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Asake’s fourth studio album, M$NEY, marks a major evolution in his career, trading the frantic energy of his early hits for a more polished, cinematic sound. The project explores the intersection of material wealth and divine favor, framing his global success as a spiritual journey. Rather than just celebrating the "soft life," Asake uses this record to reflect on the discipline and faith required to maintain his position at the top of the music world.

Sonically, the album expands his signature Fuji-fusion and Amapiano roots with help from long-time collaborator Magicsticks and international producers like DJ Snake. Tracks like "Worship" bring high-octane electronic energy, while "Badman Gangsta" featuring Tiakola offers a sleek, R&B-influenced collaboration. Throughout the project, Asake balances these high-energy moments with orchestral strings and jazz elements, creating a rich, textured listening experience that feels both global and deeply rooted in Lagos street culture.

At its heart, M$NEY is a balance of celebration and introspection. In tracks like "Forgiveness" and "Gratitude," Asake addresses the pressures of fame and the personal growth he has undergone since his debut. He remains grounded in his Yoruba heritage, blending boastful lyrics with sincere thanks for his trajectory. Ultimately, M$NEY proves that Asake is more than a hit-maker; he is a visionary artist documenting his life and legacy with newfound maturity and style.

Posh End Music boss Fear-E returns with his second album ‘Descent into Ascension (Snapshots of a Mental State)’ this February. Recorded during a period of withdrawal and isolation, the release serves as a diary of a mental state as the producer worked through a period of challenging mental health. Here, he hones in on his primary love of techno bringing in influences of Bangaltar-ish French house and disco and also pays homage to EBM originators Nitzer Ebb.

RAWAX welcomes Jesse Maas to the artist Family!
We are very happy to present you the first (of many) releases from this very talented dutch artist!
Highly recommended!

RAWAX welcomes Demuja to the artist family!
We are very happy to present you this outstanding artist from Austria with his first release on CHIWAX. Great house vibes full of groove and good vibrations!
Highly recommended!

"On its Various 2 compilation, Altered Circuits returns with a gripping four-track selection by an equal number of distinct-voiced artists. Perrax En La Calle sees tINI merge sturdy drums, arpeggiated basslines, and ominous synth work. She knows what makes the floor tick blindfolded, and keeps the energy high here, channelling electronic body music and Italo into a contemporary club knockout. Up next is Ionic, a fusion of quirky, pointillist hooks that play call and response, driven by 909 kicks and a sub pattern underneath. Mogwaa spellbinds, and often pulls the rug only to reveal more intricate melodic needlework -- it's done so nimbly and enticingly, there's no way not to get drawn in. On the flip side, rising talent Desiree Falessi joins with the peak time Scandal. Statically-charged basslines mesh with reverb-drenched percussion salvos, and as slinky pads and subtle theme variations emerge, the intensity builds toward a tipping point. Closer Flex features a sharp arpeggiated bassline that funnels through misty, LFO-steered synths, scattered alarm-like melodies, muffled vocals, and gated-reverb snares. When classic high-pass modulation intermezzos are introduced, Monile demonstrates how sparse means, when deployed precisely, can sustain considerable tension."

(Remix by Komakino) (2025 Replika)
Ein monumentales Stück deutscher Rave-Kultur kehrt zurück: Mehr als dreißig Jahre nach der Erstveröffentlichung erscheint Joachim Witts „Goldener Raver“ im legendären Komakino Remix als originalgetreue 12“-Vinyl-Replika.
Als der Song 1995 erschien, markierte er die spektakuläre Transformation eines der profiliertesten deutschen Künstler in die Welt des Techno und Trance. Die Frankfurter Formation Komakino verlieh dem Track eine hypnotische Energie, die ihn sofort in die Playlists der großen Clubs katapultierte. Seit Jahren vergriffen und auf dem Zweitmarkt heiß begehrt, schließt diese Neuauflage eine schmerzhafte Lücke in jeder gut sortierten Vinyl-Sammlung. Gepresst auf schwerem schwarzem Vinyl (45rpm) und verpackt in der klassischen Disco-Bag mit Loch und Sticker, atmet dieses Release den Vibe der Neunziger aus jeder Rille.

After a pause since the pandemic, Sol Asylum returns to vinyl with the launch of SA-LTD, our limited white label series. To mark the occasion, we bring back one of our longest-standing artists, Pressure Point, who delivers a split EP that perfectly bridges his sonic worlds.


On one side, Pressure Point explores UK bass-heavy, acid-tinged sounds, while on the other, his alias D:fferent Place serves up modern, groove-driven house, highlighting an artist unafraid to push his own boundaries. We’re back at last, and couldn’t be more thrilled for it to be with the extraordinary talent, Pressure Point.

A decade ago, Taylor Swift was already a world-renowned and dominant force in the pop world. In 2014, she was on a world tour that took in a stop at Tokyo Saitama Arena on June 1st and the recording of it captures the electrifying energy of her sold-out performance during the iconic "Red" world tour. This live album showcases Swift at her early peak and delivering heartfelt ballads and powerful pop anthems with her signature charm and stage presence. Fan favourites resonate with emotion and live energy, while quieter moments like 'All Too Well' highlight her storytelling prowess. The Saitama Arena crowd adds to the magic throughout.

Black Moon Mother blends light and heavy soundscapes that pull from elements of Psych-Rock, Pop, Doom Metal and Shoegaze. Formed out of a Nashville music collective in 2017, the band put together a demo EP that became their live set, kickstarting their musical journey. At the beginning of 2018, Black Moon Mother began writing new material and continued the show-a-month ritual, while adding a new song to the live set one by one. January 2020 brought Black Moon Mother to Dark Art Audio in Madison, TN where they worked with engineer and producer Mikey Allred. Their newest album Illusions Under the Sun showcases an expanded musical depth and songwriting maturity, while exploring themes of nature, purpose, and perspective.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

A longtime favorite among Brazilian music collectors! Fafá de Belém’s take on Joao Donato´s ‘Êmoriô’ and ‘Naturalmente’ strip away the originals’ sophisticated arrangements in favor of a more driving groove and a raw, funky edge that makes them absolute dancefloor weapons.

First time 7” reissue, cut at 45 RPM !

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Singer and actress Fafá de Belém is one of Brazil’s most beloved and popular artists. This vinyl single from 1975 marked the very beginning of her long and successful career in Brazilian popular music and, over the years, has become a highly sought-after collector’s item among DJs worldwide.

The record features two tracks, ‘Êmoriô’ and ‘Naturalmente’, written by João Donato alongside Gilberto Gil and Caetano Veloso, originally released on his album “Lugar Comum” that same year. Fafá de Belém’s versions, however, strip away the originals’ sophisticated arrangements in favor of a more driving groove and a raw, funky edge that makes them absolute dancefloor weapons.

Words from the label:

High-octane DC techno drawing from the city’s current atmosphere of tension and angst.

After a peaktime 002 release on Floorspeed just 8 months ago, DC resident techno heads James Bangura & JR2k kick it up a notch with a round 2 of wall-to-wall intensity.

JR2k goes 0 to 60 on the A side with “Hardcore DC” and “Fever Dream” – both tracks road-tested, lifted straight from live set performances earlier in the year and ready to burn a hole through a soundsystem near you. Explosive, relentless and uncompromising techno from the mind behind the label.

Bangura enters the picture on the flip side, combo-ed with JR2k on “Accentuator” – a classic slice of 1⁄2 bar loop hard groove techno conceptuality reminiscent of 2000s Oliver Ho & James Ruskin collab heaters. “Defiance” finishes on a heavy beatdown note, with an extended middle breakdown to emphasize the tension and release of this 4-tracker.

After the release of long player ‘The Gospel Of Jesamy’, Arp Frique & The Perpetual Singers return with a heavy hitting 4-track EP entitled ‘Alpha & Omega’.

The Amsterdam-based multi-instrumentalist, composer and producer follows up his very well received gospelfunk album with a big chunk of funk fuelled, high energy spiritual music featuring some stellar vocals also present on the previous record:Texas born gospel singer Brandon Delagraentiss, longtime collaborator Marissa Nyamekye aka Mariseya and the legendary LA-born vocalist Rocq-E Harrell who - in her career spanning decades - has sung with Stevie Wonder, Patti Labelle, Earth Wind & Fire, and toured with Diana Ross and the legendary Barry White.

Mit „ALIENS“ schuf Radiorama 1986 einen echten ItaloDisco-Klassiker: futuristische Synths, treibende Beats und purer 80s-Space-Vibe. Der Track zählt bis heute zu den Highlights des Genres. Jetzt wieder als farbige Maxi-Vinyl
erhältlich.

Als besonderes Highlight enthält das Release neben den Originalversionen zwei exklusive Remixe von Flemming Dalum und DJ Tin Tin, die den Kulttrack neu interpretieren.

Ein Must-Have für Italo-Disco-Fans, Retro-Liebhaber und DJs

This release documents the legacy of Ranil, the Amazonian singer and bandleader who shaped a distinctive regional style blending cumbia, psychedelic textures and local rhythmic traditions. Born Jorge Raul Llerena Vasquez in 1935, Ranil rose from rural beginnings to front Los Silver's in the early 1970s before founding his own label, Producciones Llerena, to independently record his imaginative, genre-blurring music. His catalogue, long scattered across mismatched pressings, remains a vivid record of Amazonian creativity. Following his later career as a radio voice in Iquitos, this collection preserves key recordings and supports archival efforts that continue to highlight his cultural impact. Check the frisky percussion and euphoric vocals of 'Pueblo', the scratchy guitar and bustling funk of 'Bahia' or the lilting 'Albores De Mi Selva' for proof of just how irresisitble it still sounds today.

InDepth Imprint launches its debut release with a forward-thinking V.A. bringing together UFO95, Hadone, Raar, Initial Code and Clara D. The label focuses on bridging avant-garde sound exploration with club-driven functionality. This first release is built on audio material recorded during a collaborative residency at Willem Twee Studios, using its unique collection of mid-20th-century scientific instruments repurposed for music. Each artist was invited to explore their own creative path, resulting in a highly distinctive record where experimental textures meet precision-engineered techno. The outcome is a coherent yet diverse sonic statement that sets the artistic direction for InDepth Imprint: immersive, concept-driven and deeply connected to contemporary club culture.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This is the second of a two-volume release which presents a selection of the best songs from Guinea's Syliphone recording label. This volume focuses on recordings from the 1970s, when Guinea’s authenticité policy had transformed the nation's music through a network of over 30 orchestras, each representing their local region, and each presenting Guinean musical traditions alongside the influences of Cuban music, jazz and funk.

Five years on from her debut on the label, Surgeons Girl returns to Livity Sound with an EP of explorative, synth-rich techno. In the time since A Violet Sleep announced Sinead McMillan's fulsome analogue sound, she's maintained a considered presence with live, hardware-rooted performance and a select handful of releases.
On A Moment To Machine EP, McMillan showcases a widescreen strain of techno that leans into the expressive, emotional weight of powerful synth composition while maintaining a fierce physicality tuned up for the club. 'Under This Space' and 'Razor's Whip' dart along upwards of 150 without sacrificing depth and subtlety, while 'Steps Right' and 'Silken Place' shelve drums in favour of cascading arpeggios. 'Rested' brings balance to the record with needlepoint rhythmic exploration and pensive pads, rounding out Surgeons Girl's ever-developing, highly personal approach to techno.

What Soul Media, led by Jiro Inagaki, ultimately arrived at was a tight, cool, and ultimate groove.

As Inagaki himself has stated that he “played black funk” on this album, the explosive jazz-rock foundation he had cultivated up to that point is fused with the stickiness, elasticity, and physicality of black music—elevating his musical vision to an entirely new dimension. Combined with the masterful arrangements of Hiromasa Suzuki, the groove is polished to a high sheen, growing richer, more fluid, and subtly seductive.

Every track stands out: the vibrant, driving energy of “Painted Paradise”; the coexistence of funkiness and mellowness on “Breeze”; and the low-slung, razor-sharp cover of Kool & The Gang’s “Funky Stuff”.
Now regarded as a definitive classic, this album remains in constant demand from listeners around the world.