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Deep Logics is the new imprint from Amsterdam´s Techno & House veteran David Labeij.

A long-lost track, never forgotten. Over 20 years ago, during the early 2000s, Swalmloop was created by two of
David’s close friends, Frodo & Pep, during a time when they briefly shared a studio. Though the track hadn’t
been heard since, it always lingered in David’s memory. Every few years, he would ask about it—and finally,
buried deep on an old, forgotten hard drive in storage, Frodo & Pep found the original file earlier this year.
And just as David remembered, the track was every bit as beautiful to him. Now, after two decades,
Swalmloop is finally being released—accompanied by two amazing remixes from Rotterdam’s own Tapirus and
Deep Logics own David Labeij.

Yan Tregger, born Edouard Joseph Scotto Di Suoccio, is a prolific French-Italian composer, trumpeter, arranger, and library music specialist.
Tregger built a vast and varied catalogue of over 1,400 works registered with SACEM as a library music composer.
His output spans funk, jazz-funk, psychedelic disco, electronic experiments, film soundtracks, advertising jingles, and even relaxation music.
This LP is a compilation of rare or unreleased tracks made by the Maestro in The 70's.

Continuing the trajectory set by last year's EPs and experimental long-player, Reeko returns to Samurai Music to deliver an expansive album that goes further into his experimental practice at the intersection of deep techno, drum & bass and electronica.

Since the early 00s Juan Rico has been applying his exacting vision to the deeper end of dance music culture. As Reeko, he's carved out an imposing presence in the modern techno scene by building up the steely, hard-hitting sound of Mental Disorder while also contributing to scene-leading labels like Modularz, Semantica and Delsin. With a trio of releases through 2024 for Samurai Music, the Spanish producer demonstrated the wider scope of his craft as he opened up to broken rhythms, spacious arrangements and a wholly diferent dimension to his music-making.

Continuing the trajectory set by last year's EPs and experimental long-player, Reeko returns to Samurai Music to deliver an expansive album that goes further into his experimental practice at the intersection of deep techno, drum & bass and electronica.

Since the early 00s Juan Rico has been applying his exacting vision to the deeper end of dance music culture. As Reeko, he's carved out an imposing presence in the modern techno scene by building up the steely, hard-hitting sound of Mental Disorder while also contributing to scene-leading labels like Modularz, Semantica and Delsin. With a trio of releases through 2024 for Samurai Music, the Spanish producer demonstrated the wider scope of his craft as he opened up to broken rhythms, spacious arrangements and a wholly diferent dimension to his music-making.

Der Jazz-Saxophonist Kamasi Washington liefert einen Teil des energiegeladenen Soundtracks zur Anime-Serie "Lazarus" von Shinichir\u014D Watanabe. Die elf Tracks von Kamasi Washington verbinden auf einer Spielzeit von 80 Minuten kraftvolle Jazz-Fusion mit cineastischer Dramatik und begleiten die actionreichen Szenen rund um Axels Wettlauf gegen die Zeit. Diese 2 x LP-Sammleredition erscheint auf opak grauem Vinyl. Auch auf Vinyl erhältlich sind die Soundtracks zur Serie von Elektro-Koryphäe Bonobo und Produzent Floating Points.

Looking back more than four years later at Haram, it is easier to see the forest for the trees. At the time, much of the attention fell on how this outsider duo would fare under the bright lights- which was fair, Armand Hammer had never done a single producer record before- and here they were working with a living legend. Now, with a little distance, it’s easier to see how Alchemist stepped out of his comfort zone to meet them where they were, and how all three artists then absconded for parts unknown. The flashbulb energy of “Bring The Stars Out”, asymmetric drone of “Chicharrones”, fugue-bounce of “God’s Feet”, and good luck finding analogues for “Peppertree” or “Stonefruit”. Haram doesn’t sound like anything else in the ALC discography, nor in Armand Hammer’s, for that matter. Haram was a one-shot kill that somehow contained some of the most accessible work ELUCID and billy woods had ever done, as well as some of their most experimental, and it all sounded cohesive.
Needless to say, they didn’t do this alone; KAYANA’s golden voice upps the wattage on “Black Sunlight,” while Fielded’s sultry alto gets chopped and screwed on “Aubergine”. Earl Sweatshirt’s cameo on the sun-soaked “Falling Out the Sky” is already a classic. Curly Castro, Amani, and Quelle Chris all turn up the heat when called upon.
But since we are talking about retrospect here, the thing about Haram isn’t that it still sounds as good as it did when it came out. The amazing thing is that it actually sounds even better than it did then. You don’t have to take our word for it either, run it up one time, with the lights low and something on ice, see if it doesn’t take you somewhere new, again.

'in a fugue state' finds pedal-steel guitar maestro Joe Harvey-Whyte collaborating with tape loop sound scientist Paul Cousins on a warped ambient excursion into the subconscious. Originally written and recorded in one night, the eight tracks of hypnotic electro-acoustic music explore the concept of memory and time.

The duo study how we remember and misremember things; forming an imperfect reorganisation of time, events and emotional states. This album exists at a cross- section where loss, confusion, trauma and dissociation meet moments of joy, healing, acceptance and groundlessness

Another boom bap sure shot from back in the day as KRS One attacks the wax alongside Channel Live on the hard hitting "Free Mumia". On the flip, a stripped back neck snapper - real DJs need doubles

Der Dritte Raum kehrt mit einem neuen Album ins Harthouse zurück: Hypnotischer Techno, abgefahrene SynthesizerReisen, verspieltes Sequencing und eine hochmusikalische Interpretation elektronischer Tanzmusik. Mit einer einzigartigen Mischung aus analoger Wärme und futuristischer Präzision erkundet dieses Album die Welt unterbewusster Muster, Traumlogik und körperbewegender Rhythmen. Einfallsreich und gleichzeitig clubtauglich erzählt Replacement Dreams eine Geschichte von Bewegung, Introspektion und klanglicher Transformation. Minimalistisch in der Form und doch reich an Klangtexturen, verbindet das Album mechanische Struktur mit traumhafter Abstraktion. Replacement Dreams ist ein konsequentes Techno-Statement. Dieses Album ist eine unerbittliche Reise durch hypnotisches Sequencing, präzise Drum-Programmierung und die unverwechselbare Wärme und Härte analoger Synthese – geschaffen für die dunkleren, intensiveren Momente der Nacht.

- 2025 repress

We are very proud and honoured to present our next release from one of the scene's most respected artists. Seba blesses Inperspective Records with 2 slices from his diverse repertoire and they do not disappoint.

'No One Dies' harks back to an earlier time in Seba's catalogue. A simple, effective amen rinse out with atmospherics that lend themselves to a dystopian sci-fi epic is truly sublime and has been smashing down dances across the planet.

'Island Dub', the more subtle of the 2 tracks is blissed out lo fi underground jungle of the highest order and something of a departure for both artist and label, however still maintaining the integral ethos of Inperspective Records.

Where music resists becoming personal confession, it creates its own narrative - abstract, precise, and unbound by outside noise. Vibraform by Berlin-based hardware and live artist Peryl provides an analytical yet deeply instinctive view on music. It reflects the duality between flow and restraint, between self-exploration and the healthy act of setting limits. At its core lies a certain nonchalance - a refusal to act on voices and trends while maintaining full commitment to sound itself. Meticulous sound design, unpredictable, morphing basslines and an intentional timeless aesthetic offer a rare window into Peryl's creative state of mind. Even as he tries to sidestep personal narratives, emotions inevitably surface in the music, subtly shaping its character. The result is not a confessional piece of work, but an abstraction that remains universal rather than private, while still carrying a trace of personal truth. Four tracks that are striking a rare balance between novelty, grace and aggressive functionality, including a remix by R?dh?d, offer to find purpose in the act of believing that sooner or later art reveals a logic of its own. ? 2025 The Third Room All tracks written & produced by Dennis Strobel B2 remixed by Mike Bierbach Mastered by Ahmet Sisman Artwork by Daniel Bornmann & Lennard Makosch (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Sea Oleena is the project of Montreal-based musician Charlotte Oleena. Drifting between ambient dream pop and atmospheric folk, her music is rich with textural warmth. With her softly whispered vocals and atmospheric tones, Oleena's music has been compared to acts like Grouper and Julianna Barwick, though in her more structured moments there are echoes of alternative pop icons the Cocteau Twins and Julee Cruise. Alded by her brother Luke Loseth, she released a stf-titled mini-album in 2010, followed by a second LP titled Sleeplessness a year later. Her third release, Shallow, arrived in 2014. Six years later, Sea Oleena returned with Weaving a Basket, a seven-track album that combines austere piano and guitar arrangements with ebbing swells of instrumentation and misty harmonies layered in a spectral chorus. Throughout the record, Oleena embraces the ambient backdrops of her surroundings - birds chirping, wind rustling, urban traffic - creating a close, intimate, and lived in listening experience. Released one year ago, in late fall 2020, these sounds capture the dual interiority and solemnity of that moment. The result is a wistful and impressionistic collection of songs, in turns haunting and hymnal.

he next instalment from Soulfuric Recordings is the first edition of “The Sound Of Soulfuric Volume 1” taken from the vaults are four unearthed gems spanning two classics, two exclusives, and long-awaited vinyl debuts from house music specialists such as Hardsoul feat Ron Carroll, Urban Blues Project, The Thompson Project & Crackazat and Art Of Tones.

Stepping up first is Hardsoul featuring the legendary Ron Carroll with “Back Together” (Main Classic Mix) a track that should be found in every soulful house DJ’s set, with Ron’s alluring vocals this one is definitely made to keep the dancers moving and in case of dancefloor emergencies reach for this record.

Up next is Urban Blues Project featuring Bobby Pruitt “We Are One” (Art of Tones Extended Remix) which is being brought out for the first time on vinyl, the original mix was first released in 2001 and the now the Art Of Tones Remix has breathed new life into it making it a must have for anyone who is a fan of the original.

Flipping over to the B side, Urban Blues Project return once again with Love Don’t Live (The U.B.P. Classic Club Mix) with Michael Procter. A Soulfuric classic that has been championed time and time again, first released in 1996 and now being revived almost 20 years later on fresh wax.

Rounding off Volume 1 The Thompson Project & Crackazat featuring Gary L with “Messin’ With My Mind” (Crackazat Extended Remix) this has also never been on vinyl before, released earlier this year this soulful house banger got the touch-up from Bristol’s finest Crackazat who adds his touch to the Florida duo’s offering.

House heads can come together once again and seize the opportunity to get their hands on this outstanding EP.

From the shores of Lake Erie to the heart of the dancefloor, DJ Romain opens a brand new chapter with The Cleveland EP, his latest release on legendary UK house imprint Hard Times.

Having relocated from his beloved New Jersey to Cleveland, Ohio, Romain dismantled and rebuilt his studio piece by piece, laying the foundations for a new wave of creativity. Following his acclaimed Lost D.A.T.S. series and The New Jersey EP, this marks the first body of music born entirely from his new northern base.

The EP kicks off with the haunting vocal and ghostly chords of 'Change Your Mind', before diving into the rattling hats, crisp snares, and plucked bassline of ‘Crysis’ - a pure Romain floor-tool. 'Cuz You Like' rolls deep with warm, shuffling UK vocal energy, while closer 'Deep Reaktor' lands with preaching tones and heavyweight bump, sealing the collection in signature style.

With The Cleveland EP, Romain bridges past and present - new city, same uncompromising house spirit.

Building on the foundations of his Braindance Records label (2017–2020), Korean musician Go Dam now presents the second release on Stellar Systems. The Digifuga Series: Stellar EP finds him in interplanetary hyperdrive, charting trails blazed by pioneers from Hashim to Mad Mike to Gerard Hanson.

The four tracks were written in the studio Go Dam built with his own hands in Eulji-ro — once Seoul’s printing district, now a hive of small businesses. That same meticulous, artisanal approach runs through all of his work, whether composing film scores, producing K-Pop for online personalities, or fine-tuning sound systems around the city. The EP opens with the irrepressible electro funk of 'Fevernova', its slapping beat driving growling bass and wide-eyed synths. 'Dream Powder' is a stormy banger, surfing waves of filtered acid and noise before breaking into light. 'Chrono Flux' sustains the high energy, like the soundtrack to an anime motorbike chase at sunset, while 'Quasiverve' drifts into deepest night, its sinuous leads creeping over a stalking bassline.

Blending heavyweight vintage hardware with sharp digital tools, Go Dam conjures an epic widescreen sound that nods both to the sci-fi optimism of early electro and techno and to today’s fractured, machine-mediated music economy.

Berlin’s Tal Fussman returns to Rekids with the ‘Walking on Mars’ EP, releasing 7th November 2025. It follows the Survival Tactics boss’ recent album on Binh’s Time Passages, as well as his ‘Definition’ (2024) and ‘I Feel’ (2025) EPs on Rekids, with Fussman’s fresh spin on classic House and Techno winning support from the likes of Raresh, Cromby, DVS1, Saoirse, Carista, Honey Dijon, and many more.

The ‘Walking on Mars’ EP opens with ‘Crystallized’, a cavernous cut exclusive to 12”, where Tal Fussman pares back his signature percussive style in favour of a rolling groove set against a deep, atmospheric backdrop. ‘Who’s Who?’ follows, its wild sequences and skewed drumlines colliding in restless motion. The title track, ‘Walking on Mars’, drives forward on hard-hitting drums that gradually unfold into a soulful house melody, setting the stage for ‘Knowledge < Machine’, a razor-sharp electro finale of snaking synths and an apt robotic vocal. Fussman’s versatility shines throughout, with the EP already winning support from Antal, Rene Wise, Marcel Dettmann, and Fred P. Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Hilit Kolet, Frankey & Sandrino, Mathias Kaden, Huxley, and many more.

Cybernetic disco maestro Patrick Cowley graces Dark Entries once again with Hard Ware, an LP of far-out funk and synthpop celebrating what would have been Cowley’s 75th birthday. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films, which the label chronicled on compilation albums School Daze, Muscle Up, and Afternooners. Hard Ware presents the closing chapter in a trilogy of unreleased Cowley dancefloor bangers that began with 2022’s heavy-hitting Male Box and was continued with the soul and garage-inflected From Behind in 2024. The most expansive release in said trilogy, Hard Ware delivers ten tracks of pure, uncut Cowley: sultry, psychedelic, sarcastic, and just a bit sleazy. Cowley devotees will delight in “Tech-No,” a sparse instrumental demo version of his epically dystopian “Tech-No-Logical World.” You could soundtrack your next aerobics session with cheeky numbers like “Pajama Party Massacre” or “Shake It Up,” both of which feature Cowley himself on vocals. The frenetic “Big Ass in Motion” is built around samples from Rudy Ray Moore and The Madam’s infamous “Sensuous Black Woman,” an X-rated comedy record that would later feature in classic booty house records. Mid-tempo cosmic groovers are well-represented with jams like “Hellfire” and “Megablue,” which perfectly capture Cowley’s bathhouse-in-outerspace sensibilities. No collection of Cowley’s work would be complete without an interstellar floor-filler, and we’ve got quite a few here, like “Jungle Jump,” which pits whirling beats with dub-laced swirls of synth, or “Spellbinding Lover,” a Donna Summer-indebted melancholic boogie masterpiece that features Sylvester backup singer Jeanie Tracy. Hard Ware closes with the chilling synth-hymn ”Ice Age,” in which Loverde vocalist Peggy Gibbons sings of a coming frosty apocalypse. The story told in “Ice Age” mirrors the coming AIDS crisis and feels like a haunting premonition from Cowley. The record comes in a sleeve with a hand-airbrushed circuitboard-inspired design by Gwenaël Rattke, and includes lyrics as well as liner notes by Andrew Ryce and Peggy Gibbons. Hard Ware is another crucial document of a tremendous talent taken too soon.

On Now Claims My Timid Heart, Harris and Hedrick continue the experiment started on Swann and Odette, crafting closed systems that promote a hushed correspondence between their sonic (Basic Channel, drone metal) and literary influences (Kafka, Sebald, Pynchon).

On this album (their first record since 2017 as well as their first release on NYC’s Quiet Time Tapes), Harris and Hedrick eliminated much of music’s normal dependence on physical space, instead creating hermetically sealed sonic ‘rooms’ where the songs can live by sending samples and loops through convolution reverb. Each of the eight tracks on Timid Heart is fundamentally, thus, a field recording from an inaccessible world.

Brown Angel descends upon Dark Entries with Pure Brown Energy, an EP featuring 6 tracks of gloom-laced electro-funk and retro house. Pure Brown Energy was born when San Francisco-based producer and Hard French collective member Brown Angel was faced with a gift and a loss: an original Roland TR-808 was given to them around the same time that their father passed away. To process their grief, they set about making an album that showcased the many facets of their being, in their words: “my gay tío side, my Latin goth side, my cruising down the boulevard side, and most of all my soft vulnerable side.” From slamming vogue/ballroom house to cumbia-inflected freestyle, Pure Brown Energy channels club sounds both contemporary and timeless, while centering the most eternal electronic instrument of all: the TR-808. Opener “Miel” grooves with the effortlessness of peak-era Masters at Work or vintage Kevin Saunderson, while “Dame Más” dials up the energy even further. The influences of Miami bass and West Coast electro shine through on “Maya” and “Love Me Right,” which pair razor-sharp beats with a flurry of samples culled from Brown Angel’s record collection. “PBE” and “En Movimiento” take the Planet Rock vibes to another level, combining influences from contemporary cumbia and reggaeton sounds with Brown Angel’s Latin goth flair. Each copy comes in a sleeve designed by Ricardo Diseño featuring illustrations inspired by Teen Angels, a popular 1980’s Chicano magazine. Pure Brown Energy brings a sense of urgency to the dancefloor, unreluctantly examining the crossover between creation and loss, between celebration and sorrow. But don’t forget: these cuts also slap.

Der Dritte Raum kehrt mit einem neuen Album ins Harthouse zurück: Hypnotischer Techno, abgefahrene SynthesizerReisen, verspieltes Sequencing und eine hochmusikalische Interpretation elektronischer Tanzmusik. Mit einer einzigartigen Mischung aus analoger Wärme und futuristischer Präzision erkundet dieses Album die Welt unterbewusster Muster, Traumlogik und körperbewegender Rhythmen. Einfallsreich und gleichzeitig clubtauglich erzählt Replacement Dreams eine Geschichte von Bewegung, Introspektion und klanglicher Transformation. Minimalistisch in der Form und doch reich an Klangtexturen, verbindet das Album mechanische Struktur mit traumhafter Abstraktion. Replacement Dreams ist ein konsequentes Techno-Statement. Dieses Album ist eine unerbittliche Reise durch hypnotisches Sequencing, präzise Drum-Programmierung und die unverwechselbare Wärme und Härte analoger Synthese – geschaffen für die dunkleren, intensiveren Momente der Nacht.

Pyatigorsk-born dynamo b0n dishing out some naughty breaks for his debut on X-Kalay sub-label, Another Place.

Four distinct traxxx going from full-blown seismic tremors to lithe, dreamier fare. A love letter to the halcyon days of ‘90s hardcore, perhaps?

Synths darting (just how we like ‘em), ragga vocal samples enhancing that UK kinda feel. First track sounds a bit like something you might have heard in some disused airplane hangar circa ’92.

Kicking off with a trio of straight-to-the-point accelerators and closing on some lush, levitational gear. Hi-octane rave utopia or blistering ride into oblivion? You decide. 

He said not to mess with his breaks. Nuff said really.

Evelyne/Masao bring TESTPATTERN to Dark Entries for the label’s first foray into vintage Japanese electronics. Masao Hiruma and Fumio Ichimura’s project Testpattern is known for their release Apres-Midi, a cult slab of synthpop perfection released by Yukihiro Takahashi and Haruomi Hosono’s legendary Yen Records in 1982. While Hiruma and Ichimura parted ways following Apres-Midi, Hiruma’s musical endeavors would continue after meeting French/American model and vocalist Evelyne Bennu in 1984 at a café bar where she would sit and write poetry. Their collaborative efforts as Evelyne/Masao were fruitful, and the duo first performed together in June 1984 on a television program called TOKYO ROCK TV. The album TESTPATTERN comprises seventeen songs recorded in Hiruma’s home studio, which have never been released previously. The Evelyne/Masao duo continues building on the soundworld of Apres-Midi: lush, sophisticated electronics with intricate yet minimalist production. Tracks like “Sakuramochi” and “Bird Island” bear influence from Hosono most clearly, their soaring melodies revealing a subtly ironic redeployment of East Asian musical tropes. But TESTPATTERN is more than homage to Yellow Magic Orchestra. “Tabac” and “Le Soleil Se Leve” display oddball sensibilities closer to Sky Records icons Asmus Tietchens or Cluster. Elsewhere, the project shows affinity for the punkier ethos of continental DIY electronics, like on the quirky “Alien Go Home” and a positively skewed cover of “Singin’ in the Rain.” Bennu’s vocals provide a common thread through these explorations, as she alternates deftly between New Wave deadpan and unhinged chanson singer—check her waxing maximally Francophone on “Au Clair de Lune,” based on an 18th century French song. TESTPATTERN will be available on both double LP as well as CD, and includes a fold-out poster with liner notes with lyrics. This album is dedicated to Masao Hiruma, who passed away in 2011.

Comes with DL card & 2P insert / wrapped in shrink + a sticker

At long last, Takao is back with his long-awaited second album, seven years in the making. His 2018 "Stealth" was (and still is) a much-loved set, mixing elements of ambient and environmental music; with this new release Takao breaks free of the gravitational pull of these earlier influences and strides confidently forward. "The End of the Brim" jettisons some of the more abstract elements of his previous work, embracing a “universal listenability” and a more concrete intensity, with a focus on supple rhythms and strengthened senses of melodic development and harmonic sophistication. This musical growth can be linked with Takao’s admiration of composers Ken Muramatsu and Toshifumi Hinata, who are generally associated with commercial “production music” and easy listening. Another contributing factor is his private study with veteran keyboardist Ichiko Hashimoto of Colored Music. The ten tracks here include three vocal tracks, with three different singers (Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music) and seven keyboard-led pieces. The vocal pieces are integral parts of the album’s flow, rather than typical “songs” driven by the name and personality of the singer. All of these factors, plus the veteran presence of engineer Hiroshi Haraguchi, known for his work with Haruomi Hosono, who mixed half of the album's tracks, along with the use of excellent old-school synths, aligned with Takao’s forward-looking vision, have combined to give us an album with a unique sense of timelessness. A spotlight illuminating future paths for pop music, available on CD/Vinyl LP/Digital, with English/Japanese lyrics, and liner notes by Yuji Shibasaki.

Klur (Patrik Kindvall) has quickly become one of the most exciting names in melodic and progressive house. Since his breakout debut, Summit / Odysée, the Swedish producer has captivated listeners with his signature blend of organic textures, meticulously crafted synths, and evolving melodies, garnering over 100 million streams across DSPs and a loyal fanbase of over 1 million monthly listeners on Spotify.

His music across labels including Colorize, Anjunadeep and This Never Happened, has found global resonance, earning radio support from SiriusXM Chill, where he is one of the most-played artists in the last few years, and DJ endorsements from Lane 8, Madeon, Tritonal, Above & Beyond, Black Coffee, Sultan + Shepard, and more. Recognised as one of Sweden’s fastest-rising songwriters (+100! by STIM), Klur continues to push boundaries, proving that electronic music can be both deeply emotional and sonically cutting-edge.
Beyond the studio, Klur has taken his immersive sound to stages worldwide, with performances in New York City, ADE, London, L.A., San Francisco, Seattle, Phoenix, Denver, Austin, Toronto, Montreal and beyond. His music is more than just sound—it’s an invitation to explore a world where the digital and natural coexist in harmony, stirring emotions and inspiring connection.

Klur drops his sophomore album ‘After The Rain’ on Colorize this October, followed by an album tour across Q4 and into 2026.

BLOOMY MEADOWS comes with deep and introspective melodic flows over INKSWEL's hard knock groovy boom bap on this fresh & organic 10 track collab hip hop album. Amazing features from LYRICS BORN, REGGIE B, PEOPLE WITHOUT SHOES, LEONARD CHARLES, ERIN BUKU, KULTAR AHLUWALIA, LEVEL MTINDO, and more.

2025 Repress

Sean McCabe’s impressive Good Vibrations Music is back with its 3rd vinyl instalment and features 4 heavyweight, tried and tested soulful cuts.

Kicking off the 12 Inch is the Black Sonix & Sean McCabe Extended Mix of ‘Rise’ from the Matsiko World Orphan Choir, a moving and heart-felt orphan choir group based in Liberia. The choir is an initiative that aims to provide education and break the cycle of poverty for vulnerable children around the world. With a strong message embedded throughout and given the 5-star production treatment, ‘Rise’ has already been heavily pushed by a wide array of artists including Daniel Steinberg, Red Rack’em and The Shapeshifters.

Next up is Sean’s lush piano-laden remix of ‘Baby Don’t Make Me Wait’, from David Bailey and MissFly. David is a firm favourite amongst the London house music community and regular across labels such as Idris Elba's 7wallace, Makin Moves, Rhemi Music & Unquantize. MissFly is widely renowned for her soulful serenades and ability to write songs 'on the fly' in the studio as well as being found regularly on tour with the likes of Thelma Houston, Andrew Tosh, and The Notorious BIG. Sprinkled with luscious piano undertones and subtle string lines. With support from the likes of Dave Lee and Natasha Diggs.

On the flip is ‘Got It Bad’ from Ellis Aaron & Sean McCabe. Built on a rocksolid foundation of late-night, swing-heavy beats, ‘Got It Bad’ bubbles and froths with creamy Rhodes, lush organ swirls and a bassline that moves and grooves in all the right places. Ellis’ warm and rich soulful vocals are the perfect complement to that unmistakeable sound Sean has become renowned for. Early adopters include Ash Lauryn, Ralf GUM, and Mr V.

Rounding off the EP is Last Nubian’s ‘Dance Together’ which beautifully blurs the lines quite beautiful between Deep House, House and Broken Beat, Josh’s strikingly soulful vocals pair harmoniously with the lush, musical backdrop spear-headed with an abundance of Rhodes, soothing string & synth riffs and a tight, rhythmic drum arrangement that simply refuses to let your feet rest!

Conoley Ospovat delivers again with another missive on his mostly solo platform, Continental Drift. With supporters like Move D, Daniel Bell, Snad, Gavin Hardkiss, & DJ 1985, he always seems to find himself in the record bag of underground tastemakers & adventurous selectors. On the Tokyo Techno Girl 12" he continues to refine his sound - ranging from the B-side dusty dub roller Culture Lag to the playful shimmer of the lead tune: Stars.

In between, the wistful title track is a shuffling ode to a faithful furry studio companion. Then classical house roots shine through on Jam bij de Vrij Paleis, catapulting a buoyant bassline groove to the fore with a deep spirit sure to grab fans of Smallville or Giegling. Do not miss this.

Utter presents Marshall Jefferson's previously unreleased meditation opus 'Yellow Meditation For The Dance Generation' alongside two remixes from French production maestro Joakim.

Marshall Jefferson: Chicago House music pioneer, creator of the anthemic ‘Move My Body’, an original collaborator of Adonis, Ce Ce Rogers and Roy Davis Jr., production mastermind of countless dancefloor classics such as Phuture’s ‘Acid Tracks’, Sterling Void’s ’It’s All Right’, Hercules’ ‘7 Ways’… and the soothing voice behind a 36 minute healing meditation guide. Yes, really.

But let’s rewind, slightly.

In 2017, Marshall was approached and encouraged by Ian ‘Snowy’ Snowball to write his autobiography and the pair set about putting Marshall’s account of the history of House music together. The book, ‘Marshall Jefferson: Diary of a DJ’ was published in 2019.

Following the book’s release, Ian and Marshall's collaboration continued and during the pandemic an outlandish idea arose to create a piece of music combining Ian's interest in meditation (he runs Club Chi specialising in Shibashi Qigong - a form of Tai Chi Qigong - which is a gentle form of movement therapy/exercise) and Marshall's willingness to experiment musically to see what might be possible.



The result is ‘Yellow Meditation For The Dance Generation’, where Marshall vocalises Ian’s lyrics in his instantly recognisable voice. The keen-eared out there may also recognise aspects of the music itself as a stripped back, lengthened and far mellower version of Marshall’s 1985 obscurity ‘Vibe’:

“I would take tapes to the Music Box and Ron Hardy would play my music. ‘Vibe’ was one of those tracks. I recorded ‘Vibe’ in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it that was taken from a club. The only person who I ever gave a recording of ‘Vibe’ to was Ron Hardy. The other people I know who had copies of the track were Gene Hunt and Emanuel Pippin (DJ Spookie).

"The original version of ‘Vibe’ was made using a Roland 707, Roland JX-8P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-‘Move Your Body (The House Music Anthem)’. ‘Vibe’ has the building blocks for ‘Move Your Body’ because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like ‘Move Your Body’.”



Still, Ian’s initial intention for ‘Yellow Meditation’ was function and it was designed to be a ‘Sequential Relaxation Exercise’ focusing on the Solar Plexus. Bearing this in mind, Marshall took a bare-bones and hypnotic approach to this particular re-recording of ‘Vibe’ so that the voice takes centre stage and listeners (hopefully) find themselves on a meditative journey. In fact, this long-form track was always intended as a private tool purely for meditation at Club Chi rather than released to the public - after all, Marshall had also created and released a more drum heavy, ’traditional’ club-focused 'Vibe Three' instrumental version for that very purpose - but a chance airing of the full 36 minute version changed its path.



Much like those 1985 ‘Vibe’ cassettes, Marshall had sent the track to a few close contacts, one of whom was Kieran at Phonica Records who aired it over the shop’s basement soundsystem. Its unorthodox nature caught the ear of colleague Alex (of Utter) and the seeds of a physical release were planted.

Eventually, with the full-version carefully whittled down to a vinyl friendly length of 24 minutes, full track parts in hand and a b-side to fill, Alex sought out one of his favourite producers to take up the remix reigns: Joakim. The Tigersushi co-founder and Crowdspacer boss has a long history of boundary-pushing remixes that straddle both dancefloor functionality and experimentation. This time the original material resulted in Joakim coming up with a number of ideas and he finally delivered two versions - one club focused (‘Vertical’), the other more introspective and meditative (‘Horizontal’), both of which appear on the final 12”.

The limited edition 12” also includes a download code giving buyers access to all of the vinyl tracks plus an 18 minute extended version of Joakim’s ‘Horizontal’ remix, its instrumental counterpart (for those who can live without Marshall's voice) and full 12 minute acapella (for those who can't!)


Alex

a A1. Yellow Meditation For The Dance Generation (Edit) 24:00
b B1. Yellow Meditation For The Dance Generation (Joakim's Vertical Remix) 9:09
9:05

"Waxwork Records is proud to announce the deluxe vinyl release of FRIDAY THE 13th PART 2 Original Motion Picture Soundtrack by Harry Manfredini! Released in 1981, FRIDAY THE 13TH PART 2 is the follow up to the 1980 seminal slasher horror film, FRIDAY THE 13TH. Horror fans meet Jason Voorhees as the masked slasher for the very first time in this sequel, and it's the first and only time we see him donning a burlap sack over his head, later followed by the classic hockey mask in Part 3 and beyond.

Waxwork worked closely with composer Harry Manfredini to bring horror fans a very special and quality soundtrack experience. We're stoked to present the complete soundtrack sourced from the original 1981 master tapes as a deluxe package featuring artwork by Rich Kelly, 180-gram colored vinyl, and high quality packaging!"

Belgian iconic label USA IMPORT gets relaunch. First release: REISSUE by HARDCORE producer Liza N’ Eliaz.
Nicknamed “The Queen of Terror”, Liza N’ Eliaz was a well respected DJ, producer and label owner born in Ostend in 1958 and sadly passed away in Antwerp in 2001.
Growing up in a family of musicians, she studied classical music and learned to play the piano four hands with her grandfather, a conductor at the local municipal orchestra. Later she discovered the synthesizer and cassette recorder and joined new wave and industrial bands in the recording studio and on tour. During a concert in France in 1985 she met Yvette Neliaz, who became her companion, muse and partner and whose surname inspired her pseudonym. Liza was added as a reference to the byname given to transsexuals in Flanders.
In Amsterdam the couple became enthralled with the burgeoning acid house, new beat and techno scene centered around the club Roxy. Soon Liza N’ Eliaz started to make a name for herself, among others in the Parisian underground scene and as a regular guest at French Radio FG. As a DJ she mastered an incredible technique simultaneously mixing on three or four turntables. As a music producer she had an impeccable ear for sound, pushing up the pace to staggering heights and as a result taking part in changing the rules of electronic dance music in a new and booming global scene in the mid nineties: hardcore and speedcore.
Liza N’ Eliaz was a prolific producer working solo and with artists such as DJ Dano, Laurent Hô and The Prophet, releasing on labels such as Atom, Mokum and Bonzai. In 1997 she founded her own label in collaboration with USA Import Records dubbed Provision Records.
USA Import Records is proud to present the reissue of Initial Gain, the EP previously released on its sublabel Atom Records in 1992, the second in the Molecules of Music series. Adding two new interpretations by Toulouse Low Trax to three original tracks, a nothing else but logical connection is set between Liza N’ Eliaz’ early work and today’s genre bending electronic music scene.
For the record: Liza N’ Eliaz didn’t like her nickname “the queen of terror”. She didn’t intend on terrorizing anyone, commented Yvette Neliaz after her unfortunate passing away.

"Waxwork Records is proud to announce the next entry into their collection of FRIDAY THE 13th soundtrack releases on vinyl, FRIDAY THE 13th PART 3. Waxwork and composer Harry Manfredini re-visited the original analog tapes in an effort to faithfully master the complete soundtrack for vinyl. FRIDAY THE 13TH PART 3 includes every musical cue featured in the film and encompasses two 180 gram LP's clocking in at nearly one hour of chilling audio which serve as a dark musical backdrop to one of the most beloved franchises for horror fans. Originally released in 1982 and in 3-D, FRIDAY THE 13TH PART 3 is the first film to feature the legendary slasher, Jason Voorhees, wearing his signature hockey mask. This image of a machete wielding, hockey masked killer became the trademark for the franchise, as well as an iconic image in American cinema and horror films in general. To keep in tune with the original 3-D theatrical release of the film, Waxwork created a deluxe quality 3-D lenticular mounted album cover for the heavyweight old-style tip-on gatefold jacket which houses two LP's featuring the complete score.

Waxwork Records incorporated the lost, deleted final scene of the film into the inner gatefold illustration. This deleted scene from the film depicted an unmasked Jason Voorhees violently beheading the “final girl"". Deemed too graphic by the film studio, the scene was cut from the movie altogether. Here's your chance to see it up close and personal through the artistic vision of Gary Pullin.

And yes, this soundtrack release includes the now famous “Disco Theme"" from FRIDAY THE 13TH PART 3's opening credits!

Despite immense challenges, SOYUZ have delivered a career-defining album in KROK.
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that ran throughout СОЮЗ (SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.

In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wiśniewski joining the band.

Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.

At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.

Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band’s Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.

The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyćcia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.

Soul Jazz Records’ new Soul Jamaica brings together a wicked selection of
reggae funk and soul tracks from the legendary Studio One stable, featuring
a stellar line-up of artists including Jackie Mittoo, The Heptones, The
Gladiators, Sim Smith, Peter Tosh and The Wailers, Cedric ‘Im’ Brooks and
many more.
For a short period of time at the end of the 1960s and early 1970s, nestled
between the end of rocksteady and the arrival of roots reggae, Studio One
released a small stream of superb soul and funk reggae tunes – covering
everyone from Sly and The Family Stone, Diana Ross and The Supremes,
Nina Simone, Gene Chandler, Tyrone Davis and more.
Most of the tracks featured on Soul Jamaica were only ever released on
Studio One’s UK-subsidiary label Bamboo in small-run pressings and are
now consequently extremely hard to find.
The cover photograph features images of Air Jamaica, the new airline
created by the Jamaican government at the end of the 1960s, showing how
in the years following independence the
country assumed its place on the world
stage, with reggae music playing a key
role in creating the island’s new
cultural identity.

Útil Records vuelve con su referencia número 7, un split ep que comparten Bad Pad de Barcelona y Spectrums Data Forces de Granada.

Bad Pad (Cyberdom y The Bandit) firman dos tracks desenfadados, con una particular visión del electro en la que cabe cierta experimentación. Exploración de pads, bajos cuadriculados siguiendo lineas rítmicas bien marcadas que construyen estructuras matemáticas. Devoción por el mundo gatuno, cambios de vida y sensibilidad.

Spectrums Data Forces nos entrega tres tracks contundentes. Tres armas de gran calibre con ritmos duros y sincopados, cargadas de energía y distorsión, acompañadaspor potentes líneas de sintetizador arpegiadas, arreglos que evocan paisajes apocalípticos, melodías que transmiten sensibilidad y secuencias repetitivas que harán vibrar cualquier pista de baile.

En definitva, un disco muy completo que no deberías dejar escapar.
Edición limitada 300 copias.

Indo Warehouse presents ‘Bombay Acid’ on Crosstown Rebels, featuring Kunal Merchant and Raja Kumari. The hypnotic new single, fusing heritage and future-focused touches, lands with a remix from SYREETA

Making their debut on Crosstown Rebels, New York collective Indo Warehouse unveils ‘Bombay Acid’. The release is a collaboration between co-founder Kunal Merchant and acclaimed vocalist Raja Kumari, capturing the Indo Warehouse ethos: hypnotic grooves, ancestral textures,and underground energy fused into one expansive, ritualistic journey.‘Bombay Acid’ pairs Merchant’s meticulously layered production, melding deep, hypnotic grooves with textures drawn from South Asian musical traditions, with Kumari’s commanding vocals. The track unfolds as both a club-ready cut and an immersive ritual, bridging cultural heritage and contemporary electronic sounds. A Grammy-nominated rapper, singer, and classically trained dancer, Raja Kumari bridges Indian tradition with contemporary global music. She has collaborated with Timbaland, Dr. Dre, Gwen Stefani, John Legend, and Iggy Azalea, and has performed at Coachella, Wireless, and India’s NH7 Festival. Her imprint, Godmother Records, and projects such as ‘The Bridge’ (2023) and ‘Kashi to Kailash’ (2025) explore resilience and spiritual depth, making her one of the most distinctive voices in modern music.

On the flip, SYREETA delivers a striking rework. Authentic and fearless, the UK favourite has shattered glass ceilings while drawing on chunky basslines and energetic grooves from house and techno to craft her own sound and style. Her remix injects ‘Bombay Acid’ with that signature low-end punch, while driving and harnessing the track’s cosmic energy for late-night dancefloors.Kunal Merchant has spent years building a sound that is simultaneously drawn from his South Asian lineage and futuristic. From appearances at Coachella, Hï Ibiza, Fabric London, and Brooklyn Mirage, to releases across the Indo House spectrum, he has become a central figure in shaping the genre and bringing South Asian voices to the global electronic stage. Indo Warehouse, co-founded by Merchant and Kahani in 2022, has evolved from its underground origins in New York into an international movement. Their live shows are immersive experiences, rituals where identity, tradition, and club culture collide, and their releases continue to push the boundaries of house and techno while remaining deeply grounded in their origins. With ‘Bombay Acid’, Merchant and Kumari deliver a production that is both hypnotic and expansive, inviting listeners
into a universe where rhythm, culture, and underground energy meet in unison.

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

Dutch DJ & Producer Serti Drops New Album on Structured Records.

Structured Records, in collaboration with Pax Romana, is proud to present the new album from Dutch DJ and producer Serti, “If u are curious”, arriving worldwide on October 23, 2025, as a double vinyl release and on all digital platforms.

This album is the result of three years of experimentation and dedication, a project made from a pure love of music. Designed as a front-to-back listening experience, it moves seamlessly between high-energy tracks and more intricate, textural compositions, rewarding listeners who take it all in from start to finish.

While not a conventional club record, it features dancefloor-ready tracks built with raw intensity, driving beats, and striking melodic moments that hit hard on any system.

Serti crafted the album using a wide range of gear, including Eurorack modular systems, Sherman Filter Bank, DSI Pro 2, Korg MS-20, Digitone, and Analog Rytm.

Inspired by artists like Clark, Plaid, and Piezo, he experimented with off-grid melodies and live-played sequences, creating a dynamic record full of character and immediacy.

With this release, Serti delivers a bold statement: a record that combines technical skill, adventurous sound design, and undeniable energy, establishing him as one of the Netherlands’ most exciting new voices in electronic music.