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Baby T is a space away from her work as B.Traits in which Brianna Price can lean more into the junglist, drum ‘n’ bass and hardcore sounds which she loves so dearly. With BSHEE02, the second drop on Price’s own Banshee label, Baby T delivers a darkside masterclass of an EP. This record is a quartet of system blowers which doesn’t let up for a single second from start to finish.

Opener ‘Times Up’ is urgent from the off - the initial strains of this joint find sirens wailing in the monitors over a twitchy kick/drum/hats combo. From here on it’s distilled raver perfection, the drums taking us on a wild Wipeout-style ride as the subbiest of bass skulks at the bottom of the mix. Imagine a more technoid take on the classic breakbeat freerides of Skanna and you’re not far off the ‘Times Up’ sound.

A remix of ‘Times Up’ from man like Aloka leans with devilish glee into the murky underworld that lurks beneath Baby T’s original. Aloka’s version is extremely eerie in a manner which makes you think of the darkest corners of a DMZ party. When things really kick into gear, driven by an irresistible kick dembow, the effect is hypnotic - think the dubwise junglism of the UVB-76 cohort.

BSHEE02’s B-side kicks off with ‘Coercive Control’. This is a cut which delivers on its title in spades, putting the listener in a trance with an interplay of low-slung bass, whirligig synth tones and more of those perfectly executed broken beats. The acid starts to kick in around the minute mark, and it turns out to herald a total earworm of a lead melody.

There’s plenty of dimly-lit malevolence to BHSEE02 closer ‘Dense Dickwood’s grinding atmospherics and gurgling bass throbs. However, Baby T opting for a half-time drum break here gives the cut a vibe not dissimilar to the weightiest jams of classic Massive Attack - that is, until an absolutely remorseless switch-up occurs halfway through, delivering volley after volley of intense drum hits.

With great pleasure we welcome on board ADSR. This is not a standard EP but more a collection of 5 tracks made in the years between 1989 and 2001.

“Kicked” (1989) rides a driving dance groove with subtle Depeche Mode–influenced melodies, fueled by rolling arps and crisp string plucks. “Unit 3” (2001) hits with tough basslines and hard pads over a relentless beat, nodding to mid-80s EBM in the vein of Nitzer Ebb, Skinny Puppy, and Front 242. “Unchained” (1990) drifts on a late-night 808 groove with glassy pads and house-leaning chord stabs, sliding into early techno territory.

The EP closes with two well known tracks but those versions of them have never seen the light before today. “Windswept (Desert Mix)” – 1994 is a pounding early-session track built on tripped-out SH-101 leads, evolving arpeggios, long sweeps, and a steady 909, made for getting completely lost in.“Suboceana (Early Version)” – 1991 serves seductive chord progressions and drawn-out, reflective melodies, a liquid journey for both listening and the dancefloor.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Hot Wax is an assured KPM masterclass from a dream team line-up of Brian Bennett, Alan Hawkshaw and John Fiddy. Here we're treated to what happens when all three decide to explore the latest trends in production music'. The latest as of 1976, of course.John Fiddy's numbers are sumptuous, string-led and light. Floaty soft-psych underpinned by a solid groove, particularly on Taste For Living' and "Fresh Start". If you're into Koushik and those early Manitoba/Caribou records - and you should be - you'll appreciate these.
For us, the Bennett and Bennett/Hawkshaw stuf is on another level. Capitol City' oscillates between driving funk and downbeat sentiment. Name Of The Game' is tough, smokin' funk, famously sampled in 2007 by Madlib for Percee P's Who With Me'. Bop On The Rocks' knocks hard and Full Throttle' features a guitar solo with some of the nastiest, about-to-explode fuzz you're ever likely to hear.
As with all ten re-issues, the audio for Hot Wax comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

LP,180g, 2027 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Veteran library musician Alan Parker recorded with session vocalist Madeline Bell for his Themes International Music label and the result was 1976's The Voice of Soul.
The sensational uptempo dancer 'That's What Friends Are For' is probably the most well known track on the record, and is a big hit on the rare groove scene, but it is by no means an anomaly. The Voice of Soul is essentially a perfect, sophisticated soul album with heaps of swagger and sass from beginning to end.
Its once generic-sounding title is now deservedly defnitive.
And the whole LP oozes sex. It oozes sex so much that it could have soundtracked a period porn flm. Indeed, parts of it did. 'Love Is All' and 'You've Got What It Takes' both featured on the infamously banned Pretty Peaches from the same year.
As is usual with library records, The Voice of Soul was hard to get even when it was frst released. It's next to impossible now. So here's your opportunity to own what is in our opinion one of the fnest rare soul LPs of the late 70s, and a superb example of Madeline Bell's superlative vocal talents.
But that's not the whole story. As well as pitching the record as 'a varied selection of modern female vocal features which are equally suitable for background or radio programme usage', the original release notes go on to explain that 'the corresponding backing tracks are issued on TIM 1022 The Sound of Soul. Therefore it is possible to edit from vocal to instrumental version and vica versa where commentary or scene changes occur.'
So yes, all of the backing tracks from The Voice of Soul were released as The Sound of Soul, and we couldn't re-issue one without re-issuing the other.
As with all ten re-issues, the audio for The Voice of Soul comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Teddy Swims returns with his most personal album to date, UGLY, out January 22, 2027, featuring singles “Mr. Know It All” and “Perfect Man.”

Following the global success of I’ve Tried Everything But Therapy, Swims turns the mirror inward. Written across a transformative year and a half, UGLY finds him confronting the parts of himself that are harder to face - unraveling old patterns, questioning long-held beliefs, and reckoning with the stories we tell ourselves about who we’re supposed to be.

At its core, UGLY reframes what it means to heal. Growth isn’t about making the struggle beautiful or finding an easy way through it. It’s about facing what’s uncomfortable, giving yourself grace while having accountability, and unlearning the things that keep you from moving forward. UGLY is Teddy at his most vulnerable and self-aware - finding strength not in perfection, but in finally embracing the parts of himself he once tried to hide.

3 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

Network 23 Recordings proudly unveils its first full digital album release since its revival in partnership with Triple Vision Distribution. It will also release as 3 Vinyl EP's over the course of this year.

Better Than Drugs, the latest album from Crystal Distortion, delivers a high-impact sonic snapshot of both personal upheaval and the turbulent state of the world today. Framed by flashes of media soundbites old and new, the album tackles themes ranging from gentrification in Landlords Hooked On Crack (Breakbeat Version) to the right to protest in Got2StopThem, and the mass manipulation of society in The Chicken Strikes Back.
Launching with a hard-techno surge, the record moves fluidly through a spectrum of tough, mid-tempo rhythms, accented by breakbeats, electro-leaning syncopations, and bass-driven cuts like StepGPT-all while staying firmly rooted in dance-floor intent. Designed for movement and built for impact, Better Than Drugs is a versatile, high-energy release ready to ignite any setting.

Crystal Distortion is a pioneering force in the underground electronic music scene, known for fusing hard-driving techno, breakbeat energy, and improvisational live performance into a signature sound that helped define the European free-party movement. His work blends raw analog textures with relentless rhythmic experimentation, creating high-intensity sets that feel both chaotic and meticulously crafted. As a long-standing member of the Spiral Tribe collective, he has influenced generations of producers and performers, pushing the boundaries of what electronicmusic can be in both form and context.

Dexstar recordings returns for its 4th release, with Acid techno legend DDR. Prepare you self for a journey through pounding dark acid techno finishing with a hard techno staple.

UFO war schon immer als große Konzertattraktion bekannt und hier ist die Band »live« in glorreichem, remastertem Sound auf Vinyl. Hard Rock in seiner besten Form!

Announcing Maara’s new album Ultra Villain, a deeply personal, narrative-driven record that explores desire, heartbreak, obsession, and the freedom that comes with choosing yourself.

Written from a place of hard-won self-trust, the song marks a shift toward clarity. “I realized people can only meet you where they’ve met themselves.”

Written and Produced by Maara Louisa Dunbar
Additional Production and Mixing by Francis Latreille and Patrick Holland at Jump Source Studios
Mastered by Noel Summerville
Cover Art by Dodleyz
Design by Jesse Osborne-Lanthier

Seaford's Chewy Rubs heads up his own Bandolier Records and has impressed with collaborations with Fingerman before now. Here he lands on Wax Digits with an EP designed to join familiar moments of the past with fresh club energy. 'Another' has old school stabs and 90s vocals that get heart and body going, 'Freestyle' is a body-popping rhythm with vocoder vocals offering an 80s flex and 'Mobbed' is a suspenseful tech house groove before 'Underground' cuts loose on more big breaks and percussive flair. Useful, hard to date and harder to predict tools.

Errortica takes the scene by storm with here new mini-album — 'I'm Good'. The four-tracker includes previously dropped singles 'Copy Me' and 'Psycho' (feat. Reptiloid), as well as two fresh tracks feat. nashnocap and Blessna. Highlighting her serious studio skills, Errortica mixes different genres: dirty rave vibes with distorted basslines, hardcore hoovers, mixing breakbeat drums and gabber-inspired kick, with a contemporary vocal mix attitude that’s raw, tough, and sexy. In a chase of a perfect dancefloor hit, Errortica continues to drive her dancefloors into a wild, electrified zone for some unforgettable experience. In a chase of a perfect dancefloor hit, Errortica continues to drive her dancefloors into a wild, electrified zone for some unforgettable experience.

The drum makes a round. Metallic tones come back to check if anything has changed. People step aside, all pretending calm while the bodies are tightened. The drum makes another round, and returns back breathing hard.

Soul Quest Records returns with Maintain Altitude 2, a fearless, floor-focused statement that captures the pulse of London’s underground while stretching its sound across borders. This second instalment doesn’t just build on the energy of the first; it elevates it, locking into a groove that feels both timeless and future-facing. Deep house, broken beat, jazz-infused electronics it’s all here, and it hits hard.

M-Plant's Perpetual Masters series continues throughout 2026 with Robert Hood's "Spectra" EP up next. Remastered once again by legendary German producer, Thomas Heckmann, the individual tracks have been dropping digitally through April and are now followed by a full vinyl release in June.

Robert Hood's "Spectra" EP, originally released in 2001, stands as a defining example of his stripped-back, conceptual approach to techno. It sees Robert Hood operating at his most stripped-down and hypnotic, built from tightly looped drum patterns and shadowy synth fragments that slowly evolve. Hood's precision is evident in every detail, as he balances repetition with crisp percussion and a tightly controlled groove.

More deep, immersive and hard-hitting minimal techno from the master.

Balancing glitch-pop and contemporary piano, the Belgian pianist explores the edges of her voice, language and twisted electronica



The Belgian pianist and producer maya dhondt releases a new album titled 'wow, x', marking her debut solo album under her own name. Navigating between bedroom glitch-pop and contemporary piano, she presents sounds of alienating beauty.



The album ‘wow, x’ will be released on September 13 on vinyl and all digital platforms via VIERNULVIER Records.



“I find beauty in the uncomfortable and disorienting" - maya dhont



The first single, 'desire,' is a mutated synth-pop track that gets under the skin. The song centralizes longing for something you don't know (yet). Perhaps it's the smell of damp earth, which can be both pleasant and unsettling? The single is now available on all streaming platforms and comes with a schizophrenic video by Sakis Brönnimann.



The first release show is scheduled for Saturday, October 5, at De Koer, Ghent.

More shows will be announced soon.



A postmodern cramp, that's how one could describe the music of pianist and producer maya dhondt. Her music is an intuitive and a never ending exploration that has the potential to be and become a multitude of things at once.



On her first solo album under her own name, 'wow, x,' she presents 10 varied tracks in which she creates equally idiosyncratic sound worlds. She takes the liberty to endlessly experiment with vocals, piano, and a mix of distorted lo-fi electronic sounds with an open mind. The result is sometimes synthetic and weird, sometimes compellingly beautiful, and always captivating, drawing you into its underlying melody. These intelligently crafted productions are connected by a penchant for alienating beauty: like a warm, but damp cave where it’s pleasant to linger just a little longer. Her original sound moves within a sonic spectrum reminiscent of contemporary artists such as Lolina, Astrid Sonne, claire rousay, aya or Carla Dal Forno.



"What I create never stands alone, it can be many things at once"



If the world were a sculpture garden, maya dhondt eagerly picks from it to draw inspiration from both visual and literary passages as well as personal experiences. Her highly personal bedroom productions are grounded firmly in the world due to philosophical references and politically charged messages. And the world she lives in is being questioned on 'wow, x', as the title refers to "What Or Why?". This is evident in the single 'desire': "What is the thing that matters / to exist / or to know you’re existing?" What does one choose in life: to live in the moment or to live to remember that moment?



In the lyrics on 'wow, x', maya dhondt plays - at times childishly - with language and its boundaries. On 'tip toe tip,' banal wordplay leads to an unexpected confession, and the seemingly simple phrases in 'untitled' conceal hidden life lessons. dhondt's world of words is multilayered and multilingual: Dutch ('kleine cijfers, groot verlies'), English ('desire'), and French ('untitled') are at her disposal. And on the fierce track that is 'minimalinvasiv,' not only she turns to hardstyle, but also to German - a language dear to her due to her Swiss heritage.

Cultivated Electronics Ltd For The Floor series began in 2022 and features split EPs available on vinyl (only) with Electro tracks aimed strictly at the dance floor, bringing together CE regulars and new artists. Volume 5 features Umwelt on the A- side and DJ MELL G x Unklevon on the flip, as well as a remix by label head, Sync 24 alongside Controlled Weirdness. New Flesh founder, Umwelt is known for his dark, industrial-leaning techno that blends dystopian atmospheres with driving rhythms. Here, the French producer delivers two hard-hitting cuts in Memoryscape & Morphing Sequence to open the EP. DJ MELL G from Juicy Gang Records brings a raw, high-energy fusion of electro, breakbeat and techno; fast paced and with bold sound design. She teams up with Unklevon who produces sleek, futuristic electro with crisp drum programming most notably for Boysnoize Records, on Get Down. While Sync 24 & Controlled Weirdness close out the EP with their tough and wonky rework.

Maman Küsters return to Oráculo Records with “Oniromancia Completa”, a third vinyl release carved from tension and precision. The duo—Gaël Loison and Cyril Pansal— refine their language into something sharper, harder to define: a rigid hybrid of EBM and electro where structure becomes intensity. Furious step-sequenced arpeggios cut through dense low-end pressure, while knife-edged drums lock the body into a mechanical trance. On “Dos Mundos”, Pedro Peñas (UPR) enters the system with vocals that fracture the surface, adding a human pulse to an otherwise relentless machine. Built for dark rooms and uncompromising floors, Oniromancia Completa is not just played —it is deployed. There is no ornament here—only function, force, and control. A decisive strike for both electro and EBM purists.

MUSAR is proud to introduce Koloah, the newest voice in the family. Making his label debut with You Can Get Me EP, the Kyiv-born, Berlin-based artist arrives fully formed: three original tracks that move between restless grooves and expansive, immersive sound design, accompanied by a brain-melting remix from rising French star Binary Digit.

The EP opens with "You Can Get Me" - a UK-leaning groove anchored by a snaking acid line and fragmented vocal cuts that surface and dissolve, insistent and hypnotic, one of those tracks that lands fast and stays with you. "Get Me Close" follows, shifting the A-side into electro territory: harder edges, colder mechanics, but the atmosphere holds. Koloah keeps the tension tight and the space wide.
The B-side reaches further. The braindance producer Binary Digit takes "You Can Get Me" apart and rebuilds it in his own image - known for his deeply idiosyncratic approach to rhythm and texture, he turns the original into a real summer anthem, faster and focused, the same raw material carrying a completely different emotional weight
The EP closes with "Liminal Forest", a full IDM statement: intricate rhythmic programming, layered synthesis, and a sense of place that feels earned rather than constructed. Koloah signs off somewhere between the forest and the machine.
Recorded in Koloah's Berlin studio, the tracks were built in different periods - which is exactly why they breathe the way they do. Not a forced coherence, but a natural one.
"Atmosphere is the core of all my music and what I pay the most attention to."
- Koloah
This is the beginning of something. Welcome, Koloah.

Six tracks. Six undeniable hits. Science can't explain it.

Four dazzling pdqb originals: pop-infused disco house transmissions where retro dreams collide with absurdly modern groove technology and hyper-modern circuitry. Hooks everywhere. Basslines that flirt shamelessly with eternity. Rhythms that know exactly what they're doing.
And then Roman Flügel arrives at the party. With two remixes of such dubby, technoid magnificence that they bend the laws of physics wherever they're played.
The cover? Pure gold. A radiant golden surface punctured by bullet marks - courtesy of world-renowned artist Maurizio Cattelan. When the music hits this hard, the artwork should too.
And the vinyl itself is no less extravagant: it reveals a dramatic close-up of the Direct Hit - a colossal crater surrounded by smoky burn marks, gleaming like a tiny golden monument to impeccable taste.
A small but undeniable upgrade to the cultural history of planet Earth. Play loud. Repeat often. History will thank you.

P.S. Real-world violence is neither glamorous nor welcome - this record stands firmly for peace, joy, and the radical idea that the only explosions worth having happen on dancefloors.

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

Rosati continues mapping the sonic identity of Global Pulse with the ‘Sweetest Taboo EP’. Across this collection, he delivers four hard-boiling grooves, engineered to keep the energy on the dance floor high. GP06 explores the duality of contrasts: ‘Red Valve’ and ‘Sweetest Taboo’ focus on bright rhythmic pressure, while ‘Tranquillizer’ and ‘Ignition’ lean into darker, shimmering atmospheres. Melting tradition into the present, this record highlights the interplay of seductive sound design and a refined taste for warm grooves. The sound from Amsterdam, built for the global pulsation.

VA – Paradisi Artificiali brings together four distinct sound compositions, each resisting the urge to resemble the others but united by the way they manipulate perception.
Polygonia crafts shifting rhythmic paths where the groove warps and regenerates in real time, maintaining an organic tension that keeps the body in motion without ever truly settling into place.
Feral operates through subtraction, slowing time and excavating sound’s spatial depth. Its tracks don’t progress so much as they envelop, drawing the listener inward into a layered, introspective space.
Agonis introduces a more unstable, sensory thread, weaving transitions and accumulations that build in stages. Frequencies become tangible matter, and the progression unfolds without ever erupting entirely.
Crossing Avenue weaves these directions together without hardening them, infusing the record with a more rooted, almost ancestral rhythmic element that surfaces in the structure of the patterns and the choice of timbre.
The result isn’t a neat synthesis, but a coexistence. The tracks unfold along a shared line without ever converging, articulating a dynamic balance between tension and release. It’s an album that works through gradual alterations, through subtle slippages in perception, as in “Les Paradis Artificiels”. The point isn’t escape, but intensification. The sound burrows deep, reshaping how things are experienced, until a denser, more ambiguous, more alive reality emerges.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

"Over the past three decades, Philipp Lauer has produced an incredible body of work, deploying a myriad of aliases, both as a solo artist and as a part of collaborative projects. From his hardware-steeped Frankfurt studio Pyramide 2, he has built this catalogue through original material and remix commissions, taking on the full spectrum of electronic music while retaining an unmistakable signature. He combines a hands-on approach to rhythm and composition with a DIY MO and a love of big hooks. The level of expertise at hand seems to facilitate a playfulness that subtly permeates all layers of his work. He's a pop melody natural who just so happens to love fiddling with synthesizers, drum machines, and effects an equal amount. All of these qualities are exemplified on "Embalmed In Martino": Lauer's four-track ode to the Belgian Martino sauce, a spicy tomato-based condiment, and arguably the essential ingredient to top off the namesake raw meat sandwich. On "Embalmed", which makes use of instrumentation that would fit right in on an early eighties Manchester cut, and "Martino", where a sturdy, electroclash flavored arp bass provides the stamina, a slew of big and small riffs easily work their way in, thirsting for our ears. On the other side, "Transactional" combines Miami basslines and similarly electro-fundamental twinkling synth work with a flanger-laced 4/4 beat, while "Don't You Know" features soaring synthwave patterns and the only vocal samples on the EP. Both sport rich arrangements as well, right down to the cowbell overdubs. Lauer's often lauded for his "summery sound". In this light ALT026 lands right on time - yet we might disagree here, as it's suited for all seasons, and all terrains, both the shiny festival grounds and the dim-lit club floors."

Guidelines launches its 2026 schedule with a heavyweight two-tracker from Toby Ross, pairing two cuts built for very different corners of the dance.

On the A-side, “Can’t Do It” lands as a straight-up dancefloor heater rolling low-end pressure, clipped vocal stabs and a hook that locks in quickly and refuses to let go. Built with peak-time intent, it’s direct, physical and engineered to hit hard on proper systems.

Flip it over and “Interruption” dives headfirst into classic amen territory. Chopped, urgent and restless, the track drives forward on tight edits and raw break energy, balancing precision programming with that unmistakable rough-edge jungle feel.

Together the two tracks showcase Ross’ approach: future-focused jungle rooted in foundation sounds — modern production, classic DNA, and zero filler.

HVS is stoked to have Wetman back for the second time on the label! This is part one of a two part series showcasing original tunes from Wetman and remixes of those tunes, so stay locked for the next one soon! Dan had initially sent me two original tracks of his along with the two remixes of “Inside” from Etch & Meridian. We both agreed it would be cool to spread out the tracks into a series since there were already two remixes of the same tune, so Laramie and I whipped up a third mix and here we are!

As most of you know, Dan and I both started Vivid way back in 2017 so it's really really awesome to still be releasing tunes from him almost 10 years later! Dan has since gone back down to Cali while I'm stuck up here in Seattle, but we still collaborate as often as we can. His original mix is so damn creative and probably the wildest mix of the bunch. Excellently sourced samples per usual from him, most of which I didn't know, but Meridian is actually the one that tipped me on the Harold Budd sample!

I first heard BC badman Meridian's EP on Disrupt Records when it came out a couple years back, and was floored with his tunes! I was really excited to have a mix from him for this. And his mix really delivers IMO. With some seriously precision cuts/choppage and a really excellent balance of light and dark in the mix. It's very cool having a (sort of) local producer on the label as well!

Etch, out of London needs no intro really, with a ton of quality releases under his belt spanning all sorts of dance genres, it's really an honor having him on the label! Being a fellow FL user and also a gear fanatic make for some fun chats with Etch as well. His mix is the most mellow of the bunch but it still slaps hard everytime.

Laramie's mix is super duper techy, which is a bit different to his usual niceness style! But he wanted to switch it up for this one. I was happy to jump in the studio and record a vocal for the track. We think this mix came together nicely!

Stay locked for Part 2 and many releases in 2026!

Audiojack and Kevin Knapp return to Crosstown Rebels with their ‘Get It’ EP. Out on 22nd May 2026, the longstanding collaborators serve up a heavyweight two-tracker on Damian Lazarus’ imprint.

Leeds-born, Ibiza-based duo Audiojack reunite with US mainstay Kevin Knapp for their third Crosstown Rebels collaboration together on 22nd May, adding to 2021’s impressive ‘Under Your Skin’ EP and 2017’s ‘Implications’ EP. Having spent two decades at the forefront of the scene, the Gruuv bosses’ blend of house, minimal, and garage influences has landed on labels such as Hot Creations, Solid Grooves, 8bit, and more. Meanwhile, house music stalwart Kevin Knapp continues to push his own chunky and vibrant take on house music via international performances at venues such as fabric, Circo Loco, and Elrow, as well as releases on labels like Cuttin Headz, Repopulate Mars, Desert Hearts, and his own Plump Recordings. Marking their return to Damian Lazarus’ iconic imprint once more, they serve up two punchy cuts that showcase their ability to balance attitude and authority into a house workout.


“Get It,' is all about momentum! A driving club track with a mantra-like vocal to lift you up and motivate you to go harder at whatever you’re doing in life.” - Audiojack


"I'm just enamoured with the concept of being in charge of our own destiny and the thought of getting out of things what you put into them. I feel like this record sonically presents those sentiments in a way I love and appreciate.” - Kevin Knapp


Title track ‘Get It’ is a rolling floor-focused cut, driven by a tightly wound bassline and rattling cowbells, while a brooding low-end foundation sets the stage for Kevin Knapp’s commanding vocal drops, elevating the cut into a full-throttle peak-time weapon. On the flip, ‘This Frequency’ is an equally potent club tool, built around an unfolding tracking groove and a wobbling melodic synth line, propelled by an electro-tinged bassline that steadily draws listeners further into its spell.

A1. – Itch & Scratch 5.32

Smoove puts the spotlight firmly on the larger-than-life vocals of Rufus Thomas, peeling things back to reveal hard-hitting breakbeat drums from the very first bar, anchored by a relentless, pounding bassline. Punchy brass stabs and rolling keys collide with dirty funk guitar riffs, all stretched out into an extended rework built for maximum floor impact.

A.2 Bouncy Lady 5.06

A classic jazz-funk break from 1975 gets a fresh twist as Smoove reworks the structure into a groovy, extended build-up. Vocal chants and handclaps take the lead, while the original sax solo is stripped away and replaced by a raw bass-and-guitar workout. The focus shifts squarely to the rhythm section, letting the drums ride all the way to the finish—ending with the studio engineer’s off-mic murmur on the tape: “beautiful.”

B1. – For The Love Of You 6.57


The Isley Brothers classic gets a loving reworking, with the groove locked in tight and the keyboards pushed front and centre letting the drums and bass drive home the groove. Those iconic falsetto vocals are spine-tingling, from start to finish.

B.2– I’m Trying 4.48

Lush, soulful strings and a deep-groove piano line glide over this drum-driven reinterpretation, opening up the raw, emotive vocal breakdowns of Carla Thomas and Pervis Staples. Originally scored by Isaac Hayes, this rework digs deep into the multitracks, uncovering previously unheard moments and giving them room to breathe.

In 1955 Miles Davis played an all-star jam session at the Newport Jazz Festival with Thelonious Monk on piano, Gerry Mulligan on baritone sax and Zoot Sims on tenor sax. This performance immediately drew the attention of Columbia Records' George Avakian, who was so impressed that he immediately offered Davis a contract if he could form a regular band. The group he then assembled would go down in history as Davis' so-called "First Great Quintet", consisting of John Coltrane on tenor sax, Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and of course Miles himself on trumpet. 'Round Midnight is Miles Davis' first record for Columbia and also the first studio recording of the First Great Quintet. The recording sessions began on October 26 1955 but the album wasn't released until 1957 as Davis was still under contract at Prestige at the time. These respective sessions yielded Steamin', Workin', Cookin' and Relaxin'; albums that would go down in history as quintessential blueprints of late 1950s hard bop.

The record is made up of a collection of standards and one traditional song ("Dear Old Stockholm", from the 19th century). Notably, it features what may be considered the most well-known versions of Thelonious Monk's "'Round Midnight" and "Bye Bye Blackbird". That Avakian made a golden signing was sufficiently clear from the start, but no one could foresee that it would be this quintet on Columbia that would go on to change the course of modern jazz forever with Kind of Blue. 'Round Midnight is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl.

The open skies of Ochre's new album, Oversail, replace the dense canopies of his last, Understory back in 2020. This time, UK-born, Netherlands-based talent Christopher Leary trades rhythmic intricacy for something more exposed and reflective on a record that unfolds in measured steps, with each passage revealing fragile melodies set against sparse, shifting frameworks. There's a tactile quality to the sound design, hardware elements clicking and sighing like ageing machinery still in motion. Tracks feel suspended and the focus is on slow revelation across the quietly affecting 'Casadastra', airy beauty of 'Meristem' and hopeful synth sequencing of 'Canthropa.'

Back for round two on WOLF Music, Toronto Hustle & Sean Roman present their ‘Social Narcotics’ EP. The deep house dons from Canada don’t disappoint with a hard-hitting slammer, and a suite of remixes courtesy of some of the scene’s most-respected producers.

The A-side starts with none-other than Byron The Aquarius on the remix. You see that name on a record and you know it’s going to be a hot 12”. Just look at some of the labels he’s released on; Sound Signature, Wild Oats, Eglo, Axis; that’s the only stamp of approval you need. His remix of ‘Social Narcotics’ is deeper than deep. Moody, musical and packed with detail. Proper house for those that know the good stuff.

Then POW! - you're hit with a legend of the game. Calling Nick Holder a legend isn’t hype, it’s just fact. Active since the early ‘90s and head of DNH Records, with releases on labels like NRK and Poker Flat Recordings, his influence runs deep. Any serious head will have some of his jams in their collection (‘Summer Daze’!!!). Teaming up with Tyrone Solomon under their ‘Trackheadz’ guise, the Canadian duo have delivered a trademark peak-time remix. Driving and groovy, this is tackle for proper dancefloors.

For the flip we have Toronto Hustle & Sean Roman's original track and a rather tasty dub version. ‘Social Narcotics’, blends sharp social commentary with a late-night, low-slung thumper of a soundtrack. With its warm, rolling and hypnotic feel, it has echoes of a prime 90s deep house cut, yet still sounds fresh and very much of the now. The dub mix turns the lights down even lower, stripping it back and letting the groove bubble away with a more heads-down sound.

This EP is a strong follow-up that keeps things deep, soulful, and club-ready. Exactly what you want from Toronto Hustle & Sean Roman, and another solid addition to the WOLF Music catalogue.

For Gradients 4th instalment they welcome an artist whose longevity and contribution to music speaks for itself. Doncaster legend Mella Dee presents a 4 track special full of
Weird and wonderful spangle-core rollers. It’s twisted, dark and generally a little bit off it’s head. Designed for times when things are getting strange. Not for the faint of heart, no fancy tricks just bleeps bass and a bucket full attitude.

This release is set to fly out… so don’t sleep!

ISKRA is the debut album by Polish multi-instrumentalist and composer Olga Anna Markowska. Starting at “Dawn” and ending at “Dusk”, it is a journey of melancholic depth and true beauty filled with warm memories from what was & what could be.

Using zither, cello, electronics and occasional wordless voice, Olga weaves together something so affecting and under the skin beautiful that it is hard to shake, bringing to mind classics from artists like Jacaszek and William Basinski, or the films of Kieslowski. However, there’s a personal touch in her playing and compositions that stands out. Olga explains: “the cello pieces, in particular, were born from a desire to reconnect with the instrument I’ve known intimately since childhood. However, I had to step away from it for two years to gain perspective and find a fresh approach when I returned.” She continues : “ISKRA is an album about "ignition" — a gradual shift in how I think about music and a search for new values. It also marks the closing of a chapter, blending archival recordings with the dawn of new ideas.”

The album feels deeply personal from the first note, and bridges the difficult point between classical and ambient music in a truly natural way, leaving any typical tropes far off, instead demanding your full attention. Olga uses plenty of loops throughout, which together with the cello and zither builds a transcendent atmosphere. Standouts contain amongst others the stunning “Train Ride Home” - a 7 minute piece with zither as main focal point; “Fever Dream” - a plunge into warm static noise and deep plucks, as well as the beautiful “Helix”, which sounds like a washed out dream with its minimal tape loops and ambient vocal washes. Overall the album connects very well with Olga’s subjects of identity, memory of the places and human relations with nature. There is a deep humanity burrowed within these 40 minutes of music which feels immensely appropriate in these contemporary times.

ISKRA was recorded in different times and places from 2017 to 2022 and lands with perfection on Miasmah - connecting the dots from the early years while reaching into the stars.

A new voice enters the orbit. MBM carves three slow-burning studies in tension and release – merging patterns with fragile harmonics, melancholia, and restraint. Everything feels carefully placed yet emotionally exposed. Moments of pressure give way to space, steel meets softness, rhythm turns inward. No peaks. No breaks. Just pulse, texture, and tone – in constant negotiation. Music for the body, drawn from the depths. Soultones hits hard. Feel it.

After a sold out first release, NY’s Superflux is back for Round Two with a debut release from arguably the most unsung hero of the Midwest underground. Uplink is a REDACTED-based hardware specialist known for their work running a series of labels and organizing parties that have helped define the region’s sound for more than a decade. Crafted using time-honored tools of the trade, these four dubby, tracky, and raw cuts – lifted from live stereo board recordings – will sit comfortably alongside releases from STL, Skudge, and MRSK.

The A1, Audio Sport, is a dubby groover with almost-steppy hats and bit of bite; a reverb-drenched lattice of delayed pads bends your sense of time and space until you realize you’re 12 hours into the warehouse function and someone’s just thrown a piano off the roof. A2, Blue Untitled, is a deep stomper reminiscent of the early WAX records. A big & shifty bassline turns this into a true head-nodder. B1, Temporary Machine 1, is a more subdued dubbed-out tech house cut anchored on a rolling bassline and flanked by dusty percussion and prescriptive stabs. Proper warm up tackle or hazy after-afters fodder: the choice is yours. Connoisseurs of a fine B2 rejoice – this one is it. Dokta is a moody, tripped out late night techno affair with a dash of bounce for good measure. All that hisses is gold.

Written by Colin Boardway

A1 - ELECTROPHORUS
super entry track for this EP in general!
He brings it to the point and let you roll in, in the electro half pipe and makes big air beats and bassline slides. Drop it!

A2 - FOR THE NIGHTTIME
crispy stereo effects from the legend mc 202, vocoder vocals, top drums and a good sounding bassline make this track interesting, but wait! The final is in the end of this track and is a big surprise!

A3 - NARROW MINDED
its 12 o clock and this for over 5 minutes!
808 boom boom and fully overloaded highhats, is the end track of side A. Old-school

B1 - RODES
a beautiful statement of the soul of BISTONG.
the trackname is RODES, but the EP name BE STRONG is here fixed in my opinion as Label Head.
It's hard to be strong, and it's also hard to make strong music, sometimes.
This track has: a strong producer background, a strong character, a strong arrangement and a super strong weekend feeling every single day.

B2 - ANCIENT ANALOGUE
Check out the B side everytime!
often the track you want to play in your set is hidden here. Nobody knows him, but everybody can like him.

A1 - ELECTROPHORUS
super entry track for this EP in general!
He brings it to the point and let you roll in, in the electro half pipe and makes big air beats and bassline slides. Drop it!

A2 - FOR THE NIGHTTIME
crispy stereo effects from the legend mc 202, vocoder vocals, top drums and a good sounding bassline make this track interesting, but wait! The final is in the end of this track and is a big surprise!

A3 - NARROW MINDED
its 12 o clock and this for over 5 minutes!
808 boom boom and fully overloaded highhats, is the end track of side A. Old-school

B1 - RODES
a beautiful statement of the soul of BISTONG.
the trackname is RODES, but the EP name BE STRONG is here fixed in my opinion as Label Head.
It's hard to be strong, and it's also hard to make strong music, sometimes.
This track has: a strong producer background, a strong character, a strong arrangement and a super strong weekend feeling every single day.

B2 - ANCIENT ANALOGUE
Check out the B side everytime!
often the track you want to play in your set is hidden here. Nobody knows him, but everybody can like him.