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For twenty-five years, A State Of—Trance has united trance lovers around the world, evolving from a radio show into a global movement and one of the most influential brands in electronic music.

To celebrate this remarkable milestone, Armin van Buuren presents A State Of—Trance 25 Years - Selected Highlights, a special mix featuring a personally curated selection of ASOT tracks that highlight some of the biggest moments, memories, and milestones from the past quarter century.
Bringing together timeless classics, scene-defining anthems, and exclusive new interpretations, the mix also includes brand-new remixes of beloved ASOT favorites by some of today’s most exciting trance artists, including Andrew Rayel, ReOrder, Matt Fax, and Dan Harrison.

Honoring the past while embracing the future, A State Of—Trance 25 Years - Selected Highlights is a celebration of the music, artists, and global community that have shaped the journey—twenty-five years together, all united by one sound: A State Of—Trance.

Emmy Award-winning composer Bear McCreary returns to the Outlander universe for another score, this time for the spin-off Blood of my Blood. This next chapter in the time travellers saga premiered in August 2025 and serves as a prequel to the critically acclaimed Outlander series.

Set in 18th century Scotland and England during the World War I, the series focuses on the lives and courtship of the parents of Jamie Fraser and Claire Beauchamp. McCreary masterfully brings the tale alive by blending classical music with folk and traditional Celtic.

The soundtrack of Outlander: Blood of my Blood is available as a limited edition on transparent vinyl and includes an insert.

With one foot in the Mexican underground rock scene and the other one in the global tape trading circuit, Las Ánimas del Cuarto Obscuro found themselves in the middle of a crossroad after their first LP. México wasn´t the same country as when the band first started. Even though access to non-commercial music still was a difficult task in the late eighties, the fringes of culture had way more resources thanks to the stubbornness of certain anonymous heroes: dwellers of El Tianguis Cultural del Chopo, niche record stores, illegal underground parties and hosts of late night Mexican public radio shows.


Ubiquitous social unrest expressed itself in every way possible. The aftermaths of the 1985 earthquake weren’t the only matters on the table. Protests erupted after a rigged presidential election and a student strike hit Mexico’s biggest public university. This was just the tip of the iceberg of issues PRI’s perfect dictatorship was or wasn’t addressing. The clash of the authoritarian regime against new and fresh ideas.


If the first record was about the loneliness of self-destructive youth and it’s urban phantasmagories, LACO’s second LP dealt with change as the axis of human existence. Las Ánimas is just the beginning of the sonic metamorphosis Toño Sánchez went through until this very moment.
The departure of former bandmembers set a different approach towards more experimental and atmospheric sounds. As the project’s only member, Toño Sanchez took an alchemical trip aiming for more mysterious horizons.


Despite the fact that we can still find conventional dark pop and catchy songwriting, the record rests on sound landscapes closer to Jorge Reyes or Tuxedomoon and This Heat than the orthodox ways of so called post-punk, seasoned of course with the lack of music gear and the economic reality prevalent in Mexico of those convulsed times.


Las Ánimas is a goodbye letter to underground but not because the next move is the mainstream. Far away from it, it’s a farewell to traditional rock and a the first steps down into the depths. From now on, Toño Sánchez will dedicate his musical efforts to weirder sounds and scarcer audiences in the search of the arcane, possessed by a mania of constant change that infects the soul after crossing the black door’s threshold.

Synth driven perpetual punk rock, darkened by atmospheric touches in its production and songwriting, yet uplifted by its intention to distill that darkness into light. Pop music from France on either side of the punk explosion has never shy’d away from electronic elements and on Nuits Blanche’s Helás LP there is plenty to remind us of that legacy. The sounds we are given rub against neither pop or dance, but instead absorbs the impact of quite tough sounding street punk. Four on the floor drums, like Disco’s ghost stamped across the face by the weight of the electric guitar run with songs not out of place if “A Country Fit For Heroes” got shoved inside the sleeve of “Wanna Buy A Bridge” and the two became one. Helás has the heft and the violence of boots treading across concrete en masse but within that is the lightness and the style of a dark smokey room filled with people wearing dark glasses and considering the inevitability of the pointlessness of existence…off the dance floor anyway. (Jonah Falco)

Eine historische Begegnung zwischen zwei der größten und legendärsten Bands des ehemaligen Jugoslawiens: LAIBACH - international anerkannt für ihre kompromisslose Auseinandersetzung mit Ideologie, Ästhetik und Macht - präsentieren "Die Kanone". Dabei handelt es sich um eine Neuinterpretation von "Top", der ersten, 1974 veröffentlichten Single von BIJELO DUGME, den Pionieren der jugoslawischen Rockkultur, gegründet von Goran Bregovic. Gemeinsam verwandeln sie einen historischen Song in ein neues Statement über die Zyklen der Geschichte und die Mechanismen, die die Gegenwart prägen - ein Werk, das tief in der Kulturlandschaft des ehemaligen Jugoslawiens verwurzelt ist, aber ebenso deutlich darüber hinausweist. Die Version von Laibach, unter Mitwirkung von Bijelo Dugme und insbesondere Goran Bregovic an der Gitarre, erschien 2025 digital, sowohl in deutscher als auch in slowenischer Sprache. Nun zusätzlich von DIE KRUPPS, THE LINCOLNSHIRE POACHER, BLACK DOT und dem RTV Slovenia Symphony Orchestra neu gemischt und interpretiert, um die allererste physische Veröffentlichung auf 12"-Vinyl und CD zu vervollständigen. Mehr als fünfzig Jahre nachdem das Debüt von Bijelo Dugme ein neues Kapitel in der Geschichte des Balkan-Rock aufschlug, greifen Laibach dieses ikonische Material auf und interpretieren es in ihrer eigenen, monumentalen Klangsprache neu. Das Ergebnis ist ein Dialog zwischen zwei Epochen, zwei künstlerischen Visionen und zwei Herangehensweisen an die Symbole, durch die sich Gesellschaften selbst definieren. "Die Kanone" ist nicht bloß eine Neuinterpretation eines historischen Songs - es ist ein zeitgenössischer Kommentar zum sich wandelnden Verhältnis zwischen Industrie, Technologie und Militarisierung. Der Titel evoziert den Wandel der industriellen Produktion und die beunruhigende Neuausrichtung etablierter Fertigungstraditionen hin zur Herstellung von Waffen und Kriegssystemen. Durch das Aufeinandertreffen der ursprünglichen Rock-Mythologie von Bijelo Dugme und dem Industrial-Ritualismus von Laibach untersucht der Song, wie wirtschaftliche Macht, technologischer Fortschritt und militärische Ambitionen miteinander verflochten sind. Das Stück reflektiert eine Welt, in der die Sprache der Produktion zunehmend mit der Sprache des Konflikts verschmilzt. "Die Kanone" und die slowenische Version "S topom te bom ciljal moja mala" erscheinen erstmals physisch, mit Remixen der deutschen Industrial/EBM-Legenden DIE KRUPPS (die eine episch-wuchtige Version beisteuern, welche ein Hit in ganz eigener Sache ist), des britischen Produzenten The Lincolnshire Poacher sowie des slowenisch-kroatischen Elektronik-Duos Black Dot. Der sechste Titel der 12"-Vinylversion ist eine Live-Aufnahme aus der Oper von Ljubljana, eingespielt mit dem RTV Slovenia Symphony Orchestra. Erhältlich ist klassisch schwarzes oder limitiertes farbiges Vinyl sowie CD mit zwei Bonustracks (iTurks Symphonic Mix der slowenischen Version und eine Instrumental-/Karaoke-Version). Beide Formate mit Obi-Banderole.

,Yaphet" ist das neue Album des Rappers Curly Castro - auch bekannt als eine Hälfte des dynamischen Duos Shrapknel - das am 18. September 2026 bei Backwoodz Studioz erscheint. Auf ,Yaphet" lässt sich Castro vom Blaxploitation-Filmgenre der 1970er Jahre inspirieren; die schwarzen Helden und Antihelden jener Zeit dient ihm als Sprungbrett für seine filmische Lyrik. Die Flows wechseln so mühelos wie Kamerawinkel, die Strophen sind gespickt mit Anspielungen und Zweideutigkeiten - eine Rap-Meisterklasse, die man endlos wiederholen kann. Aber ,Yaphet" ist auch Castros erstes Soloalbum seit ,Little Robert Hutton" aus dem Jahr 2021, und hinter dem Feuerwerk spiegelt dieses Album die Tiefe seiner Erfahrungen in den dazwischenliegenden Jahren wider. ,Ich hatte nicht vor, so ehrlich über mein Leben zu sein, aber genau das ist dabei herausgekommen, und das Album ist dadurch besser geworden", erklärt Castro, ,vom Tod meiner kleinen Tochter über den Tod meines Vaters bis hin zur Konfrontation mit meiner eigenen bevorstehenden Sterblichkeit - das sind meine verwundbarsten Klingen, die meine tiefsten Wunden aufreißen." Genau wie Castro marschiert auch diese Platte im Takt ihrer eigenen Trommel, und täuscht euch nicht: Es gibt jede Menge Trommeln, mit denen sich der erfahrene MC messen kann, wie nur er es kann. Komplett produziert vom Milwaukeeer Beatmaker Locust, ist ,Yaphet" ein schwungvolles, vielseitiges Hörerlebnis, das seinen Einflüssen zunickt, ohne jemals zurückzuschauen. Castro wird von einem Wirbelwind der Besten des Genres begleitet: billy woods, PremRock, Fatboi Sharif, Brian Ennals, SKECH185, Blueprint, AJ Suede, shemar, ALASKA, Sunmundi, blackchai und Margel the Sophant.

a 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]


[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]

[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]

[i] 1.9THE DELECTABLE NEGRO [FT. MARGEL THE SOPHANT]
[j] 1.10RINZLER WRECK [FT. ALASKA]

[l] 1.12NEW MUTANTS [FT. SHEMAR, BLACKCHAI, & SUNMUNDI]

[a] 1.1BLACK DON'T CRACK [FT. FATBOI SHARIF, BLUEPRINT, BRIAN ENNALS, SKECH185, ...]


[d] 1.4ENEMY-MINDED [FT. MARGEL THE SOPHANT]

[f] 1.6RAILROAD SPIKES [FT. MARGEL THE SOPHANT]
[g] 1.7BLOOD IN THE GARDEN [FT. PREMROCK]

[i] 1.9THE DELECTABLE NEGRO [FT. MARGEL THE SOPHANT]
[j] 1.10RINZLER WRECK [FT. ALASKA]

[l] 1.12NEW MUTANTS [FT. SHEMAR, BLACKCHAI, & SUNMUNDI]

Kool Keith - Wall Street / Rework by Mister Modo & Ugly Mac Beer
We teamed up with the legendary Kool Keith on « Wall Street », originally produced by Junkaz Lou. Mister Modo & Ugly Mac Beer completely flipped the track with a fresh production hence the Rework title instead of a classic remix

You are Spring!" beginnt mit einer gewundenen Klangwand, A-cappella-Stimmen, die sich in üppiger Harmonie überlagern und den halb-titelsgebenden Frühling besingen. Sofort entführt uns Tasha aus dem tristen, grauen Winter in eine Welt voller Bilder und Empfindungen von neuem Leben. Stell dir vor: ein Feuerwerk aus glockenförmigen Blüten; Rosa, Citrin und Buttergelb; der Himmel klar, eine Lunge voll Blau; Wärme, überall, die die über den Winter geheilte Haut küsst und sich nach Berührung sehnt; Leichtigkeit nach dem Leiden; ein tiefer Atemzug nach dem Ersticken. "Don't die now / There's life to be found now,", beginnt sie. In Texten, die von Gwendolyn Brooks' Gedicht "To The Young Who Want To Die" inspiriert sind, formuliert Tasha die These dieses Albums mit exquisiter Präzision. Es gibt Jahreszeiten der Härte, Jahreszeiten der Schwierigkeit, ja. Aber hier, in diesem Album, meditieren wir über den Frühling über eine Zeit des Feierns, die umso süßer ist, weil wir wissen, was man ertragen muss, um dorthin zu gelangen. "Alive now / It's spring now / Alive now / You're spring now" schließt sie, getragen von den samtigen Stimmen von Jamila Woods und Taja Cheek von L'Rain, die auf diesem Track zu hören sind, und lädt uns in die paradiesische Schatzkiste ein, die sie hier geschaffen hat. Für Tasha ist der Frühling ein Ort, an dem wir ankommen, aber auch ein Zustand, in dem wir uns befinden, eine Art, wie wir geworden sind. Wenn sie darüber spricht, was das Album ihrer Hoffnung nach vermitteln soll, erläutert sie die Bedeutung von "You Are Spring!" weiter und sagt: Es ist eine Art zu sagen, dass du das bist, worauf sich andere Menschen freuen; du bist das, worauf wir warten; du bist das Schöne." Wenn es im vorherigen Album um Sehnsucht ging, darum, sich nach einer Fülle zu strecken, von der du weißt, dass sie kommt, dann ist "You are Spring!" eine Gelegenheit, innezuhalten und alles in dich aufzunehmen, sobald du in deine Fülle eingetreten bist. Das heißt, You Are Spring!" ist in seiner Aufmerksamkeit für die Glückseligkeit so eindringlich wie sein Ausrufezeichen, aber es hat auch einen klaren Blick auf die Welt um sich herum. Die zweite Hälfte des Albums bewegt sich auf diesem schmalen Grat zwischen Wonne und Untergang. Sieh dir zum Beispiel "Actor" an und seine Auseinandersetzung mit den Gesten, die wir in einer Liebe machen, die hohl geworden ist, gefolgt von Special" und seinem aufwendig arrangierten Klangteppich, komplett mit Tashas Klarinetten-Debüt. Im letzten Titel, Quick!", steigt Tashas Stimme in einer fast Stephen-Sondheim-artigen Tonfolge empor und drängt uns singend: "Quick! See how this beauty rushes by?" Es gibt Dissonanzen im Klimpern der Akkorde, das Keuchen ihrer Finger, die über den Gitarrenhals gleiten, eine raue, fast wie von einer Kassette klingende Qualität der Produktion, wieder von Gregory Uhlmann. Aber wir werden noch nicht aus dem Garten vertrieben; der Song klingt langsam aus, zurück in den Glockenblumenhain von Tashas sanftester Stimmlage. "You Are Spring!" fordert uns heraus, uns an unserer Gegenwart zu erfreuen, uns selbst als die lang ersehnte Jahreszeit des neuen Lebens und Wachstums zu sehen. Und wenn der Winter wiederkommt, wie er es immer tun muss, die Trauer sich einschleicht, Herzschmerz vor der Tür steht, gibt Tasha uns etwas, an dem wir uns festhalten können. Die Gewissheit, dass der Frühling wiederkommen wird, selbst dann. Dass die Schönheit und Fülle, die uns jetzt umgibt, uns wieder umgeben wird, noch einmal.

Los Angeles-based producer, composer and multi-instrumentalist Dexter Story returns with his sixth album, T'som (pronounced sawm), a deeply personal work inspired by the spiritual practice of fasting. Meaning "fasting" in the Afro-Semitic languages Tigrinya and Amharic, as well as in Arabic, Tsom represents a time of prayer, reflection and discipline across northeast Africa. Guided by this tradition, Story draws on the musical heritage of the Horn of Africa and musical traditions of the Middle East to create a spiritual jazz album that reflects on devotion, transformation and the power of letting go. Working with frequent collaborators Carlos Nino, Sudan Archives, Kamasi Washington, Jimetta Rose and Kibrom Birhane, the album touches on themes of reflection, inner poise and a quest for deeper connections, bound by explorations of traditional rhythms from the Horn of Africa. Named after jazz saxophone legend Dexter Gordon, Los Angeles-based multi-instrumentalist, composer, arranger, music director and producer Dexter Story is one of the key figures in the city's vibrant creative music scene. Renowned for his genre-defying approach, he has collaborated with an extraordinary range of artists, including Carlos Nino, Madlib, Kamasi Washington, Build An Ark and Gaslamp Killer. His acclaimed solo albums Wondem and Bahir, released by Soundway, established him as a distinctive voice at the intersection of jazz, African music and contemporary production. Most recently, Story produced Mulatu Astatke's acclaimed studio album Mulatu Plays Mulatu, further cementing his reputation as one of today's most sought-after creative producers and musical collaborators.

Belfast artist ffolliott draws on family archive and analogue sounds for debut album full of life and texture.

In a world awash with AI slop, here is the antidote. Written and recorded over five years in a Belfast home studio, ffolliott’s debut album Gree leaves the hiss, crackle and instability of life intact - pairing a deeply personal record with decades of artwork and sketches from his late father’s archive.

Released via Kitto Records, Gree is built from vinyl samples, analogue equipment, and intimate guitar with vocals laced with fragments of childhood memory. The album also features unexpected contributions from Grammy Award winning artist Kaidi Tatham. Gree is just the second release from the idiosyncratic artist ffoliott, following IDKWHY, which was released quietly as part of Rhythm Section's Shouts 2021 compilation, and went on to garner millions of streams and support from tastemakers across KCRW, NTS and BBC Radio.


“I generally found that the more I leaned into anything I didn’t like about my music, the more I would end up writing songs that meant a lot to me.” - ffolliott

EPILOGUE is the culmination of more than four decades of music-making by Japanese composer, producer and multi-instrumentalist Ken-ichiro Isoda, an album in which environmental sound, electronics, contemporary classical composition and memory converge into a deeply personal late-career statement. Isoda moved through video-game music, film composition, classical production, Okinawan music, television and collaborative projects, continually developing an approach in which acoustic instrumentation, field recordings and electronics could coexist naturally.



His collaborative album Interwoven with aus, released through WRWTFWW, further demonstrated the openness of a musical philosophy Isoda describes as being rooted in fluctuation, imperfection and organic movement.



EPILOGUE brings those threads together while refusing to function simply as a retrospective. The album consists largely of older compositions that Isoda has returned to, reconstructed and reinterpreted from the perspective of the present.



Opening track “TANEKOMA” refers to the Izu Robin, a rare bird native to Hachijō-jima, the volcanic island where Isoda lives. Its song, recorded by Isoda in the mountains, becomes part of the composition itself. Placed at the beginning of the album, “TANEKOMA” becomes both document and prayer.



Elsewhere, “Circulation 2” develops from a work created around the relationship between forest, sea and the movement of water. Flutist Dogen Kinowaki replaces Isoda’s original piano melody with a performance that gives the piece a distinctly Japanese sense of place. Kinowaki also appears on a newly reimagined version of “Beach of the Pliocene”, one of Isoda’s most recognised compositions.“STEPS”, first composed for film in 2008, looks back toward the electronica of that period. For this definitive version, Tsutomu Sonoda of maya ongaku provides vocals, bringing new emotional and lyrical depth to a piece Isoda had wanted to properly complete for more than a decade.



The title track from Isoda’s 1991 New Age album “Yume no Sazanami” is similarly reconsidered. Originally recorded with a small chamber orchestra, the new arrangement replaces elements of the harp and cello with layers of nylon-string guitar performed by Tatsuro Murakami. Perhaps the album’s clearest meeting point between past and present is “WATERWAYS.”The mysterious European ambient artist Aiko Takahashi, transforming an abandoned demo into what is simultaneously the oldest and newest work on the album.



“A Flowering Tree,” written for film in 2013, is reconstructed around multi-tracked flute performances by Dogen Kinowaki. Isoda carries that association into his own arrangement, allowing the piece to function as another quiet meditation on memory, loss and hope.



The album closes with “EPILOGUE” —less a grand conclusion than a moment of acceptance. Isoda chose it as the album’s title piece to hold what he describes as the complex emotions that accompany the twilight of a life spent making music. EPILOGUE is not simply a look back. It is the sound of older music continuing to move, change and breathe in the present: a lifetime of ideas distilled into Isoda’s own form of pure music, shaped by memory, collaboration, nature and the world immediately outside his home on Hachijō-jima.

Der Komponist, Produzent, Musiker und DJ Floating Points, alias Sam Shepherd, präsentiert „Mere Mortals“, seine erste Ballettpartitur in voller Länge. Das Ballett, das von Tamara Rojo, der künstlerischen
Leiterin des San Francisco Ballet, in Auftrag gegeben und inszeniert wurde, mit Choreografie von Aszure
Barton und Bühnenbild sowie visuellen Elementen von Hamill Industries, interpretiert die Geschichte von
Pandora in einer Verschmelzung von Mythos, Musik und Bewegung neu. Das mit dem San Francisco Ballet
Orchestra für die Deutsche Grammophon aufgenommene Album mit 14 Titeln ist eine kraftvolle Mischung
aus elegischen Streichern, apokalyptischen Blechbläsern und pulsierender Elektronik. Von der lyrischen
Solovioline in „Hope“ über die Dissonanzen und die hämmernden Percussions in „Rage of the Gods“ bis
hin zur exquisiten Harfenmelodie in „Her Gift“ vor der unheimlichen Atmosphäre von „Opening of the Jar“
ist die Partitur reich an Textur und Wirkung. Orchesterklänge tauchen aus einem elektronischen Dunst auf
und spiegeln die zentrale Frage des Balletts wider: Wo endet der Mensch und wo beginnt die Maschine?

Disco Collected celebrates the dance music which originally developed from R&B, soul, and funk from the late 60s and 70s and turned into a mighty subculture in discotheques, with Studio 54, Manhattan, New York as one of the most famous and extravagant discos all over the world. Disco used a steady four to the floor beat, string sections, horns which created a perfect setting for DJs who mixed their special 12 inches to an eager dance crowd.

Movies like Saturday Night Fever and Thank God It’s Friday contributed to disco’s mainstream popularity. Compiled on Disco Collected are some of the best, well-known and great disco hits by Rose Royce, Chic, Kool & The Gang, The Trammps, Thelma Houston, KC & The Sunshine Band and 16 more guaranteed floor fillers.

The 2LP Disco Collected is available as a limited edition on disco ball silver vinyl and includes an insert.

2026 Repress

DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.

The 3rd Loop Progression release leans heavily into 90s jungle vibes, with Frozen in Time by Champa B taking us on a sci fi odyssey with epic pads and intricate amen patterns, all tied together with a spoken word sample which sets the tone for the release.

Replay continues on the retro theme, with Peeb and Pixl slowing things down slightly on Replay. Lo-fi breaks, pads and a bouncing 808 b-line.

On the B Side Galvatron switches things up slightly with Push, a footwork jungle stomper with metallic breaks and a huge 808 bass, guaranteed to get the dancefloor moving.

Finally the release is rounded off with a remix from the mighty Tim Reaper, putting his own twist on Pixls track Galaxy Dub (originally released on LOOP001)

John Weldon "J.J." Cale was an American guitarist, singer, and songwriter. Though he avoided the limelight (being temperamentally averse to celebrity), his influence as a musical artist has been widely acknowledged by artists like Mark Knopfler, Neil Young, and Eric Clapton, who described him as one of the most important artists in the history of rock.

J.J. Cale is considered to be one of the originators of the Tulsa Sound, a loose genre drawing on blues, rockabilly, country, and jazz. Cale unfortunately passed away in 2013, but his legacy lives on. Number 10 is Cale’s 10th album and contains another wonderful and laid back/mellow collection of typical J.J. Cale tunes. "Traces", "Artificial Paradise", "Low Rides" and "Jailer" are considered part of his best 1990s songs.

Number 10 is available as a limited edition of 1000 numbered copies on turquoise vinyl, and includes an insert.

Duality Trax reaches its tenth release with a defining moment for the label, as label boss Holly Lester steps forward with her debut EP. A personal milestone as much as a catalogue marker, the record channels sounds that have shaped her sound to date - early tech house, the low-end swing of UK garage and breakbeat, the rolling pulse of mid- 2000s European dancefloors, and the emotional lift of ’90s progressive house - all refracted through a distinctly personal lens. Open Your Mind sets the tone with a sense of lift and release: a wide, expansive bassline carries skippy, garage-tinged percussion, while bright piano stabs cut through guided by playful, restless FX. Big Fill pivots into tougher territory, a driving cut built on a rolling sub that pulls you into the groove - equal parts pressure and introspection, with moments of dreamlike suspension between the weight.

On the flip, Tanit drifts into more atmospheric space —an ode to Ibiza that still carries a distinctly UK undercurrent. A squelching, elastic bassline and cheeky, garage-leaning wubs provide a foundational groove but everything around it drifts: gated synths shimmer, drums sparkle, half-heard vocals dissolve into the mix and the track unfolds with a blissed-out, cruising energy. It feels just as natural in a dark room as it does out on open water, coasting past Formentera. For the remix, Holly turns to one of her favourite producers of the moment, DJ Life, who draws Open Your Mind into deeper waters. The Berlin via Australia producer stretches the groove into something more hypnotic and submerged, a patient 5am burner that lingers in the air,equally at home in basements, afterhours, and those inbetween moments as night slips quietly into day

New dope release is coming on Macadam Mambo!

We are very glad to present this masterpiece of contemporary leftfield music by Pieter Kock and Nate Davis under their project ‘Sports Café’. If you liked the previous 2xLP of Pieter (The End ll), you will love this new one pairing with Nate. The 2 buddies deliver the perfect soundtrack for lazy afternoons and kinky listening session: put the record on the turntable, play ON, first pop, the feelings is good, you want to chill, you go in the fridge, you open a can of beer, sit on the sofa, start to roll your cigarette, the guitars (Vini Reilly style) are playing, the acid lines show up, nice melodies are coming, nice synths too, little vocals here and there that can remind some sort of PMU’s cafe rooms vibe (it’s from where the name of the project is coming from)… it’s cool, yeah baby, you enjoy, you feel good!!, the more you listen to it the more you love it… A proper shroomy excursion if you are into the trip. Trust us this album is a must have, big TIP ;)

Sometimes things go quickly. After meeting Canadian artist Pascale Project early this year (twice in one month) on the same dancefloor of a crusty underground club in Neukolln, we sent this Berlin-based DJ and producer a short appreciation email to show curiosity and interest in her unreleased music. Our hope was to listen to it and maybe just maybe start a record-release project. Pascale sent back quickly, and she shared some fantastic club music with us. We had separate listens to the full playlist, and, funnily/coincidentally, we chose the same 4 tracks as highlights from the big playlist. One week later, Pascale emailed us back, mentioning the tracks she would feel/see/love to be released on the label, and they were the exact same ones we had naturally and unanimously chosen. Stars aligned for sure. Having long been active in the Montreal music scene, Pascale absorbed the essence of all her different experiences and years of training and creating, and then let it all start Sparkling into the 22nd Basic Moves release entitled "Watch EP". The record is based on the concept of losing and breaking things up, and eventually finding it all back. Reflecting hope in between the fog of life. It is clever modern underground club music rooted in the textures and energies of the golden days of progressive house, breakbeats and (real!) tech-house. These 4 tracks reflect an artist who expresses herself honestly, fully understands how to creatively arrange and produce club music, and never loses sight of the dancefloor, as she is often found on that dancefloor herself. Dive in and let us know what you think of it. We are stoked to play out and vibe on these tunes for real!

Who would expect that a new Krautrock release on Macadam Mambo would come from a Japanese band called Heavenphetamine?! The duo/couple have been touring all over Europe in the past two years, and started to build a serious fan base, as every performance they deliver is leaving an imperishable memory. This is on a date in Belgrade at Karmakoma that they met with Sacha. They had this album recorded and auto-release on tape but not on vinyl, and it came completely naturally to decide to release it as a LP on Macadam Mambo. The tracks on the album are new versions a bit different from the tape, let’s say a bit more mature and minimal than from the first ones recorded and give the feeling of listening to a masterpiece in the genre. It can be dark and profound but also enough light to bring back this little sun that has trouble to shine in the winter. This album has been highly influenced by their experience with the war in Ukraine, and the friendship they made there, where it has been recorded, and it express this mix of emotions due to the feeling of exasperation and the hope to see someday this conflict come to an end and the relief of the peace…

The annual Bonkers Music compilation is back with another dose of high-energy bangers. For its seventh anniversary, the series takes a fresh step forward, exploring a slightly evolved musical direction while keeping the distinctive sound that defines it. “Year VII” lands on 12” vinyl.

A1 David Meyer & Ludviq – Mandanga 2.0 (Feat Nick Hanzo)

The collaboration between Ludviq and David Meyer strikes a compelling balance between tension and movement. Drawing from underground electronic influences, Mandanga 2.0 evolves through hypnotic layers, acid-driven momentum, and a powerful groove, resulting in a distinctive cut that feels both immersive and uncompromising. Mandanga 2.0 is a dark, hypnotic electronic track built around squelching acid sequences, deep rolling grooves, and haunting vocal elements from Nick Hanzo. Atmospheric textures and a relentless rhythmic drive create a tense, immersive journey through shadowy soundscapes, blending raw energy with a refined sense of space.

A2 Neskeh – Liquid Sky

A raw trip built entirely around samples from Liquid Sky, Neskeh’s one of all-time favorite films. Crunchy saturated highs, basement-shaking low end, heroin-soaked wonky vocals, and freaky alien leads drifting through the mix. A warped tribute to an iconic soundtrack. Welcome to the space trippy club

A3 Your Reference – Afterparty

Julia Konor aka “Your Reference” one of the hidden gems of Barcelona’s underground scene, lands for the first time on the label with “Afterparty”
”Afterparty” draws inspiration from abandoned industrial spaces, empty warehouses, and nights where the only thing that mattered was the music. No rules, no expectations. Just raw energy, dusty air, concrete, and people completely immersed in the moment. The track is a personal postcard from that world.

B1 Lebollet & Mar Bravo – Aleta

“Aleta” is one of those Colombian words that somehow made its way into our shared language. We use it for raw, intense, dark tracks. Hard to translate. Makes sense when you feel it.

B2 Funboys – Skin In The Game

“Against the persistent ebb and flow of a breaking heart’s pulse, echoes of half-faded memories tease your attention… On the edge of forgetting, you can almost remember. And then it hits you – the coalescence of feeling into colour and form, warm in its familiarity, powerful in its simplicity. Uncanny, because it was right there all along. Don’t hold your breath… Listen!”

B3 Milla Campollo – Brote Psicodélico

“Brote Psicodélico” emerges from a hypnotic intersection of acid rhythms, psychedelic textures and raw downtempo energy. The track slowly unfolds through repetition and movement, creating a constantly evolving state between tension and release. Dark, trippy and physical, it is built around a groove that pulls you deeper with every layer. Distorted elements and acidic patterns weave in and out of the rhythm, giving the track an organic yet alien character. A journey designed for listening, less about following a linear narrative and more about entering a state of mind, where the boundaries between rhythm, body and psychedelia begin to blur.

Plus Plus Traxx is here and we open things up with the label’s main guy, Louie Fresco, and his bass-heavy track "###" (Pound-Pound-Pound).

A track that feels like it was made by a mad A.I. on shrooms inside a lab on a remote alien spaceship. Breaks weaving through glitchy sounds and creepy leads make this tune a certified secret weapon for those DJs who truly dare to break the mold and play outside the trendy shit.

Next up, we got a banger of a collab between CHKLTE and San Dee, who met inside the 16bit realm and cooked up a trippy minimal late night heater that feels like you're creeping through the Doom and Duke Nukem corridors, a tune that will definitely be making the after-hours rounds around the world.

Coming up on the B-side, we got none other than Harry Wills under his Brazen alias, doing what Harry does: dope basslines, intricate drum work, unique creativity, and overall trippy madness. 135 bpms of brazen dopeness.

And if you want more fuel in your engine, here comes Gojnea76, who turns the track "Passive Aggressive" on its head and literally kicks the “passive” out of the equation, delivering a bomb of a remix that will definitely be traveling in many great DJs’ record bags for years to come.
This is Freaky Friends Vol.1

Razor-N-Tape revisits Megatronic’s 2025 release ‘There’s Truth In Gospel’ with a diverse dance floor-focused package of remixes. Welcoming some new names into the RNT roster, Chicago-via-Amsterdam’s Jamie:326 and German-Nigerian JAMIIE both tackle “In Our Soul” with a pair of mixes that go respectively deep & soulful, and percussive & driving. Baltimore legend Karizma flips “All I See,” stripping down the soulful vocal of Fawziyya Heart and supporting it with stomping drums and loopy harmonic elements and Mexican duo Sotomayor deliver a dub afro-latin take on the passionate song “Mother.” This 12” takes a deeply personal concept EP and beautifully re-envisions it for the floor.

Kicking things off, Suavy AF sets the tone with a sensual, groove-driven cut that balances raw energy and playful finesse. Tight drums, cheeky edits and a laid-back swagger make this one built for both heads-down listening or late-night dancefloor moments. Lemon & Mint, showing they're not here to play it safe.

On the flipside, Synkro takes the original into deeper territory, stripping it back and reshaping it with weighty low-end and a more introspective swing. He offers a more hypnotic take that hits just as hard in its own way. A perfect counterbalance that rounds out the release with class!

Medusa Outdoor presents the third chapter of its Vinyl Collector series: MO_03 – The Vinyl Collector III, featuring six carefully selected techno tracks across different generations, curated by resident dj's Michael Forzza and Jochen Robberecht. The release brings together internationally renowned artists including Nicole Moudaber, Johannes Heil, Envoy, Frank Biazzi, Flug and Steve Nash. Among its highlights is the long-awaited return of Johannes Heil’s “Paranoid Dancer”, presented as a Re-Mastered Original and appearing on vinyl for the first time since its original 2002 release, alongside Envoy’s timeless techno classic “Dark Manoeuvres” and Nicole Moudaber’s powerful “Movin’ On”. From rare collector material and timeless classics to contemporary techno, MO_03 brings six outstanding tracks together on one distinctive bordeaux-coloured vinyl, housed in a beautiful gatefold sleeve. Six tracks. Different generations. One shared techno legacy.

Ever since the release of his first solo album more than 20 years ago, German musician and producer Christian Kleine has experimented with blending and contrasting the varying textures and approaches of post-rave IDM, breakbeats, shoegaze and punk. His latest album offering, Touch & Fuse, shows he's continued to refine and perfect that combination, which is less a conscious concoction and more of a natural outcome of the music he likes. From the edgy Aphex-isms of 'Val 2' and the heavily filtered breaks of 'Reverse Angle' to the slowed down grunge meets pure electronics of 'Return of the Underground', this is unique, accomplished stuff.

The highly acclaimed U.K post- punk band Joy Division was originally called Warsaw . Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band's name was taken from a David Bowie- Brian Eno composition, "Warszawa". The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group's existing repertoire: "Interzone" and "Transmission." "Interzone" was based on the backing track of the song "Keep On Keepin' On," to which the band added their own lyrics. The result was a song distinctively their own. "Transmission" was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley's The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.

In their countless years of deep digging, Dark Entries has uncovered many curiosities, oddball Italo and synth-wave creatures too rare to live, too funky to die. Dark Entries’s conservationist efforts began with 2020’s Endangered Species Vol 1. Six years later, we are finally treated Endangered Species Vol 2, an even more ambitious effort which features eleven specimens previously deemed extinct, now safely preserved on vinyl. Things kick off with an extended mix of Palazzo di Danza’s “Play That Song For Me,” a lavishly produced German-Italo number propelled by a slinky bassline. Russian Olga Vosconyan’s “Cars” delivers what might be the moodiest song ever produced for a car commercial.

Fuzz Dance maestro Alexander Robotnick appears with a previously unreleased male vocal demo version of “I Wanna Believe,” a legendary track that would later appear under the name Gina & the Flexix. Canadian industrial royalty Dwayne R. Goettel (Psyche) and cEvin Key (Skinny Puppy) team up on the horror-sampling hit-heavy blaster “Bastards.” Belgian EBM progenitors à;GRUMH... report for duty with a slab of machine funk on “The Army.” UK DIY stalwarts Khmer Rouge bring Krautrock-inflected minimalism with “Take Me (Across the Floor Tonight) In Dub.” Endangered Species Vol 2 comes housed in a sleeve designed by Eloise Shir-Juen Leigh, and includes a 16 page booklet featuring liner notes, lyrics, and photographs of each featured project. Please assist Dark Entries in their efforts to preserve the rarest of beasts (and beats).

„Song of Songs“ ist die zweite Sammlung von Hard-Bop-Avantgarde-Kompositionen des legendären Trompeters
Woody Shaw auf dem Label Contemporary, produziert von Lester und John Koenig. Mit einer hochkarätigen Besetzung, darunter Benny Maupin, George Cables und Henry Franklin, bringt diese Neuauflage von
Jazz Dispensary Top Shelf das Album nach fünf Jahrzehnten wieder auf Vinyl – geschnitten von Kevin
Gray direkt von den originalen analogen Bändern (AAA), gepresst auf 180-Gramm-Vinyl bei Fidelity Record
Pressing, in einer Gatefold-Tip-On-Hülle.

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

Inhibitions are to be checked at the door with the arrival of Farsa on Step Ball Chain. The inconspicuous (for now) Beirut based producer steps up for number 19 with an EP of intentional, timeless club music; deeply intimate, dynamic and understatedly sexy. Promiscuous Dubz is laced with an infectious bounce; that pure unadulterated groove which starts ground up and doesn’t stop til it hits you in the face and leaves you gathering your jaw. The 4 track record (+ exclusive bonus digital) features a bratty breakneck remix from label head(less) Roza T herself, rounding off a chic&freaky collection of introspective, stylish tracks for headphones or heads down in equal measures.

All tracks written, produced & mixed by Farsa in Beirut, Lebanon.
Mastered by Anne Taegert at Dubplates & Mastering.
Distributed by One Eye Witness.
Artwork by Dylan Batelic.

Shoal corrals three original solo productions into ISOTOOP’s fourth record, each demonstrating refinement of the artist’s sound and technique, finished by a fitting retelling of ‘Interlocking’ by Antony Linell.

It begins with helical hypnotism; ‘Strange Blue Knots’ drives directly forward on muscular bass, but pointillistic synthwork creates an aural illusion of a spiral aperture tightening; the landscape remains broad, but focus is drawn down to the loci of motion. All containment is blown away by the incomparable force of ‘Roxellana’. Here, the forward motion is not illusory but the irrefutable command of hurricane tailwinds. Thunder heralds full-band waves of unbridled sound, and though the rudder is surrendered to the billowing storm, no part of the weapon is directionless chaos.

Shoal’s tale concludes with ‘Interlocking’, a step back from the monstrous energy of the preceding track (anything and all would be); attention is built again on guile and quiet magnetism, commonly felt attributes throughout the artist’s repertoire. This concept of restraint as force receives a sharpening by Antony Linell, whose sonic influence is present throughout the record, like fossilised footprints. In the calm, sheltered lee of the mountain, the slope behind the wave’s punching crest, Linell’s calmer, stripped-back version feels like a fireside retelling of a myth; still full of the magnitude of the original events, the space surrounding the action is foregrounded. 

Every tale may be reduced to the same core elements: the hand; the knife it holds; vivid silence presaging the moment of action. Fitting that the tale of three parts is summarised by a fourth, wider perspective.

Mikkel Rev returns to A Strangely Isolated Place with Evocation, his third full-length album shaped deep within the forests of Norway. 
Since Mikkel’s debut, The Art of Levitation first arrived on ASIP in 2023, Mikkel has been quietly building his own corner of the label’s catalog. Last year's Journey Beyond expanded that vision further, revealing an artist increasingly comfortable balancing the emotional pull of early trance with a more reflective, ambient-leaning approach. While his work elsewhere naturally gravitates towards the dance floor through his own collective, Ute Recordings and other club-focused outlets, his ASIP releases have always evolved differently. Beginning with a larger body of material that’s gradually shaped together, each album seeks to find a narrative without a dancefloor in place; one that moves naturally between momentum and stillness, carrying something of the spirit found in those early-'90s records that drifted effortlessly between peak-time energy and the quiet hours in room two. 
Long-form compositions like "Step Inside" and "MRI" favor gradual development over immediate impact, while "Dream Sand" introduces shimmering rhythms that subtly shift the album's momentum and pace. The piano-led "The Infinite" offers a definitive nod to the enduring emotional pull of classic trance before "Sanitorium" closes the record with one of Mikkel's most restrained and affecting pieces to date.
Evocation continues Mikkel Rev's remarkable run on ASIP, extending a catalog where echoes of trance's formative years find new expression through the communal energy and natural surroundings of the Nordic forest gatherings that have become an integral part of his world.
Ventral Is Golden returns on artwork duties, with Lupo handling the mastering and cut. Released on August 28th as a gatefold double LP on dusty purple smoke and digital.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

Mit "Karaoke Bar" präsentieren Angus & Julia Stone ihr siebtes Studioalbum und schlagen erneut ein spannendes neues Kapitel in ihrer musikalischen Entwicklung auf. Entstanden auf Reisen rund um den Globus, vereint das Album die Eindrücke von Orten, Begegnungen und Momenten zu einer lebendigen, atmosphärischen Songsammlung. Erstmals setzen die Geschwister verstärkt auf elektronische Elemente, die den charakteristischen Sound des Duos erweitern und gleichzeitig die vertraute emotional-intime Klangwelt bewahren. Im Fokus steht dabei eine spürbare Leichtigkeit und Freude, die sich durch das gesamte Album zieht.

Gesanglich agieren Angus und Julia dabei enger denn je: im Wechsel, im Einklang oder harmonisch verwoben verleihen sie jedem Song zusätzliche Tiefe und Ausdruck. Die aufwendige Produktion unterstützt die erzählerische Kraft der Stücke und hebt die jeweilige Stimmung eindrücklich hervor.

"Karaoke Bar" fängt musikalisch wie lyrisch ein Gefühl ein, das zwischen Nostalgie, Melancholie und Gegenwart schwebt – und öffnet den Hörer:innen ein intensives Tor zu einem bewusst erlebten Moment.

Mit "Karaoke Bar" präsentieren Angus & Julia Stone ihr siebtes Studioalbum und schlagen erneut ein spannendes neues Kapitel in ihrer musikalischen Entwicklung auf. Entstanden auf Reisen rund um den Globus, vereint das Album die Eindrücke von Orten, Begegnungen und Momenten zu einer lebendigen, atmosphärischen Songsammlung. Erstmals setzen die Geschwister verstärkt auf elektronische Elemente, die den charakteristischen Sound des Duos erweitern und gleichzeitig die vertraute emotional-intime Klangwelt bewahren. Im Fokus steht dabei eine spürbare Leichtigkeit und Freude, die sich durch das gesamte Album zieht.

Gesanglich agieren Angus und Julia dabei enger denn je: im Wechsel, im Einklang oder harmonisch verwoben verleihen sie jedem Song zusätzliche Tiefe und Ausdruck. Die aufwendige Produktion unterstützt die erzählerische Kraft der Stücke und hebt die jeweilige Stimmung eindrücklich hervor.

"Karaoke Bar" fängt musikalisch wie lyrisch ein Gefühl ein, das zwischen Nostalgie, Melancholie und Gegenwart schwebt – und öffnet den Hörer:innen ein intensives Tor zu einem bewusst erlebten Moment.

The next WOLF Music EP is here, and once again it comes courtesy of a new addition to the label roster. New York-based DJ and producer DJ Alone Again is a natural fit for what we do at WOLF, delivering a sound that hits that sweet spot where deep meets soulful, with the raw, understated energy of the authentic New York underground running through every track.

With a growing catalogue of original productions and edits, DJ Alone Again has released music through labels including YORE Records, House Salad Music, Dobro, Fantin Zoo Records, and Dealt With Records. His musical roots extend beyond house, too. Earlier work with the band Vain Pursuit, alongside a wealth of SoundCloud mixes and underground edits, reveals an artist with a deep appreciation for melody, songwriting and the emotional side of dance music.

Opening the EP is ‘Freedom of House’, a sublime take on the classic NYC-meets-Chicago deep house sound. Warm, soulful and hypnotic chords sit at the heart of the track, surrounded by intricate, skippy percussion and a deep, driving bassline. Carefully placed female vocal snippets drift in and out of the groove, while a spoken-word ode to the freedom and self-expression that house music offers provides the track with its emotional centre. It’s a celebration of movement, individuality and that unspoken connection forged on the dancefloor.

On the A2, ‘State of Flux’ keeps those warm, evocative chords front and centre, building an infectious groove around an instantly memorable melody courtesy of the vibes. Subtle synth strings add depth and atmosphere, bringing a touch of late-night melancholy to the arrangement, while the rhythm rolls steadily underneath. Everything is expertly layered without ever feeling crowded, giving the chords, melody and percussion room to breathe whilst pulling the listener deeper into the track.

‘Horizontal Patterns’ takes the winning formula of ‘State of Flux’, adding a beautifully understated vocal hook that sums this track up perfectly: deep in the groove.

Closing out the EP is ‘In Your Orbit’, a serene, dream house number with a deeply hypnotic edge. Ethereal flute lines drift through the arrangement, weaving around vocal phrases that seem to lift the consciousness somewhere beyond the dancefloor. There’s a sense of weightlessness and escape in the arrangement, but the dance floor pulse courtesy of the warm chord stabs never lets you float too far away. Dreamy yet deeply rooted, it’s a meeting point between introspection and movement; music to lose yourself in.

If this EP had landed on Guidance 30 years ago, it would probably be changing hands for a small fortune on Discogs by now.

Instant classic material.

Landing on the 4th of September via his own imprint Knee Deep In Sound, ‘Obsessions’ is less a traditional dance record and more a reckoning — with where Daley Padley finds himself now, as an artist and as a person. Written across a period of constant movement, touring and introspection, the album holds the push and pull between intensity and stillness that has come to define his world.

This is an artist who started making music in Barnsley — long nights, small rooms, total commitment to sound. Those early marathon sets weren’t a stepping stone to something else. They were the foundation of everything that followed: global tours, chart success, the creation of Knee Deep In Sound, a career built entirely on instinct rather than expectation. Hot Since 82 has never followed a fixed path. He’s carved out a space that sits somewhere between underground credibility and global reach — and it’s that same restless, uncompromising approach that shaped this album.

“Some days feel heavier, some thoughts harder to hold. But music still reaches the places words can’t. It’s therapy and a reset button.”

That sense of release runs through the entire record. While rooted in house music, Obsessions doesn’t sit in one place for long — not to prove a point, but because that’s simply how Padley hears music. It moves between deep house, breakbeat, melodic electronica and full club focus as naturally as a conversation shifts tone. Moments of euphoria give way to reflection and tensions dissolves into release.

The album opens with ‘All That Matters’ — a track that feels immediately both expansive and intimate and sets the emotional register for everything that follows. From there it unfolds like a journey rather than a sequence.

Lead single ‘Shaded’, landing on the 12th June taps directly into classic house lineage while feeling unmistakably current — a bridge between where this music began and where it’s heading. Elsewhere, ‘Life’s Too Short’ and ‘Eternity’ introduce warmth and movement, weaving piano, breakbeat and subtle Afro influences into the album’s wider palette.

As the record progresses, the light changes. ‘Wow’ leans into darker, late-night territory — tension, restraint, a hypnotic centre. The collaborations with Kuuda on ‘State Of Mind’ and ‘Time’ bring the album back into full club focus: driving, physical, built for scale.

Timeless is a brand-new 10-track compilation featuring rare and unreleased studio recordings from Prince’s legendary vault. This unprecedented album encompasses tracks spanning every phase of Prince’s illustrious career, from 1977 to 2016. The project has been meticulously mastered by Grammy-nominated engineer and producer Chris James, a former Prince engineer whose notable credits include HITnRUN Phase Two, Art Official Age, and Plectrumelectrum. Timeless will be available on CD & black vinyl, providing profound insights into Prince’s creative process and musical evolution.