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Milan's Dirty Channels bring their polished club sound to RNT with the Jungle Echoes EP, seamlessly marrying influences of various international dance-floor vibes. Guilty and its accompanying Guilty (Dub) have a euphoric energy that feels predestined for Euro festival season, while the uptempo and hypnotic Semliki incorporates elements of South African Kwaito. Rounding out the EP is the deeply brooding title track which evokes the proto house sonics of 90s Chicago and NYC making the Jungle Echoes EP the duos strongest production statement to date and an eminently playable 12 Inch.

Emotional Response presents Volume 2 of the LNS-ID series. Atmospheric, infectious, at times nostalgic, warm yet ghosty, the tension of Laura Sparrow’s music is her exploration in electronic music.

An introduction to DJing and music production has been a natural progression, applying skills in new and fresh formats. Built on the heritage of Chicago and Detroit house, alongside old IDM and electro, her first productions might have been raw, but the creativity was lit.

While her recent productions have explored club orientated, loud cut records, in collaborations with DJ Sotofett, that represent the sound found in her residency on the Globus floor at the Tresor club, LNS’s interest in the solo productions of the LNS-ID recordings and more organic-style explored in the recent Misiats EP burns bright.

LNS-ID 1 and LNS ID 2 are her latest offering. Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Roland TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

Easygoing Acid Express, Alive Acid, Blue Acid and Gentle Acid. Get the message. We call it Acid.

A counterculture movement united by an expansive, experimental and deeply soulful sensibility, Japan’s rebel protest music challenged the status quo and changed the country’s music industry in the process.
The birth of Japan’s nascent acid folk scene was rooted in the messy and invigorating political climate of the late 1960s. It is a story of Dadaists, communists, pharmacists and cult leaders, led by a young generation of upstart students, artists and dreamers hellbent on turning their world upside down.

Born on the campuses of Tokyo, Kyoto and Osaka, and centred around newly formed independent label and left-wing stronghold URC, this uniquely Japanese form of folk expression provided an outlet for musicians who were tired of aping Western sounds and instead found ways to sing in Japanese and integrate traditional forms in new ways.

At the forefront of this movement was Yellow Magic Orchestra’s Haroumi Hosono, a polymath innovator whose band Happy End released the first Japanese language rock album, and whose influence would go on to be felt across Japanese music for decades. Alongside, and informed by the Kansai scene’s Takashi Nishioka and Happy End collaborator Ken Narita, they experimented with cadences and accents of the Japanese language to open the door for others to experiment with their own forms of psychedelic folk too.

Some, like Nishioka, were more inspired by Dadaism than drugs, while others, like Kazuhisa Okubo, would ultimately find work as a chemist, having founded two further folk groups that flirted with varying levels of success. Obstinately uncommercial, relentlessly creative, the music featured on Time Capsule’s Nippon Acid Folk represents a broad church of influences.

Perhaps the wildest addition to this congregation however was Hiroki Tamaki, a classically-trained violinist and committed iconoclast, whose synth-prog odysseys hinted at his obsession with the divine. Subsumed by the teachings of Bhagwan Shree Rajneesh, he penned an album in praise of the infamous religious leader of which two superbly mind-bending tracks are featured on this compilation.

Charting the decade from 1970 to 1980 as the dreams of political and spiritual liberation seeded in the ‘60s turned to dust, Nippon Acid Folk surveys a little explored corner of Japanese music history, but one which ultimately laid the foundations for an independent music industry, launching the careers of Hosono and others in the process.

Nippon Acid Folk 1970-1980 is pressed on 12” vinyl and represents the start of Time Capsule’s deep dive into Japan’s rich history of folk and psychedelic soul music.

Emotional Response presents the first of 2 EPs by Laura Sparrow aka LNS, the Calgary raised, Berlin based producer and DJ with 8 acid-tinged cuts that are equally expansive and inspiring, personal and inventive.

After her debut Malinge Range (cassette) on fellow native Canadian 1080p label in 2016, LNS moved to Berlin and has released a steady stream of 12”s, exploring ambient, dub, electro and techno. Initially appearing on Vancouver émigré’s Jayda G’s (alongside Fett Burger) Freakout Cult label before settling at DJ Sotofett’s cult WANIA label and more recently on the legendary and ‘original’ German techno label, Tresor.

A love of the Roland TR-303, alongside deep diving into breakbeat creation, manipulation, mutation and production, plus some intrepid mixing and post-production assistance, development and support with DJ Sofofett, have led to a collection of some of her favourite music to date.

LNS-ID 1 and LNS ID 2 are the result. Recorded during a burst of creativity through dedication, new studio equipment and learning techniques, as well the necessity of artistic expression in the moment.

Two sets of four tracks based on the acid tradition in the more restless corners of 90s and early 00s Braindance. Acid lines drive the melodies, while drums move between sliced break fragments and the familiar sounds of the Rolant TR-606 and TR-808.

Pads drift in with a warm glow or at times, quiet ghostly tension. The results are music that leans towards atmosphere and memory, something almost nostalgic that was built for those of us who still chase the more expressive edges of acid.

Marking the second 12” on new Bristol label Northfield is the enigmatic Dalibor Cruz of Chicago. Pathos Peristaltica is a carefully calculated collection of 7 twisted & scuzzed out beats & interludes, expertly mastered by Beau Thomas @ Ten Eight Seven Mastering.

Echoes of Muslimgauze, Beau Wanzer, Laszlo Hortobagyi, 5 Gate Temple & Pablo’s Eye run throughout Dalibor Cruz’s work. However it seriously sounds unlike anything else out there, a true original in electronic music.

Previous releases of Dalibor Cruz have been on Natural Sciences & Chicago Research.

Artwork designed by Guillaume De Ubeda.

Here we go with the 19th release of Gabberhead Records

First up the return of Black Blood on vinyl after a hiatus of well over 20 years. This release is a reworking of the EXITUS002 vinyl that came out on that Italian label back in 1999. This one has a bonus track from that period of time too called “Avalanche Of Fear”. Pressed on “Blood Splatter” vinyl and limited to 150 copies. Each sleeve has been hand-painted, stamped and numbered by Black Blood himself (along with a little help from the family). Random copies have limited postcards inside. The sleeves that were hand printed are the same stock of sleeves from 2000 that were used on F.O.S. number 2 & 3. The 2026 mastering has made this release even better than the super-rare original.

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

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

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

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

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

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

The arrival of REAL, Vol. 1 marks a seismic shift in the global music landscape, uniting two of Nigeria’s most formidable forces for a project that defines the current zenith of Afrobeats. This collaborative effort sees Wizkid, the smooth-talking pioneer of the genre’s international expansion, and Asake, the "Mr. Money" whose neo-Fuji sound redefined the street-pop aesthetic, finding a middle ground between luxury and grit. The project serves as a sonic bridge between eras, blending the minimalist, high-fashion sensibilities of Wizkid’s recent output with the high-octane, choir-backed energy that has made Asake a household name. It is less of a competition and more of a conversation between two masters of their craft, exploring themes of spiritual gratitude, the weight of superstardom, and the unyielding pulse of Lagos.

With soundscapes both cinematic and deeply rhythmic, the production moves beyond standard club formulas, opting instead for a sophisticated fusion of traditional Yoruba percussion, shimmering synths, and the heavy, resonant log drums of Amapiano. Wizkid provides the effortless, melodic swagger that acts as the project's anchor, while Asake injects a spiritual intensity through his signature layered chanting and rapid-fire flows.

Ultimately, REAL, Vol. 1 is a celebration of authenticity in an era of global crossover. By stripping away the pressure of conforming to Western pop standards, Wizkid and Asake have created a body of work that is unapologetically Nigerian yet universally resonant. It captures the spirit of a city that never sleeps and the ambition of two artists who have conquered the world without losing their souls. This is more than just a collection of hits; it is a blueprint for the future of African music, proving that when Wizkid and Asake occupy the same frequency, the result is nothing short of legendary.

Echoes from Mozambique 1993-2005 is the first time Ghorwane's most cherished recordings have been pressed on vinyl, drawing from three landmark albums spanning the arc of their career. The tracks chosen represent the band at their best: soaring with musicality, punching with feeling, and lifting the spirit.

Remastered by Frank Merritt at The Carvery in London and pressed as a premium double LP by Merchant Records, this is an essential document of one of Africa's great bands, finally given the format their music deserves. Following a celebrated UK and European tour in 2026, Ghorwane remain as vital and active as ever.

For the first time in their celebrated history, legendary Mozambican band Ghorwane are released on vinyl.

Founded in Maputo in 1983, Ghorwane’s unique sound blends traditional rhythms with Afropop, soulful horns and politically charged lyrics that made them simultaneously heroes of the people and a headache for those in positions of power.

As Mozambique’s longest-running band, they have survived the tragic murder of two of their most influential members and institutional censorship, going on to become one of Mozambique's most respected bands and inspiring a generation of artists.

2026 REPRESS

COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. Its addressed to the clubs and night owls out there, who turn night into day and won't stop dancing!

The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs & rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven. The four Originals are a great next step in the COEO evolution. The unique warm, catchy atmosphere of the tracks can create that special COEO euphoria which made them a lot of fans. From Moodymann to Disclosure, Mall Grab to Kenny Dope, the list is long.

It’s fantastic to see how popular they became over the last couple of years. The last COEO vinyl sold over 2500 copies and some of their tracks have millions of Spotify plays. It’s DJ FOOD. Pure bliss!

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....




D a4 | DEVIL'S THRONE - Junior Delgado

2026 Repress

RAWAX proudly presents the 5th release by Fresh & Low on their own RAWAX TREASURES series!
This time we have the honor to re-issue one of the most wanted records from their entire catalogue.
It's "Wind On Water" which came out on legendary Guidance Recordings in 1996!!!
The new version on RAWAX is re-mastered and will be out in Jnauary. Don't miss!

Istanbul-based producers Grup Ses and Gökalp K present their collaborative album on SOUK Records, showcasing a distinctive fusion of musical styles such as hip hop, grime, dubstep, and jungle. Two years in the making, their self-titled album features contributions from Cologne-based multi- instrumentalist Elektro Hafız, Marseille-based DJ Syr from Scratch Bandits Duo and Ethnique Punch, a Turkish MC & producer now based in Bremen.

Grup Ses project began in 2007, initially focusing on edits and breakcore mash-ups. By 2008, it evolved into a beatmaking project incorporating elements of humor and local materials such as records, tapes, and radio broadcasts, which have become the signature Grup Ses sound. Grup Ses has previously collaborated with sub-labels of Discrepant, releasing two albums on SOUK and three mixtapes on Sucata Tapes.

Gökalp K, the alias of composer and sound designer Gökalp Kanatsız, has been releasing music since 2011. Under this name, he has released two albums and performed as a DJ. Alongside his beat production, he also composes electro-acoustic music and collaborates with creative studios as a sound artist on various interdisciplinary projects.

2026 Repress

Ron Trent's masterpiece from 1993 "I Feel The Rhythm" in the rebound! For the first time together on one record with the remixes by Paul Johnson & Inner Experience which came out 1999 on Prescription Records - a must have!

The saxophone, thunderous as a peal of lightning, burns the listener’s body and shakes the soul. Out Of Chaos captures a new frontier reached by Kosuke Mine beyond the depths of chaos.

Having attracted widespread attention through his work with the Masafumi Kikuchi Group and the consecutive release of three albums under his own name in 1970, Kosuke Mine was one of the most talked-about figures in Japanese jazz. Following the breakup of the Kikuchi Group, he released the masterpiece Daguri in 1973, followed by the recording of Out Of Chaos.

From the hard-driving Recollection to the beautiful ballad Little Abi, Mine’s playing—said to have been influenced by John Coltrane during this period—displays both sharp inspiration and a grand sense of scale, blowing with a power that seems to break through every barrier.

Backing him is the trio that helped propel Mine to the center of the jazz scene. Their performance, completely united and burning with intensity, is nothing short of breath-taking.

Der neueste Zuwachs im ständig wachsenden Katalog von D.B., ,The Beat Zealot", ist da, um lebenslange Fans von Instrumentalmusik anzusprechen und neue Hörer auf der ganzen Welt zu begeistern. Grimez ist ein Beat-Fanatiker. Geboren und aufgewachsen in Südflorida, ließ er sich von Entertainern und DJs wie Jam Pony Express inspirieren. Als Teenager verbrachte Grimez Stunden auf dem Flohmarkt, blätterte in Katalogen und suchte sich Kassetten für seine Sammlung aus. In den 90ern zog er nach Ohio, wo er sich in das Sampling verliebte und anfing, eigene Musik zu produzieren. Für jede Doctor-Bionic-Platte holt Grimez eine Reihe hoch talentierter Musiker aus der lokalen Szene mit ins Boot. Im Studio wirft die Gruppe Ideen in den Raum und improvisiert, während Grimez das Mischpult bedient. Später arrangiert er die Tracks und legt ein Thema für ein Album fest. ,Ich arbeite immer an einem Album, aber manchmal bin ich mir nicht sicher, wie das Cover oder der Titel aussehen werden", erklärte Grimez. Die Kunst inspiriert oft die übergreifende Botschaft, die sich in kurzen Zwischenspielen aus Vocal-Samples widerspiegelt, die zwischen den Instrumental-Jams eingestreut sind. Das Cover von ,The Beat Zealot" zeigt einen einsamen Abenteurer, der auf einem Berg steht, von dem aus man auf eine ferne Stadt blickt. Ist er auf dem Weg in die Zivilisation, oder flieht er? Das Album liefert keine eindeutigen Antworten, bietet aber reichlich Inspiration für den neugierigen Hörer. Also, dreh die Musik auf und lass deine Fantasie den Rest der Geschichte schreiben. Freu dich auf weitere sofortige Klassiker von Doctor Bionic...

Der neueste Zuwachs im ständig wachsenden Katalog von D.B., ,The Beat Zealot", ist da, um lebenslange Fans von Instrumentalmusik anzusprechen und neue Hörer auf der ganzen Welt zu begeistern. Grimez ist ein Beat-Fanatiker. Geboren und aufgewachsen in Südflorida, ließ er sich von Entertainern und DJs wie Jam Pony Express inspirieren. Als Teenager verbrachte Grimez Stunden auf dem Flohmarkt, blätterte in Katalogen und suchte sich Kassetten für seine Sammlung aus. In den 90ern zog er nach Ohio, wo er sich in das Sampling verliebte und anfing, eigene Musik zu produzieren. Für jede Doctor-Bionic-Platte holt Grimez eine Reihe hoch talentierter Musiker aus der lokalen Szene mit ins Boot. Im Studio wirft die Gruppe Ideen in den Raum und improvisiert, während Grimez das Mischpult bedient. Später arrangiert er die Tracks und legt ein Thema für ein Album fest. ,Ich arbeite immer an einem Album, aber manchmal bin ich mir nicht sicher, wie das Cover oder der Titel aussehen werden", erklärte Grimez. Die Kunst inspiriert oft die übergreifende Botschaft, die sich in kurzen Zwischenspielen aus Vocal-Samples widerspiegelt, die zwischen den Instrumental-Jams eingestreut sind. Das Cover von ,The Beat Zealot" zeigt einen einsamen Abenteurer, der auf einem Berg steht, von dem aus man auf eine ferne Stadt blickt. Ist er auf dem Weg in die Zivilisation, oder flieht er? Das Album liefert keine eindeutigen Antworten, bietet aber reichlich Inspiration für den neugierigen Hörer. Also, dreh die Musik auf und lass deine Fantasie den Rest der Geschichte schreiben. Freu dich auf weitere sofortige Klassiker von Doctor Bionic...

2x12" 180g black vinyl
Gatefold
2x printed Innersleeves
Dl-Card
D1 "Running" exclusive track - only available via album vinyl

Monolink's second full-length musical opus, which follows on from the critically lauded release of his debut LP Amniotic back in April 2018, Under Darkening Skies features twelve exquisite new vocal-led compositions, including his internationally celebrated hit singles, Otherside and The Prey.
Speaking about the album: "Under Darkening Skies is an album that's connecting different dots in my life, representing phases or moments I went through. I wanted to go back to writing actual songs again instead of adding vocals to a beat, which gave me the freedom to express more musical facets of myself. Eventually it became the most diverse record I have made so far, influenced by a time of global social and economic uncertainty at an ever-increasing tempo of change, like a dark cloud approaching. "

Victoryland is the Brooklyn-based project of musician Julian McCamman and Dan Howard.. Their 2026 album, My Heart Is A Room With No Cameras In It, is a triumphant, despondent, and ultimately fun experimental pop-rock album. A year on, the record receives the deluxe treatment from new label home Dead Oceans. My Heart Is A Room With No Cameras In It (Deluxe) arrives December


11th 2026, on exclusive crystal clear vinyl, complete with new song “The Ugliest Girl On The Beach” and a new music video for album standout “I got god.” The sound of the album, recorded between Julian’s Bed-Stuy basement and Dan’s Williamsburg studio, is that of a bright and beaming collaboration. Blending lo-fi and hi-fi production, the songs have the glossiness of a radio-friendly hit mixed with the distortion and rough edges of a home demo. Every song keeps at least one element of the initial recording, while building around the loops and half-songs Julian scraped together. The lyrics on the record span from humorous self-aware popisms (“‘you and I’ will soon be, used to be ‘us’”) to crushing realities of bitterness (“i’ll never forgive you, that’s how I keep you close”) and abstract imagery (“mothers wave from doorways, in ostinato”), all delivered with such an immediacy and fervor that in the middle of singing along, you wonder if this guy slept much last night. Much to their surprise, My Heart’s release ushered Victoryland into a whirlwind of a year. Pitchfork praised the album’s “bright, madcap approach reminiscent of the New Pornographers’ Twin Cinema or Clap Your Hands Say Yeah’s Some Loud Thunder.” Stereogum named it their Album of the Week and proclaimed it “a surprisingly cohesive scrapbook of sounds from seemingly every corner of the indie pop umbrella.” The album also received support from Steve Lamacq at BBC 6 Music and Sian Eleri at Radio 1. After a string of sold-out shows in NYC, Victoryland later joined LCD Soundsystem on their North American tour and performed at Pitchfork London, Pitchfork Paris, among other festivals across Europe

THE SOUND OF SUMMER

Brand new tracks made from the Havana Sessions, recorded by Brian d'Souza aka Auntie Flo in downtown Havana around 2015.

'Havana City' is a joyous, summer anthem in the making, featuring Andrew Ashong on vocals and a host of Cuban musicians. Think Nuyorican Soul's classic 'I Am the Black Gold Of The Sun' with a Tony Allen-inspired drum beat, luscious string arrangements, triumphant horns and addictive keys - all given the space they deserve and fully justifying the 11.5 minutes run time.

The 2026 version of 'Die Bailando' re-invents the original minimal electro beat to a latin rhumba-influenced groover. Grammy-nominated singer Eric Alejandro aka Cimafunk's vocals are a huge highlight, now fused with new guitars from Ziggy Funk and drums from Ibibio Sound Machine's Jose Joyette.

Completing the package is a remastered version of 'Mother Theresa' - which has close to 2 million plays on Spotify but was never released on vinyl. Drift away to the sounds of the Malecon...

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be
paid to environmental charities.

Freerange welcomes Italian via Berlin producer/DJ/label boss Enzo Elia for his debut on the label entitled The Lost Guitar Tapes. Enzo is someone who has been releasing consistently great music for many years, although
often hidden behind a myriad of pseudonyms and underground imprints. For starters he's responsible for a mysterious yet established and very excellent edits label as well as being a member of Balearic Gabba Sound System alongside Bjorn Torske amongst others. Following the philosophy of this collective, Enzo is also producing lovingly and respectfully created re-edits of long lost techno and house tracks as well as many new tunes
for influential labels including Golf Channel and Compost.
But for now we turn to The Lost Guitar Tapes and specifically the original mix of Drifting which opens up the release with a brilliant tension builder. A rolling bassline, crisp minimal drums and a subtly Middle Eastern-influenced melodic line give just a hint of mysticism to this jewel of a track.
For the remix we have none other than the Tel Aviv via Berlin producer Moscoman, fresh from his brilliant debut LP on ESP Institute and releases on Eskimo and his own Disco Halal label. Moscoman's organic, percussion- heavy sound and Middle Eastern roots make him the perfect choice to take
on Drifting and we couldn't have wished for a better outcome. He manages to inject his own identity to the track with newly recorded live guitar and bass parts and taking in elements of techno, new wave and house, he's created a sublime piece of dancefloor drama. Finally we have an alternate Dub version which lays down a firmer four on the floor, extra percussion and dubby stabs for a more driving atmospheric club tool.

Dam Swindle nail 2026 as the year of House music’s glorious return with their new “Call me” EP.
2026 is the year of House music. Festivals, clubs, bars and living rooms have been craving for more warmth and soul in electronic music and you know we’re here for it.

It’s only been a few months since we celebrated the 100th release on Heist with our ‘House of House’ compilation; a 19-track embodiment of everything we love about house music where label heads Dam Swindle teamed up with Detroit legend DJ Minx on their track ‘Back to the old school’. Now, landing just in time for summer, the Amsterdam duo deliver a new EP filled with dancefloor energy across 5 original cuts and vocals courtesy of British-Bengali rapper Surya Sen.

The title track ‘Call me’ is a stabby and string-heavy peak time jam, where chopped female vocals and offbeat cowbells deliver a simply irresistible groove. ‘5 to 9’ features the vocals of London rapper Surya Sen whose deep voice add an instant vibe to Dam Swindle’s deep and Detroit’esque production. This track sits somewhere between gritty dark rooms and sweaty dancefloors.
Definitely not the stuff for your 9 to 5, but with plenty of funk for your after-work pleasures. The track comes in 2 versions; the vocal mix and a longer club-dub with some cleverly chopped vocals that comes in handy for the DJ sets.

The B1 is saved for ‘I like it’. A track full of old school Swindle swing, Rhodes chords, a dash of electronics and soulful vocals chops for good measure. The EP closer is ‘A house track’; a song dedicated to the old school New York house sound and an affirmation that great house music doesn’t have to be complicated. It just needs to groove.

This one has been road-tested all year and is now ready for your listening and playing pleasure. As always, share the music and play it loud!
Yours,
Heist HQ.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

Peach Discs celebrates peak western-hemisphere summer with the perfectly-timed-and-titled "Soft Serve Summer" EP from I. JORDAN. We were delighted when they sent us these tunes, which represent a brighter, housier and more personal side to their sound than many have seen before. Inspired by their recent tour of Australia, the EP (named after the title track that got the ball rolling on the other side of the planet) bottles a loose, sun-kissed feeling across all five tracks that's keen to be unleashed at festivals, beaches and dancefloors worldwide.

Opener "Your Love" boots things off in style, sitting somewhere between Power House and French Touch as layers of oscillating synths, percolating drums and vocal chops take turns in the spotlight – but when all's said and done it's the bassline that gets the flowers, duh.

Things turn a little more introspective on "Little Tinker", as the titular bells sprinkled throughout summon up something…else? Whatever you think that is, the muscular bassline once again keeps us grounded, as washes of dreamy synths lap at the shore and everything is in its right place, before the urgent organ stabs and diva moans of "Soft Serve Summer" pull us straight back to the middle of the floor.

The young French doctor and producer Disciple Of The Sun makes his debut EP, with a refreshing take on classic progressive house. Powerfull and uplifting vibes that have been long tested by the crew.

Nickodemus is a traveler at heart—a connecter of worlds, scenes, and people since the mid-90s. Over his extensive career as a touring DJ and producer, including five albums, hundreds of remixes in his “Remix Machine” and two dozen compilations of cutting edge up incoming producers from around the World, remains one of the most important leaders of global fusion and the heavy beats we yearn for in the club. His music has long thrived on the close relationships and mutual respect of friends he’s built across the continents, felt through the worldly potions he cooks up in the studio, and spanning electronic sounds rooted in Latin, African, and Eastern instrumentation. His latest album, Soul & Science is a collaborative effort between old and new friends, recorded in several countries while touring as well as his home studio / record room / memorabilia museum.

This limited 7” pairs two standout remixes from Nickodemus’ 2023 album Soul & Science, bridging deep-rooted collaboration with modern dancefloor energy. On the A-side, Ben Gomori reimagines “Rumba Tobacco y Ron”—a trans-Caribbean production born between Puerto Rico and Cuba, featuring contributions from Tempo & The Candela All-Stars and Haydee Soul—into a chopped, electronic club cut that retains its original horns, piano, and vocal spirit. On the B-side, Tigerbalm delivers a driving, four-on-the-floor remix of “Mama Tchipp (Follow Me),” flipping the Afro-disco anthem with steady basslines, punchy drums, and Pat Kalla’s infectious vocals primed for peak-time play.

With a career spanning over 25 years, Nickodemus remains a globally recognized force in eclectic, genre-blurring dance music, boasting 60k+ Spotify followers, 811k+ monthly listeners, and over 350 million streams across his catalog, alongside more than 20,000 physical records sold worldwide. His breakout collaboration with Quantic and Candela All-Stars, “Mi Swing Es Tropical,” became a bona fide international hit with over 75 million cumulative streams and a key placement in the Chef soundtrack directed by Jon Favreau. On remix duties, Ben Gomori—founder of the UK-based Monologues Records—brings his signature touch, having previously reworked artists including Oby Onyioha, Segun Adewale, Dawda Jobarteh, and Amadou Balaké. The release is already receiving strong international radio support, with airplay and tastemaker backing from Gilles Peterson, BBC Radio 6 Music, FIP, RFI, Radio 3 (Generación Ya), 2SER, KCRW (Top Tune of the Day), and KEXP, signaling strong demand and cross-market appeal for DJs, collectors, and global music audiences alike.

a A1: Rumba Tobacco y Ron (ft. Haydèe Soul) Ben Gomori Remix
b B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]

[a] A1: Rumba Tobacco y Ron (ft. Haydèe Soul) [Ben Gomori Remix]
[b] B1: Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat. Pat Kalla]

[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]

[a] A1 | Rumba Tobacco y Ron (ft Haydèe Soul) [Ben Gomori Remix]
[b] B1 | Mama Tchipp (Follow Me) [Tigerbalm Remix] [feat Pat Kalla]

STAR CREATURE is proud to welcome aboard a new collaboration between some of the globe’s heaviest funkers. French disco collective Spaced Out Krew (S.O.K.) and Geneva’s Ghostape have teamed up for two sides of cosmonautical freaky mutant funk selected from vaults by label-head TIM ZAWADA. Drawing inspiration from the backroom and basement boogie bombs of yesteryear, the krew has assembled 2 giant cuts of bass heavy, booty shakers with a dangerous feeling twist, perfect alternative cuts to keep a set on the edge.

The 40th Anniversary edition celebrating the launch of the legendary Max Mix series wouldn’t be complete without the reissue of the original megamixes created by Mike Platinas and Javier Ussía in 1985. Many of you have asked for this, and it was something we simply couldn’t overlook.

We are therefore proud to present the DELUXE editions of Max Mix and Max Mix 2 (40th Anniversary). Each release comes as a double LP: the first vinyl features the original megamixes, while the second includes the exclusive 40th Anniversary versions. Every edition is pressed on beautifully combined multi-color vinyl. In addition, each release includes a previously unreleased mix of the 40th Anniversary version, available exclusively on these new Deluxe editions

Instant House returns with their long-awaited second 7-inch release, from one of the most respected and underground names of the 1990s deep house era. This essential edition features the out-of-print yet highly sought-after remix of “Hat Hat”, reimagined by the legendary Joe Claussell, a deep, spiritual reconstruction that stands as a true collector’s gem. On the flip side lies the timeless Instant House classic “Mellow Out,” a defining deep house cut that captures the pure essence of the early ’90s movement. Pressed in limited quantities, this 7-inch is a must-have for true deep house collectors and admirers of Instant House and the golden era of late ’80s / early ’90s underground house.

For the first release of Les Enfants Black Series, we have the pleasure of welcoming Villaça, a Brazilian native now based in Barcelona.

For this release, he brings us a selection of deep cuts created for his live act between 2023 and 2024, featured in the tracks “A1. You Don’t Know”, “B1. Energy!” and “B2. A Moment of Reflection”, alongside the more uplifting “A2. Ready” that was made specifically the day after his first time in the club, with final touches and musical direction tips from Francesco Carvetta.

Expect an emotional and powerful journey from an artist who is constantly evolving, and keep an eye on the upcoming material on the Les Enfants Black Series, this is just the beginning.

Pianist Elias Stemeseder and bass player Thomas Morgan debut on Squama with 'Io Pur Respiro'. Recorded live at Sala Vanni in Florence, the album shows a duo at the height of their craft with an unmistakable instinct for melody and balance.

Io Pur Respiro ("Yet I breathe") is the title of an early 17th century madrigal by Italian renaissance composer Carlo Gesualdo that's also the harmonic basis for the album's opening track Madrigal, Variation, Courante. With two standards from the 1930s (Love Came / I Have The Room Above Her) and two original compositions by Stemeseder there's 400 years of melodic evolution enshrined in this record. Yet, the music sounds neither new, nor old giving the album a profound sense of timelessness that's owed to the eternal force of melody and harmony.

Eric Cloutier's career has always been defined by a certain kind of relentless, monastic discipline. With My Friend The Abyss (PALINOIALP01), Cloutier continues to bridge the gap between the selector and the creator. The album title itself suggests a reckoning with the internal-a realization that time is the only distance between an artist and their masterpiece-resulting in a body of work that feels less like a collection of tracks and more like a hard-won transmission from the deep.

Forged in a crucible of stress, chaos, and loss, the LP eschews the easy loops of his earlier output for a far more complex architecture. While Cloutier's signature hypnotic pulse remains the bedrock, the record expands into a startlingly broad lexicon: the dub-wise weight of "Havittaa" and the tribal intensity of "Desassossego" sit alongside moments of fragile ambient beauty. Perhaps most surprising is the inclusion of "Ligrothism," where Cloutier explores the broken rhythms of drum and bass, proving that his obsession with "Palinoia"-the Greek term for perfecting an act through obsessive repetition-has led him to a place of total creative fluidity. This isn't just club music; it's a masterclass in atmospheric tension.

X-Coast unveils 9-track 2xLP The Riviera Collection on his label Riviera Records.

Hot on the heels from remixing instant dance hits such as Shygirl's '4eva' and DJ Gigola's 'La Batteria' and spotted in the studio with adored vocalists Eartheater and Miss Bashful, Serbian-born, NYC-based DJ/producer X-Coast returns with a collection of signature tracks that feel like the lost treasure chest of his dance island.

X-Coast is your favorite DJ's favorite producer, whose tracks you’ve undoubtedly danced to, whether on a massive festival stage or at an intimate, underground rave. Over the past decade, he has quietly but consistently shaped the pulse of dancefloors worldwide, with a distinctive style that traverses genres like house, techno, electro, drum and bass, and trance. This rare versatility has led X-Coast to release on the likes of Mall Grab’s Steel City Dance Discs, Diplo’s Higher Ground, Anetha’s Mama Told Ya and DJ Haus’s Unknown To The Unknown, to name a few.

What sets X-Coast apart is not just his ability to move fluidly between styles but the unique character embedded in every track. His productions have an undeniable warmth and authenticity, often evoking the raw, euphoric spirit of the 90s and 00s rave era. This nostalgic yet forward-thinking approach makes his music feel timeless, effortlessly blending old-school rave energy with modern production techniques. It's a quality that has made him a go-to for DJs across the board, whether they’re playing peak-time techno sets or deep, groovy house sessions.

On The Riviera Collection, released on his own label, Riviera Records, X-Coast opens the vault to reveal a diverse range of tracks that showcase his deep connection to multiple eras of electronic music. This collection reflects the breadth of his eclectic DJ sets, where various sounds and styles converge into a cohesive journey. Each track feels like a contemporary reimagining of a classic moment in dance music history.

From the early 2000s tribal influences layered with X-Coast’s signature chord work on ‘Neapolis,’ to the soaring, synthetic trance energy of ‘Desert Storm,’ and the infectious, camp vibe of the diva house ‘Hold Me Baby,’ the collection takes us on a nostalgic trip back to the origins of rave culture. It echoes a time when DJs crafted a journey through genres, playing everything from house to trance to techno in one seamless night.

The collection’s first hidden gems and long-awaited singles are “Da Boing Boing Trak” and "Put Your Hands Together". Both staples in his sets at iconic venues and festivals like Pitch Music & Arts, fabric, Circoloco, AVA Festival, Melt!, and Intercell, this track has been in high demand among fans, finally seeing its release. With The Riviera Collection, X-Coast continues to cement his status as a versatile producer capable of bridging the gap between past and present, while delivering music that moves crowds everywhere.

Anthony Hüseyin presents their new album O Geliyor (Making O), in which they return to the rediscovery of their gender, their childhood, and their attachment to Zeki Müren.

Müren is widely regarded as the most important queer exponent in the history of Turkish Art Music (Türk Sanat Müzigi). This genre of music was open to musical hybridism, and Müren himself also included elements of jazz and pop music.
Stylistically, O Geliyor (Making O) is a combination of contemporary discoid electro-pop music, based on Turkish Art Music by Zeki Müren. After successful current re-interpretations of Turkish music styles like neo-Anatolian pop and neo-Arabesk, this album provides a first take on neo-Turkish Art Music.

The album title is referring to the third genderless person pronoun in Turkish called "O", which encompasses all gender possibilities in one word. The album reflects on the memories that haunt us and the indescribable wounds of displacement. Set against the backdrop of Berlin, home to many immigrants and political and queer refugees, it exposes the profound emptiness in a metropolis wishing to imagine itself as a safe haven for the free-spirited, yet always reminding the Other that they don't belong. At the same time, it delivers anthems for the displaced, for the queer migrants who traverse internal and external landscapes in search of a place called home.

Anthony Hüseyin is a non-binary musician and performance artist of Kurdish-Turkish and Arabic descent who works with voice, text, film, dance, and installation. Raised in Urfa in Southeastern Turkey, where they learned traditional local music, they went on to study both classical and jazz singing in Istanbul and Rotterdam. Their works combine the personal and political to explore memory, identity, community, collective consciousness, and the body.

Casino isn’t just a track to me. It comes straight from my love for the classic Italian American gangster films I grew up on. Being Italian, I was obsessed with movies like Casino and Goodfellas. I’ve watched them more times than I can count. The style, the tension, the way the characters talk and carry themselves always hit me differently.

The idea for this track actually came from one of those iconic moments: a scene between De Niro and Pesci as their relationship starts to unravel. I’d seen it countless times, but this time I stopped and thought: what if I used this in a track? Would it elevate the music or would I ruin one of the greatest films ever made? That thought lit the spark.

I wanted to capture that same energy. The power. The danger. The drama. And bring it into sound. Casino is the result. Raw, cinematic, and authentic. I hope it hits you the same way those films have always hit me.

–EDEF

Enter the debut LP of the now Spatial regular Chronicle - Expect a joyous, varied blend of old school brand new atmospherics from one of the scene’s most talented producers. A1 - 20th Century Man Straight into the beats for the deliciously cheery opening, 20th Century Man encapsulates so much of what Chronicle does best - old school breakbeat sensibilities delivered with an inimitable atmospheric charm, strongly reminiscent of that peak Good Looking era we all adored. Incredible synthwork and analogue drums layered with danceable 2-step breaks and melodies take your mind exactly where you want to be. A2 - Terraformers Seminal synths and birdsong effects prepare us for an impossibly crisp breakbeat and 808 bassline to drive this track along, coloured by a myriad of subtle blips and bleeps, delicately flecked across a detailed and optimistic soundscape. Very DJ-friendly from the first to the final bar, the purity of Chronicle’s approach to atmospheric drum & bass is once again at its best here on Spatial. B1 - Boundless Space Playful twittering birds, gentle hi-hats and panning synths introduce Boundless Space, a blissful, serene treat for the senses which soon kicks into flourishing life with the timeless Circles break. Vocal samples punctuate the soothing breakdown with exquisitely programmed effects dotted here, there and everywhere, completing a stunning composition that both reflects on the past and looks forward in equal measure. B2 - Ephemeral Style A light, delicately calming pad-laden intro with echoing melodies opens Ephemeral style, soon punctuated by a sublime 808 bassline preceding the drop. Chronicle showcases his dancefloor breakbeat prowess with an energetic 2-step break pattern, expertly programmed and riddled with detail and density, creating a wonderful collage of sound and a perfect addition to any era-spanning atmospheric set. C1 - Modular Expansion Eerily reminiscent tones harking back to the golden, ultra-classic Good Looking era introduce us to Modular Expansion, a track which quickly adds layer upon layer of original identity to the vibe with crisp breaks, a wonderful metallic backdrop snare and subtle vocal samples. The joyously retrospective breakdown complements the energy of the track beautifully, capping off another gem for the record box. C2 - Limbic System Chronicle introduces Limbic System with swathes of swirling pads and synths, straddled with a subtle yet enigmatic melody carrying us through the drop, where we are treated to a lusciously constructed old school break pattern with a modern twist. Enter the breakdown and the keen ear will spot sampled quotes from Total Recall, which fit the vibe perfectly. “You went to Recall?” - yes, we sure did. And we enjoyed the trip! D1 - Non-Euclidian Continuing the blissful retrospective atmospheric tone of the album, Chronicle serves up Non-Euclidian which opens with a wonderfully synthy intro flecked with old school break samples and an earworm melody, before the onslaught of layered breaks provides variety as well as a thoroughly danceable pattern to unleash on the discerning dancefloor. Trademark dotted effects punctuate the track throughout. D2 - Deep Thought Capping off the LP we have Deep Thought, setting a calming and quietly brooding vibe before impossibly crisp beats kick in and elevate proceedings nicely. Chronicle effortlessly leads the listener through the drop with an analogue punch, earthy basslines and fluttering effects with the kind of flair we’ve come to love from such a vastly experienced and talented producer - perfectly complementing the vibe here at Spatial. Words by Chris Hayes (Spatial / Red Mist)

Butter Side Up’s 15th release comes from a familiar face. DANCE PROTOCOL (FKA Midge Thompson), responsible for the label’s second release some 7 years ago, returns to the label with The Shop Floor EP, another chapter in a relationship that stretches back to the party’s earliest years.

A self professed audio nerd, Midge has been operating quietly but consistently for well over a decade in Leeds and more recently London, honing an intentional studio-craft which draws inspiration from quite literally anything he can get his hands on, from 12-bit samplers and vintage synths to YouTube interviews and iPhone field recordings.

If his productions have earned their place through character and an unmistakable sense of groove, The Shop Floor EP is a culmination, presenting perhaps his strongest work to date.

Across four tracks, subtle textures and repeated vocal samples are stretched and twisted over broken beat rhythms and heavy sub-bass. A fine balance of UK-rave tropes and European minimal sensibilities that glide patiently, building and dissipating tension. From the driving, acid-tinged The Shop Floor to the bouncy, breaksy Riding Up Front and deeper Perry Lane, there’s a breadth of moods across the EP, which peaks with the celestial The Back Bench, surely one of the BSU’s most sunrise coded tunes, an softly inviting ‘Give Me Some More’ vocal refrain accompanied with woozy chords, pads and a chunky slap baseline.

Creatures of the Night is officially part of the vinyl community.

To celebrate this great debut as part of the label, we have Rubinskee & Soos with this EP that brings us summer vibes and heat from Mexico. Additionally, there's a remix by Running Hot, delivering house as it is a summer hit!

Deep Inspiration Show Records continues to defy the norms of electronic music vinyl culture, seamlessly bridging the gap between dancefloor energy and deeper, more emotive soundscapes. Their latest release, “Friends of the Deep”, is another standout EP to celebrate the 10th record. The original coming from Sundaze Lab & Melchior Sultana, and the remix by the legendary Zarenzeit. In addition, there are two exceptional contributions from deep house stalwart Brad P (Brad Peterson) which help deliver a rich, immersive journey through classic original deep house. From the sundrenched textures of “Seaside,” with its lush pads, rolling bassline, and signature jazz guitar touches by Melchior Sultana, to the dreamy, exploratory tones of “Zarenzeit,” the A-side sets a warm, evocative mood. On the flip, Brad P brings his unmistakable depth and musicality — “Years Don’t Lie” unfolds as a mature, emotive piece layered with soulful strings and an bass driven groove, while “Metaphysics” channels the timeless spirit of classic labels like Deep4Life and Nu Groove, building from stripped-back percussion into a full, uplifting but heady arrangement. A must-have for true deep house heads — “Friends of the Deep” is a heartfelt, groove-driven collection that rewards both the deep dancefloor and the soul