Pulsating Rhythms, and Bold Experimentation. Welcome Back, Echoplex - the Techno Underground Awaits Your Electrifying Beats!...

- The legendary techno icon Sven Väth makes his debut on Montreal's titanic Turbo Recordings, alongside his longtime collaborator Gregor Tresher.

- When it comes to foundational figures of electronic music, few are more impactful than Sven. Through his label Cocoon, and his widely respected DJing and parties over the last 30+ years, Väth has tremendously influenced of the global techno scene.

- Sven Vath almost never releases on labels other than his own (Cocoon). This is a rare treat to have him on another imprint.

- Sven performs vocals on both tracks, which is also a rare & special occurrence.

IMOGEN presents WIGS002 - a four track EP celebrating the women of Wigs, featuring Grace Dahl, NVST, Rebecca Alle Paine and IMOGEN.

WIGS002 kicks off with heavy breaks and kick drums bringing a rough hardcore vibe to IMOGEN’s latest single ‘SHOUTOUT 2 LDN’, premiered by radio legend Mary Anne Hobbs on her Radio 6 show.

IMOGEN samples a vocal from her favourite 90s MC Alex Pearce, adopting the same “zero f***s attitude” of the early 2000s techno scene. She combines this with squelching reese basses and slick programmed breaks to bring the same energy of early warehouse parties to the dancefloors of today.

Next up, Grace Dahl departs from her usual rolling techno style with electro banger ‘I Like Em Sexy’. A fast-paced distorted vocal slides its way through the drums into an epic breakdown before an unexpected 4/4 drop. IMOGEN and Dahl’s musical chemistry shone in their B2B on the Wigs NTS show, making this the perfect A-side combo of the EP.

Upcoming Italian DJ and producer Rebecca Alle Paine keeps up the EP’s high energy with the perfect DJ tool of rolling 909 drums. Hardgroove is having its resurgence right now and Rebecca is a leading light in the genre currently flooding the scene. Wigs isn’t the only label to pick up on Rebecca’s driving style - she recently released an album on hardgroove legend Ben Sims’ label as well as featuring on Freddy K’s KEY. It is clear Rebecca is one to watch for 2024.

NVST closes off the EP in a mind bending Aphex Twin-style crescendo. ‘A Face Has No Voice’ is an eight minute long saga boasting her skill as a multiverse producer. It follows a journey through dub, breaks and IDM. WIGS002 showcases the true diversity of the next generation of musicians, and that one piece of music can traverse many genres.

Wigs kicked off as a project aimed to offer a new approach to party series and workshops with an emphasis on community, bringing like minded ravers together to build a platform for the next generation of artists and party goers. As well as a residency at Tresor Berlin, Wigs has hosted sold out parties across Europe bringing names such as Daria Kolosova, Dr Rubinstein Salome and more. After the success of WIGS001, Wigs is proving itself to be a staple sound in dance music right now.