Cerca:house not electro

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

Forever Records

Music springs eternal. Recognising the enduring power of timeless albums to guide us through life, Forever Records is a reissue series dedicated to rediscovering lost musical treasures from across the spectrum of head-feeding, heart-rending electronic music.

Established by Rush Hour co-founder Christiaan Macdonald and Delsin founder Marsel van der Wielen, Forever Records places heartfelt faith in a carefully curated sequence of seminal, largely forgotten records from disparate eras, scenes and spaces within electronic music history. Tipped towards the mellow and introspective, these are albums that stop time when the needle hits the groove, stirring only when it's time to flip over before you sink back into the experience. That's what albums were always meant to be about, back then, right now, always and forever.


The Release:
Dancing on the wildest edge of the 90s outsider techno zeitgeist while proudly independent of any so-called scene, Ov Biospheres And Sacred Grooves: A Document Ov New Edge Folk Classics is both of its time and out of time. Rooted in the experiments of electronic music pioneers, industrial culture and ethnic music from around the globe while responding to the house and techno explosion, Robbert Heynen, Reinier Brekelmans, Reinoud van den Broek and Tim Freeman's freewheeling masterpiece takes in lush electronica and murky abstraction on its singular voyage through parts unknown.

Forever Records presents an extensive reissue edition of the first 'fully released' Psychick Warriors Ov Gaia album. Originally released in 1992, this is the first time the full, previously CD-only, version of Ov Biospheres and Sacred Grooves will be pressed on vinyl. The original LP and CD artwork from the various editions released in the early 90s has been combined and designed by the band, and the audio has been remastered with their full approval. As well as a new LP edition of the album, there will also be a uniquely numbered, limited edition available housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased tracks.

Press response to Ov Biospheres and Sacred Grooves - A Document Ov New Edge Folk Classics:

“That’s Magick! The Psychick Warriors Ov Gaia are Holland’s best kept secret.”
Sherman, NME, UK 1992

“PWOG’s debut LP is an organic invocation rite — the soundtrack to a new world coming to life, an odyssey. Cross-cultural rhythms, ambiences and environmental samples segue into one another like a fluid relay, and unlike the majority of dance records, it never settles into a routine. It’s always evolving, always unpredictable, an indefinitely religious experience.”
John Selzer, Melody Maker, UK 1992.

"Grown men, who snorted their first ecstasy to this record, stammered with tears in their eyes about divine experiences and the cosmos, man."
Peter Erik Hillenbach, Marabo Magazine, Germany 1992.

Sacred Grooves’ introduces tribal dance music for the mind, body music leaning on the avant garde. Its ripples of sound drift through tranced out ritualistic beats into ambience and serenity resembling something akin to The Orb meeting Klaus Schulze at a brain tuning session.
Sherman, NME, UK 1992

"There's still dance for a moment, in the opening track "The Challenge," then Psychick Warriors roam the earth, where African drummers, tropical sounds, and science-fiction chords have found their place in a spiralling interplay of rhythms and sounds. A captivating, almost magical ritual." Corné Evers, Oor Magazine, Netherlands 1992.

"It's truly astonishing what these Dutchmen have come up with for their first LP. Their roots might explain the enigma, for Psychick Warriors are more in the tradition of Psychic TV than in the desolate temples of techno-house fetishists, to which they are wrongly relegated. Here, chromosomes dance, not instincts." CMK, Tip, Germany 1992.

"The transcendental essence of this album is spread throughout, with musical gravitations emerging unexpectedly from sonic experiments that are sometimes primitive, sometimes
futuristic in intention… But there is always an aura of cosmic magic that constantly puts all the parts involved in conflict and which, upon closer analysis, ends up being the main reason for the final result." Blitz Magazine, Portugal 1992.

Freerange Records proudly presents SUN, the brand-new album from Crackazat - a radiant, genre-spanning statement and the long-awaited follow-up to his critically acclaimed 2021 LP Evergreen. SUN is Crackazat’s fourth album and his most expansive work to date: a rich blend of jazz, house, hip-hop, soul, and funk that fully steps into his own lane as a musician, bandleader, collaborator, song writer, and producer. Early radio support from 6 Music (Craig Charles), NTS and Jazz FM. Press/online support from Notion, Electronic Groove, Atwood, Earmilk & Magnetic Magazine.

Despite building their careers out of strikingly different musical places, both dBridge and Radioactive Man have taken influence from the field in which each other operate. dBridge (Darren White) was part of the iconic drum & bass outfit Bad Company and he helms one of the scene's most solid and quality imprints in Exit Records and Radioactive Man (Keith Tenniswood) was born from the acid house scene and the off kilter electronics of his Two Lone Swordsman projects (alongside Andrew Weatherall) which led him to create his decidedly UK take on Drexciyan electro. It's by no means a stretch to learn that both producers have crates that contain their favourites from each genre but they've also found a mutual respect and connection in the studio over the last few years, leading to the dBRm moniker for Craig Richards' The Nothing Special label.

PSY PSY SIS 'Live Your Life' The Chicago / Detroit Mixes. The remixes are VINYL ONLY and honour the sound of the Cities that started it all.

Ceri and Cici's recent debut as PSY PSY SIS, is the excellent 'Live Your Life' EP...

Hailed by DJ Mag as 'Robust House Rhythms, and with early support from the likes of; Bradley Zero, Ricardo Villalobos, Saoirse, Bashkka, Grace Sands, Panooc, NIKS, KiNK, Jeniffer Loveless and more...

They are now also dropping not one but TWO VINYL ONLY REMIXES from OG Chicago and Detroit legends; Mark Grusane and Gari Romalis Electronix.

Mark comes in with a US and UK garage inspired house rocker that builds tension and is sure to light up any dancefloor. Gari Romalis comes in with a refined house blend with that old school magic Detroit feel.

A must for any House Head.

Italy via Atlanta, say hello to Titino and “Sun Splicer”, the latest release on The Comfort. Three separate ideas connect this EP across 4 tracks. It toys with the expectations of its listener — core features morph as tracks progress, stable kick patterns turn to breaks and in reverse, simple stabs progress to melodic junctions. Acid permeates this record, not as a clear motif but a tinged essence. And it’s sincere, both to the setting of these pieces and where they’ll be listened to and what it honors.

“Shblasted” — a back-and-forth groove machine filled with dub sirens and stepped up acid. Clubby introduction meant for sacred dance floors.

“Ouachita” on the A2 is controlled chaos, snares fly around, synth lines seem to want to escape their own confines and it just bursts onto the listener. Then the keys come in, the groove stabilizes, pads become bigger and new life is given.

The B-side is playful. “Sun Splicer” is perhaps most aptly categorized by a now notorious idea of ‘electro house’, and the pure aggressive euphoria this track carries just might be that, but as we all know the Italians do it differently — it’s a heady dark excursion. “Existenz” is all-smiles no matter how menacing its first contact, a hook of a track that reimagines the weirder side of Italian trance — think Interactive Test at its most wonderful. The dusty snares feel like a balancing tool instead of an homage.

Roberto Zanetti, better known as Savage or Robyx, is without a doubt a fully realized artist. When he stepped into the world of dance electronics in 1983, success came instantly. Not only across Italy, but far beyond its borders. Alongside his own chart-defining run as Savage, Zanetti was simultaneously shaping the scene from behind the desk, developing talent and refining a signature sound that would define an era. By the late ’80s, Robyx was already an established powerhouse producer. Around that time, he wrote three tunes for Maurizio Felici, performing under the alias Wilson Ferguson. These tracks carried all the hallmarks of Zanetti’s late-’80s aesthetic: lush melodies, smooth, flowing arrangements and high-energy grooves built for the dancefloor. In Europe, where house music was rapidly taking over, this sound faced tougher competition, but in Japan, where Eurobeat was exploding into the mainstream, these productions were untouchable. Felici’s rich, throaty vocal delivery gave the tracks an unmistakable emotional weight and identity.

Responding to long-standing requests from fans, Vintage Pleasure Boutique now revisits the most melancholic and emotionally charged of these three recordings: “I’m Singing Again”, a bittersweet tale of lost love told through the language of Italo disco. It’s a perfect fusion of Savage’s late-’80s sonic elegance and a truly distinctive vocal performance.

For this new release, the story is pushed one step further with a fresh remix, slightly faster in BPM and clearly nodding to Robyx’s classic Eurobeat instincts, a version built to move bodies while keeping the original’s emotional core intact.

Dino Lenny returns to Rekids with the ‘Piano Lessons at Eight’ EP, complete with a Tal Fussman remix. It follows Lenny’s ‘Not About The Volume’ EP, released in December 2025.

London-based DJ, producer, vocalist, and Fine Human Records label owner Dino Lenny returns to Radio Slave’s Rekids with the ‘Piano Lessons at Eight’ EP 24th April 2026, alongside a remix from label regular Tal Fussman. The EP follows Lenny’s ‘Not About The Volume’ EP, which released late 2025, and won support from Laurent Garnier, Chloé Caillet, Catz ‘n Dogz, and more.

‘Piano Lessons at Eight’ centres Lenny’s own vocals over a dark, chugging rhythm that develops steadily, tracing a personal journey from formal piano training to the discovery of electronic music. The biographical thread running through the record gives it an identity that sits apart from purely functional dance music. Rekids regular and Survival Tactics boss Tal Fussman then provides the accompanying remix, a crunchy, percussive rework that brings his characteristic blend of deep house and raw techno to bear, adding melancholic piano stabs that add texture without crowding the arrangement. The outcome is focused, atmospheric, and built for extended play.

With releases on R&S, Diynamic, Innervisions, Crosstown Rebels, Strictly Rhythm, Bedrock, and his own Fine Human Records label, and collaborative work alongside Underworld, Missy Elliott, Wu-Tang Clan, and Madonna, Lenny holds a long-established position within both underground and mainstream electronic contexts. Consistently supported by Pete Tong, Solomun, Carl Cox, and Groove Armada, he maintains a presence that spans scenes without being defi ned by any single one. Since 2021, he has hosted Tomorrowland’s CORE radio show, platforming artists including Nina Kraviz, Ellen Allien, and DJ Tennis.

Originally from Florence, Italy, Elio made an impression in the Seattle underground through his deejaying at DAZED parties alongside his evolution as a producer. On his first vinyl EP, two original productions channel an early 2000s melodic minimalism with a touch for evocative composition paired with memorable grooves. A remix of each completes the record.

The title track “Still Love” opens the EP with a series of contemplative notes. As the bass stirs, the track expands, adding energy alongside the breakbeat. The synth unfurls in a melodic crescendo before pads add emotive accents.

Kurilo steps into the lab to reconstruct “Still Love” into an afterhours potion. The Ukrainian producer showcases the psychedelic and sumptuous grooves that established him as one of the finest purveyors of hypnotic tech house at Trance Pandemic. The influence of cinematic acid house washes over the driving groove.

“Vegas Jam” opens side-b and again emphasizes Elio's sense for musical composition and progression. Adding swing and jazz techniques to the synth melody, variations of the piano hook improvise blissfully above the rolling bass.

A warm yet powerful kick sets the tone for the final track of the EP. China's electro and techno wiz B.AI remixes “Vegas Jam” into a mind melting sensory stimulus. The remix gathers intensity and drive, an irresistible late night brain worm.

DJ Support: Paul Woolford, Machinedrum, Kettama, LDLDN, Sinistarr, A.Fruit, Machine Woman, Octo Octa, Paco Osuna, Bradley Zero, Tzusing, Lefto, Synkro, John Tejada, 12x12 and many more

BBC6Music - Gilles Peterson

NTS - LDLDN

BBC6Music - SHERELLE - DJ Mix and Interview

NTS - Ross Allen
Enter the kaleidoscopic world of Lone - returning to Greco-Roman for his first album in five years, ‘Hyperphantasia’

An artist who has been soundtracking dancefloors since the early 2000s, Lonemade his production debut in 2008 with “Lemurian”, a hip-hop inspired release before moving into the vibrant future-facing soundscapes we have come to know. His back catalogue ranges through house, rave, ambient and electronica, and on ‘Hyperphantasia’, Cutler sets himself the challenge to bring all of those influences together for one body of work that he describes ‘like an album in my mind’. Referring back to the album title, the definition of hyperphantasia is a condition characterized by exceptionally vivid and detailed mental imagery and for this album he tested himself to see how close he could get the music to sound exactly like what he was hearing in his imagination.

On Hyperphantasia, Lone deepens his relationship with vocals. Having previously relied on vocal samples or more abstract live vocal treatments, this latest album marks a shift toward richer, more pop-leaning sensibilities. Cutler makes a clear lyrical statement, enlisting a diverse and carefully chosen cast of collaborators: London-based artists and fellow Greco-Roman affiliates Ell Murphy and Lou Hayter, Barcelona’s breakthrough singer Bikôkô, cult Nottingham rapper Juga-Naut, and Hong Kong-born, London-based musician Merry Lamb Lamb. Together, they contribute to what stands as a career-defining project.

The end result is a cinematic experience exploding full of colour. You are introduced to the album with an old school rave anthem ‘Life Spark’ and an interlude welcoming you into this musical world. Like chapters in a novel, the album ebbs and flows beautifully between stripped-back melodies ‘Opening A Portal’, ‘Photographs That Don’t Exist’, ‘Sickly, Sweetly, Summer Movie’ and ‘Fruit Rots, Water Floats Downstream’, bubbling feel-good house ‘Affinity (Cloud Four Four Mix)’, ‘Triton’ and ‘ Wemove’, the rap-influenced ‘Throw The Ember’ and epic future-pop tracks ‘Miracle Mile’, ‘Big World’, ‘Scattergun’ and ‘Home’. The album ends with a full circle moment, back to the early hardcore and jungle rave scene, on ‘Ascenscion.png’.

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Getting back to simple things, Homemade EP is an allegory of a DIY mentality in an era filled with complexity and uncertainty.

The A-side leans into early-2000s electro and house, with tight drums and functional grooves.
"Rue des Loubards" (A1) kicks off as a groovy cut, filled with mysterious chords and sensual French vocals, layered with tight, driving drums. "Dreams" (A2) follows as an electro piece with aggressive synth riffs and cinematic vocals.

The B-side drifts toward a late-80s palette, with warmer tones and nostalgic feelings. "Godspeed" (B1) cleverly mixes Italo and new beat elements for a chiaroscuro effect. "Antwerp" (B2) closes the EP with a true journey, starting with trancey textures and skillfully drifting toward a synthpop conclusion.

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract. There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.

Unreleased Records is the label founded by Arodes, recognized for its afro-house, melodic, and club-oriented sound within the international electronic music landscape. Through a combination of high-quality productions, a strong and carefully developed artist roster, and an expanding live platform, Unreleased Records positions itself as a forward-thinking imprint that bridges underground credibility with international audience reach, and are now, after much demand, debuting on vinyl, with this standout 4 tracker EP with 3 tried and tested club bangers, and 1 unreleased gem.


So far, “Gwele,” “Don’t Mind,” and “Nothing’s Changed” have already been supported by heavyweights of the scene, including, Ante Perry, Black Coffee, Bluckther, Camilo Franco, Carl Bee, Chus & Ceballos (Ceballos), Cincity, Deer Jade, Djuma Soundsystem, Enoo Napa, Facundo Mohrr, Hyenah, Jonathan Kaspar, Joseph Capriati, Mauricio Brigante, Moeaike, Nicolas Masseyeff, Queen Rami, Sasha Carassi, Simone Vitullo, THEMBA, and Xinobi.

One of the UK’s rising talents in recent times, J6 continues his upward trajectory with an enormous four-tracker on underground fan favourites, Locked In Dam. The party starting crew go hand in hand with the refined J6 ethos, as he delivers a dynamite selection of tracks for your record bag. His familiar low end driven sound, combined with tinges of acid and futuristic textures moving between house and modern electro, shapes the ‘Devil Baby’ EP into a cohesive and powerful statement.

The title track is built upon powerful drums and squelchy, spaced-out tones, combined with trippy vocal stabs from Martina, who features on the record. This is prime J6 territory and not to be underestimated. Next up, ‘Biohazard’ introduces mysterious synths that create a transcending atmosphere, shifting the dance floor into the next gear with further twisted acid movements. On the flip side, the Manchester based beatmaker teams up with Ben Gough for ‘Time Capsule’, delivering pacey energy that never lets up, driven by nostalgic tech house drums and icy hi-hats. Rounding off the EP, ‘Emergence’ simmers with an emotive dark energy throughout; if we weren’t dancing with the devil before, we certainly are now.

A certain tip for the tastemakers amongst us, these are four dynamic dance floor cuts to be shared deep within the dark realms of the night.

WRWTFWW Records is delighted to announce the first-ever vinyl release of Art Form I, the overlooked 1997 compilation from Tokyo’s cult imprint FORM@ RECORDS, now available as a limited edition double LP housed in a heavyweight sleeve as part of the ongoing collaborative series between the Swiss and Japanese labels.
Originally issued only on CD, Art Form I is a fascinating deep dive into the rich and singular world of late ’90s Tokyo electronic music—an inspired collection of timeless IDM, techno, ambient, and electronica experiments. Showcasing a roster of visionary underground artists including fan-favorite Virgo (Landform Code, Remnants), the compilation maps the innovative spirit of the era: emotional machine music, intricate rhythmic architecture, mind-expanding textures, and the soulful heart that serves as the solid foundation of everything FORM@ RECORDS.
Art Form I reminds of the pioneering explorations from Warp’s Artificial Intelligence series, B12, The Black Dog, Ken Ishii, and early Carl Craig, all while maintaining its own distinctive local identity. This long-awaited vinyl edition offers listeners a fully immersive rediscovery of a pivotal moment in underground music.
Following the acclaimed reissues of Virgo’s Landform Code (1998) and Remnants (1999), the simultaneous releases of Art Form I and Art Form 2 (1998) continue the archival collaboration between WRWTFWW Records and FORM@ RECORDS, with a forthcoming vinyl edition of remix collection Re-Form Ver-1.0 (1999) to follow.

2026 Repress

After the promo version flew off the sleeves, now comes the full picture sleeve, yellow vinyl version of French live trio, Oden & Fatzo’s chart topping, house smash hit, ‘Lauren’ limited to 1000 copies. A bootleg experiment that got out of hand, Oden & Fatzo’s Radio 1 A-listed single is the accidental hit that everyone is talking about.

So how do you go about making an ‘accidental hit’, by accident of course... The track came about when French DJ Fatzo tried to demonstrate the difference between an edit and a remix to his dad, “... I took a song from the band Men I Trust, sped it up and added a drum beat and violin. After playing it to Oden, they loved it, and in turn, added their secret ingredients.”

Unlike the name might suggest, Oden & Fatzo consists of three people: The Parisian underground collective are a powerful fusion of the electronic live duo Oden, and house DJ Fatzo. Back in 2020 a bootleg version of ‘Lauren’ was uploaded to the YouTube channel of the electronic label Novaj, kicking off an unforeseeable wave of enthusiasm. That video is now approaching 3 million views. Enthralled listeners begged for a commercial release, a year later Ministry of Sound/B1 cleared the sample and the track started its march across the airwaves and up the charts.

With its captivating beat and nostalgic catchiness, ‘Lauren’ makes up for the party nights lost to the pandemic lockdowns, and sees people dancing in their homes and on the streets, as concerts, parties, and live sets are finally making a return. As the trio put it: “This song was all about hope, freedom and a party atmosphere at a time when you couldn't go anywhere. We think it gave everyone who heard it a little bit of an escape, including us.”

Meanwhile in the UK, the track has seen early support, not only by names like Franky Wah, Danny Howard, Pete Tong, Annie Mac, Jax Jones, Jodie Harsh, HUGEL, Bakermat, Cut Snake, Salomé Le Chat, Piem, David Gausa and many more, but also by the incredibly ecstatic party crowds.


Press:

6th week A List at Radio 1
Plays from Radio 2 and added to Hits Radio Pride playlist
Airplay up +3% week on week
#1 Cool Cuts Chart
#1 Upfront Club Chart
#1 Pop Club Chart
#5 UK Shazam Chart
Holding at #12 on Shazam – over 200k tags for the track in the UK to date
Over 8.6m+ streams WW now across all platforms
Over 200k+ views for the music video
Averaging 50k daily streams in the UK
47k+ sales across UK OCC to date
#1 on Beatports Deep House for 16 consecutive weeks

Repress

Underground stalwarts Voodoos & Taboos make their Duality Trax debut alongside a remix from rising talent Bertie, set to drop on November 8th. Now on its seventh release, Holly Lester’s vinyl imprint blends seasoned pioneers with the next generation of producers. A serendipitous moment at London’s E1 in 2023 was the genesis for the labels latest release, when DT label head Holly Lester unknowingly dropped a Voodoos & Taboos track only for the duo to walk in mid-way. Already known for their standout releases on iconic labels like Phonica, Bordello a Parigi, and Palms Trax's
CWPT, this chance encounter sparked a creative connection between Holly and the pair.

‘Time Out’ kicks things off with swirling synths and the duo's signature alien electronics, set to a playful breaks infused rhythm and morphing bassline, as command and control rings out overhead. ‘Endless Game’ comes with the usual V&T trimmings; an infectious bassline and with a scattering of curious sounds and samples, with a healthy dose of italo-inspired groove - the type of track reserved for bringing a dash of joy to the dance­oor amidst a heads down body-moving groove. On the B-side, Australian newcomer Bertie steps up with her remix of ‘Time Out’, following her breakout EP and high-pro¬le remix by Ciel. In a short space of time, Bertie has already developed a signature sound injecting her productions with nostalgic 90s house and contemporary subtext; glued together by crunchy drums and a penchant for wide-eyed rhythms. Sticking to her guns, Bertie’s ­ip of ‘Time Out’ packs a serious punch, showingwhy she’s an artist on the rise. The EP closes out with the psychedelic ‘All Action’ with its vocoder vocal samples, bubbling acid and teleporting top-lines.

One of the most notable features of the duo's music is their ability to let things evolve over time, their music often accompanied by strong storytelling, an art that has been almost lost in today’s era of instant grati¬cation; their instrumentation often taking on a life form of their own and dosed with surprises.

Veniceberg Records returns with its eleventh installment. After a series of remarkable releases featuring some of the biggest names in the Italian and international underground scene, the label has chosen not to look too far afield for this EP. Instead, it proudly presents a very promising young talent and current resident of the club: Banjo.

With productions characterized by catchy vocals, this is an excellent blend of house, electro, breakbeat, and techno sonorities. He doesn’t fail to deliver a 4-track EP that's ready to ignite the sweatiest moments on the dancefloor.

Love Never Sleep.

Repress 2026

NEOCLASH is DJ Hell's new work.
The Electroclash of the early 2000s is reconstructed here, its characteristic codes extracted and reshaped into a modern, reflective form.
NEOCLASH is a cultural experiment - music as a medium of reflection, a structure for space and time, and a vehicle for exploring the tensions between technology, the body, and perception.
Electroclash now - or a manifesto for the aesthetic relevance of electronic club music, combining strong old-school references with a new understanding.
DJ Hell, a.k.a. Helmut Josef Geier, delivers a contemporary reinterpretation of the Electroclash genre.
International Deejay Gigolo Records was the pulse of the movement 25 years ago - and Hell, its very namesake. Godfather of Electroclash reloaded.
25 years and many milestones later, DJ Hell returns to his roots with NEOCLASH, proving that Electroclash in 2025 can sound not nostalgic, but forward-thinking and visionary.
NEOCLASH builds a bridge between past and present within electronic dance culture and club music.
Italo Disco, New Wave, Indie Dance, Disco, Pop, Chicago House, Acid, Detroit Techno, and Avantgarde Music merge here into a bold new interpretation.

Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.

This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.

He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.

Quenum elaborates: “The idea for my album was born during Covid in London, when concerts, museums, and social activities suddenly stopped. To cope, I started running daily and spending hours in the studio creating music. In our garden cabin I worked alongside my son Zac who was practicing piano, preparing for his entry into Trinity Laban Conservatoire. He listened to my tracks, and eventually contributed vocals with his ex-partner on two songs, ‘Blue Sky’ and ‘Never Like Before’. The album’s dark atmosphere reflects that period. Once it was complete, I asked my longtime friend Christophe Calpini to handle arrangements and mixing.”

A true pioneer of electronic music, QUENUM has been shaping the global techno and house scene for over two decades. One of his most celebrated tracks, “Orange Mistake”, co-produced with Luciano in 2001, became a turning point in his career. The success of this collaboration led them to launch the legendary Cadenza label, which rapidly grew into one of the most recognisable and respected imprints in the scene, known for its vital releases and unforgettable parties worldwide.

Over the years, QUENUM has continued to explore new creative paths and refine his artistic identity, constantly reinventing his sound while maintaining his unique musical signature. His insatiable curiosity and openness to new influences have kept him consistently in demand, from intimate underground venues to the world’s most respected festivals and clubs.

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.

Arizona-based producer Kareem Ali returns with Renewal, his second EP on the French label Noire & Blanche, a luminous blend of deep house, jazz, and Afrofuturism that captures both personal and collective transformation. Praised by Rolling Stone, Pitchfork, and Boiler Room for his visionary sound, Ali continues to expand the language of modern electronic music with a project rooted in emotion, movement, and hope.

Across five tracks, Feel Everything All At Once, On My Heart, Procession, Wake Up My People, and Want, Kareem Ali invites listeners to experience the full spectrum of feeling. Opening with the warm, jazz-infused pulse of Feel Everything All At Once, the EP unfolds into the hypnotic rhythms of Procession and the heartfelt refrain of On My Heart. The soaring horns and urgent groove of Wake Up My People capture the project’s spirit of resilience, before closing on Want, a meditative reflection on desire and renewal.

Drawing inspiration from Sun Ra, Miles Davis, and Underground Resistance, Kareem Ali continues his pursuit of what he calls Future Black Music — a sound that merges the spiritual depth of jazz with the cosmic potential of electronic music. With Renewal, he offers not just an EP, but a vision: music as liberation, rebirth, and awakening.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Three entrantRBIserves up a tweaked-out psy-not-psy cut with a built-in spin-back upending the room, beforeUnsolicited Joints- siblingsCousinandBen Fester- slide in with a deep dub techno shuffler. Tokyo mainstayHarukaseals the side withEventide, a serotonin-tipped house curveball made in collaboration with Rotterdam'sCharlton Bakeliet, one of the last internationals to grace the Mercat X booth.

The B-side blooms withOK EG's zoned, psychoactive techno, handing over toHybrid Manto diffuse the tension with their morphing dubwise excursion.Yuzo Iwatacontinues his uncategorisable strain, self-described as EPM (Electronic Psychedelic Music), marked by Japanese ingenuity and free of genre boundaries. Finally,Sleep Dround out the set with a rogue link-up withPosseshot, a raw and adrenalised raver laced with a vocal that snarls closer to The Prodigy than hip-hop.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

A rising artist of the French electronic scene, Naajet asserts her identity with The Night Starts Now, a four-track EP that celebrates the freedom and intensity of the night. Co-founder of the Bande de Filles collective and known for her explosive universe blending House, Hardgroove and Breaks, as well as for the unique energy inherited from her dance background, Naajet delivers here a sonic manifesto conceived as an ode to club culture and to the present moment.

“I imagined this EP as an anthem to the world of the night. The night offers us unparalleled freedom, an outlet that allows us to be ourselves, to create, to love. The Night Starts Now captures this celebration of the present moment and this declaration of independence.” Naajet Opening the EP, “Ready To Shine” unfolds radiant House nourished by Pop and 90’s sounds. With a clear and ascending rhythm, the track combines euphoria and introspection. “I composed this track as a joyful and introspective journey that prepares us to embrace the night. For me, it is a call to accept our wounds, to transform them into light and strength, so that we may shine brighter when we enter the club,” explains Naajet. Between ethereal vocal lines and shimmering pads, the track acts as a ritual of entering the night, inviting us to turn wounds into strength and to shine on the dancefloor. The second track of the EP, “Sugar”, embodies the effervescence of the club. Carried by a hypnotic voice and an effervescent rhythm, the track celebrates the communion of bodies and the liberating energy of dance. “It is an ode to dance and to bodies coming together. This track speaks of those moments when, on the dancefloor, boundaries fall: we sweat together, we free ourselves together, and energy flows from one body to another,” says Naajet. A true concentrate of intensity, “Sugar” captures the moment when sweat, rhythm and abandon merge into a collective movement towards freedom.

With “I Can Be Anything”, Naajet changes register and flirts with deeper, even techno textures. Built on a throbbing pulse and sharp synths, this track is meant as a manifesto of identity. “I really wanted to propose a track that claims our right to free and plural expression and sexuality. I Can Be Anything is about our multiple identities, our ability to reinvent ourselves and to refuse any form of formatting,” she says. Between club intensity and political resonance, “I Can Be Anything” questions our multiple facets and embodies the assertion of an elusive and free self. Closing the EP on an euphoric note, “May It Never End” stands out with its broken rhythms and powerful synths. The track conveys the transcendent energy of the end of the night, when dawn arrives but we refuse to leave the collective trance. “I wanted to put into music this feeling of infinite energy, when time is suspended and the party seems to never have to stop. It is this euphoric vertigo that connects us all in the same breath, this utopia of a night that would never end,” says Naajet. A true apotheosis, this track embodies the utopia of an eternal night.

DJ, producer and co-founder of the Bande de Filles collective, Naajet has established herself with a singular universe where House, Hardgroove and Breaks blend, nourished by her background as a dancer and an instinctive sense of groove. For the past three years, she has performed on French and European stages – from Berlin to Amsterdam, via Geneva and Oslo – and has made her mark in clubs such as Rex Club, Le Sucre and Badaboum, as well as festivals like Nuits Sonores and Kolorz. On the production side, she has released several acclaimed EPs on renowned labels such as Shall Not Fade and Monki & Friends. In 2025, she takes a new step with the launch of her label SWEAT Records and a residency at Le Sacré in Paris, affirming her role as an ambassador of a free and intense club culture. She also collaborates with the waacking company MADOKI, for which she composes and mixes projects at the crossroads of dance and music. With The Night Starts Now, Naajet confirms her status as an essential artist of the new electronic generation1

Minor Notes continues to explore and open up the world of Russia's underground electronic scene. The new vinyl release is a collection of original works by the highly experienced Kaluga-based music producer Chivee Gres. The record perfectly showcases the sound of Deep House and Jackin, showcasing Nikita's subtle sampling, masterful arrangement, and deep knowledge of production techniques. This music is made for the dancefloor: Side A is the perfect companion to any warmap, while Side B will brighten up primetime with its bouncy sound.

Swiss DJ and composer Dexter Troy has made a name for himself with notable productions on labels such as « King Street Sounds, » « Groove Culture, » and « Mood Funk Records, » alongside iconic artists like Kerri Chandler, Dennis Ferrer, Masters At Work, Satoshi Fumi, and Dimitri From Paris. For over 15 years, he has shared his passion for electronic music in bars, clubs, and festivals in Switzerland and abroad.

His rich and diverse musical universe draws from multiple influences: house, funk, disco, all enhanced with a touch of electro-techno. »

One year after the part 1, « The Double Take part 2 » is coming to put the finishing touches to the project. He’s joined by BAKA G, a talented artist who made a name for herself on the Brussels house scene and distinguished herself with releases on labels such as Happiness Therapy.

Prolific beat pharmacist par excellence Brendon Moeller continues his hot streak with a return to Samurai to serve up the exquisite craftsmanship of Shadow Language. Across 15 fresh productions the seasoned house and techno producer demonstrates yet more variations on his rejuvenated sound since pivoting towards 160 tempo zones. Heavyweight dub techno pulses collide with D&B pressure and dubstep snarl, delivered with devastating restraint and mediative warmth.

Moeller's dub-informed, high-grade production hit a hot streak as he started to experiment with faster tempos and more broken rhythms, reaching into thrilling new sound fields where fast-slow rhythmic intrigue meets with spatial subtlety and constantly evolving synth voices. The past year has seen him release a swathe of albums, from Further on Samurai to outings on Constellation Tatsu, ESP Institute and Quiet Details that all burst with inspiration, each distinct from the last and offering an original perspective on this rich seam of crossover electronics.

Shadow Language shows Moeller burrowing even deeper into this new era of his work, continuing the hypnotic approach set out on Further while edging more forthright ingredients into the mix. From the outset 'Division By Zero' hits with immediacy even as it dips into a dubwise breakdown, with snatches of vocal and even the iconic loom bird making the slightest of appearances. 'Feral Hymn' finds a curious kind of uplift in the synth chord that twists in and out of the mental techno murmurations of the rhythm section. 'Impermanence' has some snarling bass that belongs in the gnarliest tech-step, while the nagging hats ticking through 'Junkyard Syntax' hint at a shockout without resorting to brute force. The majestic dub techno chords of 'Driftform' create a through-line across Moeller's extensive catalogue, but here they dominate the mix above a spongy bed of sub bass throb and framed by the tiniest slithers of percussion.

Throughout the album, it's the implications Moeller suggests with the tools at his disposal that create a powerful energy. Restraint governs the delivery, guiding the listener in deeper until they find a maximal experience from each elegantly understated roller. The weight and presence is abundant across every track, fuelled by the invigorating power of each tone and frequency while avoiding the clutter of overloaded arrangements.

Finding the notes in between and half-hidden rhythms, Moeller himself perfectly summed up his latest opus as he continues to develop his own compelling Shadow Language.

Club Splendore was born in 2022 in Modena, Italy, as an itinerant party and club format.

In just a few years, it has established itself as one of the most recognizable disco-oriented projects within the new Italian nightlife scene, exporting its sonic and visual identity to iconic clubs and international settings.

With over 20 dates in a single year, recurring sold-outs and a diverse crowd, Club Splendore has evolved into an experience that goes beyond the dancefloor: an inclusive, label-free space where music, style and attitude coexist under red lights and immersive atmospheres. The format has appeared in some of the most relevant venues across Europe, including Villa Delle Rose (Riccione), Palazzina Grassi (Venice), Matis Club (Bologna), Hierbas Club (Cortina), while also expanding internationally with dates at Do Not Disturb – W Hotel Amsterdam, COYA Mykonos, and House Party London, confirming the project’s ability to connect with an international audience. From the club to the record.

Club Splendore Vol.1 is the project’s first official vinyl release and marks a natural step forward: capturing on physical format the sound that has been defining its dancefloors over the past years. The record explores a contemporary take on Italo Disco, infused with classic disco, funk and modern house elements, delivered with an ironic, sensual and direct approach. A sound that reinterprets the aesthetics of the ’80s without nostalgia, translating them into a current, club-focused language. Behind the production and on the decks: Sparkling Attitude, Nicola Zucchi and Matteo Mussoni, resident DJs of the format and the core musical force behind Club Splendore.

Side A features “Drink Campari”, an italo disco track built around warm, enveloping textures, elastic basslines, bright synths and a late-night groove. A story of summer desire and endless nights, playing with the iconography of Italian Red Passion in a light, effortless way.

Side B hosts “Madame”, a bonus track and electronic ballad with a more intimate, suspended mood. A track designed for the final hours of the night, when the club slows down and the dancefloor gives way to something more personal.

Club Splendore Vol.1 is not a compilation, but a statement of intent. A first chapter that brings the club experience beyond the club itself, staying true to the promise that has defined the project from the very beginning: “We will bring the light into the darkness of the night.

Mikkel Metal makes a welcome return to Echocord with his new ‘Rebuild’ EP, accompanying remixes from Luke Hess and Frenk Dublin.
Copenhagen’s Mikkel Metal is a pioneering figure in dub-techno and minimal house, known for his atmospheric soundscapes and textured production. With acclaimed releases on Kompakt and Echocord, including Close Selections, Victimizer, and Peaks and Troughs he’s cemented his place as one of Denmark’s most distinctive electronic artists. Here he continues to dispay this further diving into new sonic realms with a new EP for Echocord.
Title-track ‘Rebuild’ opens, a hazy excursion through metallic, reverberations, expansive atmospherics and crisp drums before Detroit’s own Luke Hess steps in to offer his interpretation, delivering his signature groove-driven style, extracting the essence of the original and stirring it in amongst robust drums and spiralling dub echoes. ‘Bend’ is up next and displaying Mikkel’s production prowess as he blends murky bass flutters and analogue rhythms with psychedelic guitar melodies and dynamic space echoes, resulting in something that sounds uniquely his own. ‘Steam’ continues this theme with further psychedelia infused guitar tones flowing alongside breathy vocal stylings and fluttering atmospherics tucked into the depths. Rotterdam, Netherlands based artist Frenk Dublin delivers his ‘Deep Space Rework’ of ‘Stream next, reshaping the original into something entirely different with a dropped-tempo roots dub aesthetic, weaving fragments of the original into the composition alongside swaying dub drums and heavy doses of sub. ‘Midnite’ then concludes the release, another experimental sonic foray into unique effect processing, glitched out percussion, haunting vocals, plucked bass notes and expansive atmospherics

It’s been over 20 years since Kenny Dixon Jr., better known as Moodymann, released Black Mahogani—an album rich in atmosphere and emotion, offering a quintessential journey through deep house, soul, and jazz. Timeless yet modern, it’s an immersive and emotionally resonant experience that reflects the singular character of Detroit’s deep musical heritage.

Originally released in 2004, Black Mahogani is arguably one of Moodymann’s most revered and sought-after works. It completes the puzzle laid out by his rare and elusive KDJ 12” releases from the mid to late '90s. With the help of Detroit legends like the late Amp Fiddler, Roberta Sweed, and Norma Jean Bell, Dixon infused his analog soundscapes and samples with a new organic warmth—expanding the deep house genre while simultaneously paying homage to 1970s soul and cinematic soundtracks.

Dixon’s masterful control of tension—knowing exactly when to hold back and when to let go—makes Black Mahogani an enduring masterpiece. It's not just a landmark in electronic music, but a definitive statement in 21st-century Black American music.

Imagine it’s 1987.

The neon is glowing, the lasers are cutting through the smoke, and space synth is ruling the dancefloors. Laserdance just dropped their groundbreaking album “Future Generation.” Tracks like “Power Run” and “Humanoid Invasion” are setting clubs on fire, and every bedroom producer dreams of reaching that cosmic perfection.

And in this athmosphere Spacehawk appears shining like an alien spaceship.

Behind the name Spacehawk stands Swedish producer Anton Eriksson, a modern-day craftsman of analog dreams. In his vast studio, packed with vintage synths and drum machines, Anton creates electronic masterpieces so authentic, so rich in melody and power, that even Michiel van der Kuy himself, the godfather of the genre, decided to collaborate with him.

The result? “Space Patrol” – a landmark single that bridges generations of synth lovers.

On the A-side, you’ll find Anton’s stunning original version, pulsating, melodic, and bursting with energy. Flip it over, and you get a remix by Michiel van der Kuy that feels like a time warp straight back to the golden age of Italo-space glory.

“Space Patrol” has it all: soaring melodies, driving basslines, hypnotic rhythm, and that unmistakable intergalactic energy that makes you feel like you’re racing through the stars.

Fans of Laserdance, Rygar, Koto, Syntech, and all things van der Kuy will instantly recognize the DNA of true space synth excellence here.

To top it all off the single comes on a bright yellow vinyl, housed in a stunning retro-futuristic sleeve that looks like it beamed in straight from 1980s sci-fi.

It’s not just a release. It’s a revival.

And if space synth runs through your veins, this is one you simply can’t ignore.

Warehouse Find

Massiande has become one of the most captivating talents South America has produced for authentic House music.
An artist of multicultural roots, he was born in 1988 in Santiago, Chile, has lived most of his life to the side of US American people, has Dutch family heritage and his name derives from a Sierra Leone dialect. All of these global influences have had a great effect in the way he perceives and lives music.
Growing up as a profound and dedicated fan of Soul, Jazz and Disco; discovering House, a genre that connected these genres' roots with electronic experimentation, was a life turning point.
DJing since 2007, he is known for performing emotive and dynamic sets, with a moving soulful drive that resembles much of the spirit of New York, Chicago and Detroit pioneers.
After starting to focus on music production, 2013 brought his debut record "Heart Rushed Love" through German label Housewax, a record of classic vibes that received praise for its charm and character on underground scenes worldwide and, most notably, from House music artists in Chicago, including his personal hero, House maestro Larry Heard. Such a start would be a sign of great things to come.
Inspired by the same Chicago spirit, in 2015 the release of "Stand", through the prestigious MOS Recordings, represented a step further in his career as a producer, finding its place on the crates of DJs as diverse as Patrice Scott, Voiski, Apparat or Honey Soundsystem.
These days, Massiande brings a deeper and mature House sound which is reaching a wider audience, with his conceptual "Freedom" EP through UK's Phonica Records and the landmark "Yesterday, Today, Forever" EP on Jimpster's Freerange, while also revealing a consistent variety of skills on a fully dancefloor-oriented EP for Hercules & Love Affair's Mr. Intl imprint.
With a growing discography whose flair endures the test of time, Massiande's path thrives with a true passion for House that's appealing to both casual listeners and the most loyal purists of the genre around the world.

Repress.

Fast-rising Dutch DJ/producer BELLA becomes the first new artist signing to Sally C’s Big Saldo’s Chunkers imprint, with the inspiring ‘Note to Self’ EP – her debut production.

Relationships are key for Sally C. Since the inception of Big Saldo’s Chunkers in 2020, she’s released three carefully chosen EPs, all from her own studio. When she met BELLA while playing a festival in Amsterdam during summer 2022, the click was instantaneous, with the pair going on to play an impromptu b2b that day. Vibing both musically and energetically, they kept in touch, with BELLA sending Sally her maiden productions ‘Note To Self’ and ‘Orchestra Spring’. Sally connected so deeply with the tracks that they’d form the backbone of her debut artist EP on Big Saldo’s Chunkers.

One listen to the final EP and it’s not hard to see why Sally wanted to emboss them as Chunkers. Three fresh originals taking in influence from ‘90s house, acid, electro and prog, all with a unique hard-to-pin-down energy that makes them hit with a special swing.

The title track – also the first production made for the EP - sees BELLA lay down a sonic blueprint – both for her own sound and the full body of work. “This set the vibe and guided me through the creative process. I was really trying to make something that felt my own, that was also unique and not something I’ve heard before,” she shares. ‘Note to Self’ is heavy on attitude and bounce, driven by banging old skool drums, a rapid-fire grime-style vocal and a duo of synth lines – one uplifting, the other mining a slick ‘80s sheen, and the results are memorable. An absolute tune that Sally’s delighted to add to the Chunker catalogue.

‘Orchestra Spring’ is the perky sequel, a wicked one-two punch of kaleidoscopic groovy house with lashings of attitude that loves to scribble outside the lines with lots of retro samples and trippy energy. ‘Odd Symphony’ completes the trio, a blazing late-night cut driven by a gurgling acid underbelly, gritty drums and warm chords, giving the EP a brilliant afterglow.

(Limited Edition 12" Silver Vinyl, 500 Individually Numbered Copies Worldwide) To mark an exceptional milestone, the legendary DJ and producer Phi Phi celebrates 40 years behind the decks with the launch of his brand-new label Mouvement Perpétuel and its inaugural release, the Forty EP, available in both vinyl and digital formats.

Early support from Forty Cats (Balance), Graziano Raffa (Sudbeat), Acid Pauli, and many more.

A true pioneer and iconic figure of the electronic music scene, Phi Phi has shaped generations of clubbers through his legendary residencies at At The Villa, Boccaccio Life, and Extreme, to name just a few. Throughout his career, he has deeply influenced the evolution of trance and progressive culture in Belgium, crafting a distinctive sound and spirit that continue to inspire today’s artists.

The Forty EP captures the very essence of this musical journey: three original tracks blending progressive house and melodic techno, where captivating harmonies and hypnotic rhythms intertwine to deliver a sound that is both timeless, powerful, and refined.

Pressed on a silver vinyl limited to 500 individually numbered copies, the record was unveiled during a special event celebrating Phi Phi’s 40-year career — making each copy not only a true collector’s item, but also a symbolic piece of his enduring musical legacy.

SUPREME STRIKER proudly presents its very first release, SST101 — Quasar “Ritmo Love EP”. This marks the beginning of a new chapter, an exclusive imprint born from the Skylax universe, with a striking visual identity crafted by the legendary studio H5 (Daft Punk, Air, Logorama), delivering an exclusive design destined for collectors. Quasar, the DJ and producer from Russia who already made waves on Mellah #3 under the alias Arash & Quasar, now delivers a true masterpiece of italo-disco infused with 80s nostalgia and modern precision.

The journey starts on Side A with “Ritmo Love,” a dazzling homage to the golden era of italo and new wave, where pulsating basslines and shimmering synths make for an instant classic. It is followed by “Easy Flight,” an uplifting and elegant trip that fuses hi-NRG energy with a deep house sensibility, crafted for nocturnal dancefloors. On the B side, “Forever in Memory” dives into a melancholic yet powerful soundscape, bridging the legacy of synth-pop with a strong club-oriented vision. Things escalate further with his collaborator Salimjan on the hypnotic and dramatic “Urkus,” and finally reach a cosmic climax with “Alhamdu Limusik,” a mystical blend of tribal rhythm and soaring electronics that closes the record with transcendence.

SUPREME STRIKER launches with a statement: this is not just another label, but a new frontier where disco, house and techno are reimagined by artists capable of pushing boundaries. With H5’s exclusive artwork, each release is conceived as a true collector’s piece. Quasar’s “Ritmo Love EP” is a bombshell—an electrifying piece of vinyl designed to delight the most discerning dancefloors and a foundation stone for what promises to be a legendary catalog.

Vinyl only.
For true diggers and devoted believers.