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For SEVEN's first anniversary, we've brought together a roster of talented artists, each with a distinct style, to reimagine CRYME's hit "London Boy" originally released on The Backroom EP in 2024. This 5-track remix EP features a remastered version of the original alongside fresh interpretations by none other than Ghettotech heavyweight MCR-T, Prog House queen Roza Terenzi, modular wizard JakoJako, and Amsterdam's legendary Stef de Haan as a digital bonus. The vinyl will be limited to 500 copies.
With full marketing and PR support around the anniversary SEVEN7000LTD is set to be SEVEN's biggest release of the year.
A1 - CRYME - London Boy (MCR-T Remix)
CRYME's 808-driven electro, ghetto house hybrid "London Boy" gets the MCR-T treatment, spiced up with a dose of Garage. The Berlin-based artist reshaped the bassline into a gritty reese bass and put in the iconic UK hardcore vocal "your name is not down, you not coming in," perfectly amplifying the track's original UK flair.
A2 - CRYME - London Boy (Roza Terenzi Remix)
Roza Terenzi joins the "London Boy" Remix EP with a sleek, modern tech house cut. Flipping the distinct 808 cowbells into heavily processed percussive elements that bounce through the mix while carrying a melodic line. Her remix is packed with her quirky yet precise sound design and kinetic frequencies. The original vocal phrases are creatively chopped up into fragments and reassembled so they become part of the rhythmic backbone.

B1 - CRYME - London Boy (JakoJako Remix)
JakoJako shows off her genre diversity with a steezy Tech House flip of "London Boy." The talented Berlin-based live act lays down a solid drum foundation and a bouncing bassline - no frills, just a steady groove built for the dancefloor. The composition stays laidback, leaving space for a raw synth melody and her reworked, chopped-up vocal layers that add just the right touch of playful silliness to the track.

B2 - CRYME - London Boy (Original Mix)
On the B-side you will find CRYME's remastered original "London Boy", first released in 2024 and featuring ANTICALM, a British rapper, vocalist, and songwriter whose "You Don't Want This" vocal sample takes center stage. Merging 808-driven Electro and Grime with a touch of Ghetto House, the track reimagines a genre-bending battery of block-party energy in the club setting. With its driving rhythm and unmistakable vocal hook, it remains a powerful tool for DJs and a highlight on any dancefloor.

Since first arriving on the scene in 2009 with blistering inversions of shoegaze, Montreal's No Joy has always found formidable ways to reinvent itself. Now solely composed of musician Jasamine White-Gluz, No Joy has evolved over four studio albums and five EPs, defying expectation and genre, and cementing itself as something rare: a band without a category. Clearly sympatico at the time of collaborating, Fire-Toolz and No Joy (Jasamine White-Gluz) had both resituated to secluded woodsy milieus prior to the "Bugland seshies", as I now name the historic pairing. Together, they created an aural equivalent of a late 1980 I-d magazine front and back cover, with a non-problematic National Geographic hiding within. Fire-Toolz sums it up: "The collaboration really felt limitless. I didn't have to adhere to a certain vision in a way that made me feel like I couldn't be Fire-Toolz. I could easily relate to this album because Jasamine and I liked a lot of the same music, and I was able to be creative in ways that were freeing as if I was making my own album. " Both spent days driving through on empty rural highways listening to the mixes, and it reflects in the final product. With an open ear, many "influence eggs" can be detected by the listener. Garbage Dream House is Zooropian without any of U2's ego baggage. Seven-minute closing track Jelly Meadow Bright even manages to meld Stooges' Fun House out of control saxophone with the chill buoyancy of a high-end spa. Touching on respected, familiar genres and sounds while attempting to advance one's own isn't easy but Bugland manages to. What genre is it anyway? Is it even shoegaze when it could live happily on a shelf next to Boards of Canada and Autechre? The right answer is `yes'. What a lovely shelf `twould be as well. A marble shelf, with cyberpunk elements. Bugland`s a testament to White-Gluz's evolution and her ability to channel a wide variety of tastes into something cohesive that can descend into fine-tuned chaos, then out of that chaos with ease.

Renowned Vienna-based keyboardist and producer Philipp Quehenberger is known for his improvisational approach to electronic music. With a history of notable releases on respected labels like Cheap Records and Editions Mego and his energetic live sets, Quehenberger has built a reputation for a distinctive sound.

His latest release, the vinyl EP "Hot Water", comes as the inaugural offering from the newly established label "other machines".

Opening with "Emortal" a slowed down four on the floor beat is acompanied by a heavy bassriff and wobbly psychedelic synthlines, the record picks up speed but maintains its dark but catchy vibe with the house -like "Heaven" featuring strings and another wallshaking bassline.

The story of Suffering began in the UK's West Midlands in 2012 and since those nascent days they have released a nefarious collection of occult black metal offerings, beginning with their debut album, 11, in 2018 and most recently the Symphonies: Diabolis EP in 2024. They have also built a reputation for intense, diabolical live performances, appearing alongside the likes of Esoteric, Ghost Bath, and Mol. The band recently signed with infamous label, Apocalyptic Witchcraft, with label founder Conor Droney describing Suffering's music as "dark, unflinching, and deeply atmospheric, exactly what we stand for." And now the first fruits of that new alliance are about to be unveiled, in the shadowed form of Things Seen But Always Hidden. Things Seen But Always Hidden is an enveloping nightmarish journey through temptation and spiritual destruction, an immersion in contrasting states of terror and ecstasy - it bewilders, consumes and possesses the power to change and scar. Each song seeps into the next, binding them into a grimoire of dehumanising ritual, yet they exist as powerful individual entities. There is 'Enthralled', constructed from classic black metal riffs and raw vocal exhortations_and something more, something imperceptible but profoundly affecting; 'What Once Was Shall Be Again And What Is Shall Be No More', a glimpse beyond the veil, a fall down the endless paths of inherited memory that binds you to this album, this place constructed from arcane sound; the fear filled and imperious 'Hell On Earth New Eden', driven by a ravenous, unholy hunger_each chapter in this tome of unmaking and desecration will burn itself into your mind. A fusion of blackest metal, ritualistic doom and unsettling, distressing atmosphere Things Seen But Always Hidden will never leave you, no matter where you run. The way to Things Seen But Always Hidden will be revealed by Apocalyptic Witchcraft on November 28th. But remember, once you have set foot on this path there is no way back_

Switch is the tenth studio album by Dutch rock band Golden Earring, released in 1975 as the follow-up of the band's international
breakthrough album Moontan and their bona fide classic track Radar Love.

All tracks have been 24 bit/192 kHz remastered from the original master tapes.
Last but not least: the original IBC Studios master tapes of Switch reveal the legendary ’50 Hz roll off’ note.

On request of executive producer Freddy Haayen, the cutting engineer @ IBC was commissioned to cut all frequencies below 50 Hz,
which meant that a large chunk of low-end frequencies was eliminated from the final mixes during vinyl cutting.

So, for the very first time, on LP1 of this remastered issue,
Switch finally sounds as it was recorded and mixed – with all (full range) frequencies intact.

Switch (remastered & expanded) is available as a limited edition of 2000 individually numbered copies on white coloured vinyl,
it's housed in a gatefold sleeve, 2 printed innersleeves and includes a lyric sheet.

It's taken over two decades, but at last, the wait is over: Sevan Mater has unleashed the first- ever vinyl pressing of Live Damage , the iconic live performance by DARK TRANQUILLITY, captured during their "Damage Done" era. Pressed on Gold and Black swirl vinyl, limited to just 500 copies, and housed in a stunning gatefold cover, this reissue is nothing short of melodic death metal heaven. Originally released in 2003 as a DVD, Live Damage immortalized one of DT 's most intense and electric live shows - recorded in Krakow, Poland. Now, for the first time ever, that raw energy, that iconic Swedish aggression, and that perfectly balanced blend of melody and brutality has been etched into vinyl grooves for audiophiles and collectors alike. From the soaring leads of The Treason Wall to the punishing drive of Final Resistance, every track explodes with clarity and presence on wax.

The vinyl mastering brings new warmth and immediacy to the performance, giving fans the closest thing to being there, without the sweat and flying beer. And the packaging? Absolutely elite. Sevan Mater delivers a luxurious gatefold, featuring rare tour photos, liner notes, and an aesthetic drenched in cold, melancholic elegance. If you're a fan of At The Gates, In Flames, or if Damage Done was the soundtrack to your early 2000s fury, this release is a must-own. More than just a live album - it's a time capsule of melodic death metal at its peak.

Sam Robson continues to reissue gems from the vaults of his initially short-lived Pacific Coast House Recordings imprint, which released a string of superb West Coast house singles between 1999 and 2003. This split 12” originally landed way back in 2001 and has become something of an in-demand rarity in recent years. The now-familiar Teflon Dons handle side A, wrapping jaunty, spaced-out stabs, intergalactic pads, echo-laden vocal snippets and TB-303 style moody electronics around a hybrid acid house/tech-house groove on the swirling and immersive early morning delights of ‘Vice’. Over on side B, Robson dons his The Coastal Commission guise for a deeper, dub-flecked and breakbeat-enhanced house workout that adds cosmic spoken word snippets and effects-laden ambient chords to the San Fran deep house template drawn up by Dubtribe Soundsystem and Charles Webster.

Philadelphia-based artist Eugene Chong drops his debut EP on House Puff with SpontaneousSynchronization EP. Marking his first official release, this four-track Deep HouseEP delivers punchy drums, groovy basslines, and lush synths, striking a balance betweenclassic and forward-thinking sounds. It’s a natural fit for House Puff’s ever-evolvingcatalog. This record is built for late summer nights, smoky rooms, and dancefloorsthat never sleep.

A DJ, producer and prolific collaborator, Greg Paulus’s musical career has led to a truly enviable discography. Born in Minnesota and now an essential part of New York’s sprawling musical landscape, Paulus has taken the foundations of an organic childhood education by his father, the composer Stephen Paulus, and seen it blossom into an unpredictable musical journey encompassing house, soul, jazz and hip-hop.

While touring as a trumpet player with indie band Beirut, as well as in Matthew Dear’s live ensemble, back home he was helping to redefine New York’s underground dance scene as one half of No Regular Play. Alongside childhood friend Nick DeBruyn, the pair brought their deeply musical sound to no less than fifty countries across the world. A decade on, and Paulus arrives on Seth Troxler’s Slacker 85 imprint for his long-awaited debut solo LP, ‘Close To Home’, a deeply felt long-play celebration of his personal cornerstones; family, trust and hope.

From the opening, organic swell of ‘Perot’, arranged with Seth Troxler himself alongside John Camp, ‘Close To Home’ introduces itself as a focused, conscious trip, it’s languid trumpet spilling over into the reflective ‘World Keeps Changing’, which introduces Paulus’s philosophy of music as a constant. ‘Midtown Mirage’ meanwhile leans into the idea of the city itself as a collaborator, resisting pressure and finding its own restful groove. Back over the river, ‘Bond’ roots itself in Brooklyn with a contribution from resident Dillon Cooper, flipping rap standards amid psychedelic flourishes.

Paulus nods toward his dancefloor form on ‘NRG’, a slinky, lo-slung club groove that seamlessly evolves to meld the artist’s nocturnal and studio instincts. In contrast, ‘Real Job’ switches the tempo on Paulus’s MPC to embody an old-school, beatdown flavour, subtly teased out alongside composer and sound designer, Taylor Bense. Doubling down on this languorous groove, ‘Hat Down’ introduces a full-scale No Regular Play reunion, the first of two collaborative tracks that recall the duo’s imperial phase of confidently minimal productions, while evolving their craft.

Following a few missed calls made with love taken from Paulus’s answering machine on ‘$1000’ the minimal, reflective arrangement of ‘Hold Dear’ finds the artist stripping back his layered sound for a skittering, vulnerable exploration of intimacy and life’s devotions.

For a memorable finale, Paulus recruits jazz prodigy Michael Feinberg to deliver upright funk on the deliciously rich ‘Sometimes It’s About Us’. A purely celebratory collage of bopping rhythms and vocals, sharply plucked guitars and archive samples, ‘Close To Home’ concludes with Paulus leading his friends, ensemble and many influences in rare harmony.

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

Swimming Paul’s music has always lived in the push-and-pull between euphoria and melancholy; the rare kind of electronic music that can make you cry while your body keeps moving.



On Smiling Through the Pain 2 (out October 24 via Headroom Records), the French-born, London-based producer doubles down on that emotional duality, delivering an album that feels as much like a diary as it does a DJ set.

Over the course of 15 tracks, Paul stitches together late-night catharsis, suburban nostalgia, and the jagged tenderness of early adulthood. The record is sequenced like an unbroken night out: the giddy anticipation, the sudden moments of reflection, the quiet comedown as the sun edges in. It’s an album that refuses to treat joy and sadness as opposites, they coexist here, often in the same chord progression.



“I don’t want to escape the feelings, I want to bring them with me” Paul says. “If you can’t stop thinking about something, you might as well dance with it.”

That philosophy runs through the singles: the emotional release of Holly (with Junior Simba), the aching nostalgia of Different Time, the hypnotic haze of Hard 2 Sleep, and the house-driven Drinking to Get Drunk, a bittersweet ode to nights spent outrunning your own thoughts. Elsewhere, Liza M1 folds heartbreak into an almost triumphant piano hook, while Shine a Light urges listeners to take risks and live without hesitation—as if youth’s boldness could be bottled.



Since debuting in 2023, Swimming Paul has quietly built an empire on emotional resonance: 150 million streams across platforms, 1.9 million monthly listeners on Spotify and more than 50 editorial placements (including Dance Party, Crying on the Dancefloor, Electronic Rising….), 10,000+ radio spins worldwide, and sold-out tours across Europe and North America. His sound has earned co-signs from BBC Radio 1, Triple J, KCRW, Sirius XM and a wave of DJs who value melody as much as momentum.

But Smiling Through the Pain 2 isn’t chasing charts, it’s chasing connections. Paul’s global fanbase, nurtured through a lively Discord community and nights on the road, has become a two-way conversation, with fans’ stories feeding back into the music’s emotional core.
This autumn, Paul takes the album to stages that match its ambition, from London to a string of US club dates, festivals and intimate pop ups designed for shared release.



Smiling Through the Pain 2 is an invitation to feel everything at once. To sweat through the sadness. To let your guard down under strobe lights. To realise that the best nights out don’t make you forget; they help you remember.

Schema Records proudly presents PRELUDE, Stefano “S-Tone Inc.” Tirone’s tenth album in his 30-year career. It is available from October 10th, 2025, in the usual digital/streaming formats, as well as LP (10 tracks) and CD (15 tracks); the latter contains, in addition to the tracks on the vinyl, the singles already released on 7” (“In the Sand”, “Tudo Pra Ela”) and remixes of “Pressure”, “Vento Doce” and “Longe De Voce”.

Various different styles harmoniously coexist in “Prelude”: the soul, funk, disco and house tracks embellished by Julia St. Louis’s black voice and Laura Fedele’s jazz-blues timbre alternate with Latin and Brazilian atmospheres in the tracks that host the precious collaboration with Toco, up to a stunning reinterpretation of Santana’s “Guajira” performed by Manuela Ravaglioli, a long-time S-Tone Inc.’s guest vocalist, and German Leguizamon, an Argentine artist with a brilliant career in the 90s dance music.

The title “Prelude” is a double homage: to the legendary homonymous American record label that defined the New York disco sound between 70s and 80s, and to Eumir Deodato’s masterpiece released on CTI in 1973, a sublime example of cross-genre fusion that has always been a source of inspiration for the refined and cosmopolitan blend of music styles that has made S-Tone Inc.’s sound unique and that is firmly reaffirmed in this new record.

Serenity Now returns with the next dose of bangers from DOC ’N ’ P1LL in the form of RX
PRESCRIPTIONS Volume 2.
Following last year ’s widely appreciated debut, the Stockholm-based duo is back with four
brand new club-oriented tracks, once again rooted in their self-made genre Synth-Tech – a
fusion of
synth-driven techhouse, melodic tech and deep house, built around a sound that ’s cerebral
and deep. With their unique sound, DOC ’N ’ P1LL mix snappy drums and percussive
elements with hard-hitting melodies, creating tracks that hit with precision and energy.
Volume 2 explores a wider range of moods while keeping things direct and floor-focused.
From the bouncy opener to the more hypnotic and stripped-down moments, each track
reflects the duo ’s long-standing experience both behind the decks and in the studio.
If Volume 1 laid the foundation for Synth-Tech, this second installment takes it further –
deeper, weirder, and even more confident. Four new flavours. Same prescription. No filler –
just four cuts made for peak-time impact.

Repress

The core duo of Max D and Matt Papich debut on Peak Oil following full-lengths for Future Times and PAN with a fresh suite of tactile, diffuse fusion. Half the collection emerged from a 2021 session at Tempo House rounded out by Dustin Wong, Mezey, and Jeremy Hyman, while the rest took shape in moments both collaborative and isolated, collaged together with CDJs into something more liquid and liminal than the sum of its parts.

Across fractured jazz, pitch-shifted downtempo, revelatory guitar, and interstitial interplay, Lifted’s sound is one of flux, fragments, and filigree. Oblique harmonic synergies dusted in chance encounters and rogue acoustics. Diverse moods mapped with split strings and the space between notes. Music untethered by form or expectation, snaking like an ungrounded cable through a geodesic dome of deep-listening.

Mia Moretti makes her Crosstown Rebels debut with ‘Safe With Me’, featuring Irma Thomas. The soulful new single, backed by a remix from Sweden’s Tiger Stripes.

Los Angeles-based DJ and producer Mia Moretti heads to Damian Lazarus’ Crosstown Rebels with ‘Safe With Me’, a disco-house celebration featuring New Orleans soul legend Irma Thomas, the Grammy-winning Soul Queen of New Orleans. Co-produced by award-winning producer Mark “Blakkat” Bell, a longtime figure in house and electronic music whose work spans from M People to King Britt, the release marks a full-circle moment for Moretti, who draws on her years of crate digging, gospel house expertise, and deep love for vocal-driven grooves.

‘Safe With Me’ pairs Moretti’s richly textured production with Thomas’ commanding vocal presence, creating a track that balances heartfelt emotion with dancefloor energy. Similar to Moretti's DJ sets, the track blends gospel, disco, and house sensibilities with storytelling. Swedish mainstay Tiger Stripes reinterprets the track with his own forward-thinking production. Known for his house and techno grooves that have energised clubs from Panorama Bar to Ministry of Sound, he injects ‘Safe With Me’ with shimmering synth layers and driving percussion, making it a perfect complement to the original production.Mia Moretti has established herself with vocal and gospel-driven house sets and productions. Her debut EP ‘Tambor’ (2023) marked a confident step as a producer sampling female bullerengue artists from Colombia, including Petrona Martinez and Toto La Momposina, followed by ‘Best I Can’ (2024) alongside gospel icon Vonita White and remixes from house music pioneers. In 2025, Mia has continued to build momentum with appearances from Ibiza to Paris Fashion Week alongside the launch of her Chef’s Kiss radio show on Diplo’s Revolution. ‘Safe With Me’ continues that trajectory, highlighting her instinct for timeless grooves and soulful storytelling.

On April 13th, 2019 Record Day, Vega Records celebrates with the new release 'My Body' performed by none other than the Legend and King Luther Vandross. This is a song that was never released and was recorded back in 1979 by Luther Vandross when he was working on the colossal album 'Never Too Much'. Brought to Louie Vega by artist and renowned background singer to the greats Mr. Fonzi Thornton, Vega was able to work on the immaculate sounds of Vandross. As Vega recalls 'When I put up the tracks in my studio it sounded as if Luther were singing today, it made it so easy to come with the house grooves having such a perfect vocal performance and one of kind tone. Once I came with the music, I felt I needed to call his original background singer team, which Fonzi organized in a flash. He called upon the genius background singers Brenda White, Lisa Fischer, Cindy Mizelle, Tawatha Agee and Fonzi himself. We are talking the A-Team of background singers, a dream come true in my studio', Vega recalls.
The Result is a stunning art piece by Richard Wilson on the cover of the vinyl double pack 12'. There are seven versions to choose from ready to work back to back.
So not only is it record day, it's also the birthday of Luther Vandross which is on April 20,
HAPPY BIRTHDAY LUTHER VANDROSS!!!
LOUIE VEGA SENDS A BIG HAPPY BIRTHDAY TO LUTHER VANDROSS & THANK YOU TO FONZI THORNTON, SEVETA WILLIAMS, AND VANDROSS MUSIC, LLC.

2025 Repress

DJ Koze exists both above and beyond club culture as we know it - his albums and remixes flying free from genre and trend - and symbiotically woven into its heart. Yes, he always abstracts and weirds out the principles of house, techno, hip hop, pop, psychedelia, exotica and so forth, but he does that because he understands them. And when it comes to club-demolishing tracks, he understands those principles as well as just about anybody on earth. Thus he could create an enduring club tune like 2015's 'XTC' that is strange, contemplative, even disturbing, bore little relation to anything around at the time, yet still got bodies moving and sweating better than way more obvious techno bangers. And thus the Knock Knock album, which melts a million genres and none into one another, can comfortably include 'Seeing Aliens". 'Seeing Aliens' unquestionably is a banger, its bass riff snaking around your body like a python, its high-drama strings, pianos and outbursts of noise designed for maximum crowd pressure release. But, again, it sounds like nothing else, and its dynamics and twists unfold over eight and a half minutes in ways that will mess with your head every time no matter how many times you hear it. The exclusive b-side track, 'Nein König Nein' ("No King No"!), meanwhile, is slightly gentler on the face of it: it's less about sonic pressure, more about hip-shaking syncopation. But it too tells strange fairytales in its peculiar and brain-tweaking accumulation of detail, and though you'll hear archetypal sounds from the heart of house and disco in it, every last one of them becomes new and otherworldly.

2025 Repress

Two revered dance music institutions come together here as Pye Corner Audio steps up to Emotional Response with his debut EP for the label. What's more, it is a two-parter with the second half also available now. This one from Martin Jenkins finds him making an homage to the acid house he has always loved with opener 'Stegan Acid' starting with slow grocers and foggy moods run through with subtle 303 modulations. 'Magnetic Acid Three' is another deep and stripped-back sound with rumbling drums and bass coloured with soft acid contours and 'Thermionic Acid' gurgles a little more as the icy hi-hats cut through a mutant deep techno swamp. 'Magnetic Acid One' is one final meditation on acidic house depths.

GATEFOLD DOUBLE VINYL WITH SPOT UV FRONT COVER

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.
“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.
“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”
‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”
Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.
Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.
The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.
At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.
“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”
Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris.

Sex Tapes From Mars presents Outdom Records' boss, LATENT, who shares a brand-new four-track EP that spars with breakbeat, electro, house, and left-field electronics, neatly centring them all into a steady, sexy collision. The record as a whole captures genuinely original-sounding, rough-edged b-boy breaking badness - nostalgic, but never polite. It's a few BPMs slower than Sex Tapes' last few outings, but no less effective. Arguably, it's more late '80s sounding than ever, although, in fact, it's a brand-new, stonking release that showcases the label's versatility and unpredictability.

The opening track, "Break Machine", sets the pace with a clear nod to the '80s US group of the same name, bringing tidy drum workouts and clipped vocal samples that recall early Chicago, as well as choppy rave and street party energy at its most unfiltered.

"Disco Hijack" pushes the clutch into a more functional gear, merging delay-heavy, druggy, chuggy, sludgy bass with more robotic vocoder tropes, sharing something playful but IDM and European skewed. It's a dancefloor tool with a wink - just the style this now accomplished label has made its identity. Oh, don't forget the amens and clattering jungle breaks. 1990 or 2040? Fuck knows.

On "Distress Robot", pneumatic percussion and malfunctioning android chatter bring a darker, more mechanical edge, while "Virtual Body" closes with a spacious, garage-leaning shuffle that pulls the EP into recognisable contemporary yet still very much peak-time territory.

LATENT gives lean grit, pushes the edges, and lets the tracks feel alive in their imperfections. It’s music that thrives on tension between old-school reference points and modern floor pressure.

Bristol's label head Elon Dust HAS done it again.

Vinyl-only as per, don't sleep."

Discover the melancholic sound of Margitte

Hailing from the historic city of Ghent (BE), Margitte crafts a unique sonic tapestry that resonates with both ethereal and fierce. Think Portishead, Pj Harvey, The War on Drugs, St. Vincent and even Gainsbourg. Her music is a journey through scapes, blending haunting melodies with intricate electronic textures and poetic lyricism.

Margitte's sound is both timeless and contemporary, weaving together the mystical and the modern with a vision that is thought-provoking as it is emotionally stirring.
Her performances are true to her artistry and passion. Margitte is not just to be heard, but to be felt, lingering on in your ears long after the last notes faded.

Come and get it, join the haze.

SOUNDS LIKE: Laura Marling, Beach House, Warhaus, Gainsbourg, St. Vincent, Liv, Portishead, PJ Harvey, Nick Cave, Neil Frances, James Blake, David Byrne, Grace Jones, Kruangbin, The War on Drugs.

Credits:

Margot De Ridder: Voice, keys, composition
Artan Buleshkaj: Guitar
Simon Raman: Drums, Percussion
Annelies Emmerechts: Voice, keys

Artwork by Mwahrk

Mastered by Lieven Van Pée

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Househead London launch their 2nd 12" release - a limited-edition Chicago Vs London sampler featuring Glenn Underground and Emmaculate Remixes.

Following a string of critically acclaimed events featuring Chi-Town royalty, Househead London further cement their relationship with Chicago on this vinyl release which features two of the city’s esteemed producers - Glenn Underground & Emmaculate - remixing two sterling new tracks from two of the UK’s most exciting producers - Prefix One and Wez Whynt.

Opening the EP is an artist who needs very little introduction, Glenn Underground. A leading international producer & DJ who seems to effortlessly slide between Deep, Soulful, Disco, Jazz and beyond, Glenn boasts an exceptional discography that very few could compete with. His Cosmic Disco Journey Mix here weaves its lo slung groove in a funky off-kilter disco style with piano ripples as Nambi’s voice shimmers on top. Nambi’s heartfelt soars across Glenn’s Cosmic Journey remix unfurling beautiful piano and taut Chi-town beats. Deep and vocal, it’s got that raw soul power that both Glenn and Chicago are known for.

Known for his exquisitely high attention to detail and quality, Emmaculate is one of the go-to producers and sound engineers in Chicago. Working closely with Terry Hunter on a multitude of projects and a shining light across the global soulful house scene, he’s regularly featured across impressive labels such as Dopewax, Yorubasoul, United Music, Soulstice Music and S&S Records. His lush, tough-edged Remix of ‘Feelin’, rolls on with melodic piano hooks to unlock the groove and boosted with extra keys and vocal refrains before the full vocal unfolds. Solid and deep, “Feelin’ is pure joy for the dance floor.

Cromby extends the Potency family for it's 7th release, welcoming in Trax Unit by way of the Gloria EP. The release is a break neck ride of techno and house alchemy, capturing the spirit of Berlin via LA. Perfectly encapsulating the sound of the imprint, the release marks an exciting new chapter in the Potency story, with a slew of releases planned that will move label head Cromby from producer to curator, growing the roster and developing the sonic identity of Potency into the future.

Toyah’s 1991 solo album Ophelia's Shadow is issued on limited edition picture disc vinyl for the first time ever.

The picture disc features colour images on each side of the vinyl and is housed in special die-cut vinyl outer sleeves containing previously unseen colour photography from the album shoot.

A personal favourite album of her catalogue, Toyah confirms: “Above all, this is the one album I have made that truly represents me. I’m fiercely proud of it. Ophelia’s Shadow is not just a record, it’s a reflection of who I was, who I am, and who I continue to become. It’s the sound of resilience, reinvention, and raw truth.”

The album features a band line-up including Trey Gunn on stick, Paul Beavis on drums and Tony Geballe on guitar. Two tracks, Brilliant Day and Lords Of The Never Known feature Robert Fripp on guitar and were originally played live by Sunday All Over The World, the band Toyah & Robert Fripp toured and recorded with in the late 1980s.

Horace Andy made his debut with producer and mentor Phil Pratt at the age of sixteen. His voice has the soulful influence of artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis.

1975's Get Wise collects a series of singles Including versions of hits like "Money, Money" ("Root Of All Evil") and "Zion Gate" ("I Don't Want To Be Outside"). Recorded between 1972 and 1974, these tracks were record at the legendary studios Channel One, Black Ark, Dynamic Sound and Randy's Studio 17, with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson. The album is also a showcase for The Soul Syndicate Band, the session group that featured Sly & Robbie, Aston Barrett and Earl Smith, among others. Get Wise is available as a limited individually numbered edition of 750 individually numbered copies on orange coloured vinyl.

Never Sleep charity tape series focuses on London's pirate radio momentous rise with a true pioneer.

Femme enterpriser DJ Rap holistifies futurism with a cacophony of Ragga, Hardcore and Transatlantic soundscapes. A bass propagation filled with landmark pointillism, matriarchal musicianship and acidic House.

Soundclashing all machismo in sight, rugged mercurial stripped back bedlam for the peak time listener. Complexificating with hypnotic FX, "WHERES THE RAVE" signalling, flawless magnetica and hyperbolic genre splicing. Rap brings the "mood", hybrid soundsystem lashing and method only she fully enablises.

Literally sleeping inside and DJing on Fantasy FM from the age of 16 (you can hear her doing the ads at the start), this mix showcases an incredible time for the burgeoning sounds of the new millenia and the rise of pirate radio across London.

DJ Rap recently released her 6th studio album and is well known for her charity work and love of club culture. A female pioneer in the UK music industry and a long lasting staple in the Electronic history lexicon.

All proceeds go to Four Paws who help Animal Welfare across the UK

Following a string of acclaimed collaborations, including Agua Dulce with percussionist Laura Robles and Mapambazuko alongside Congolese guitarist Titi Bakorta, Peruvian artist Alejandra Cárdenas (aka Ale Hop) returns with her most personal work to date yet, A Body Like a Home. Marking her first album under her birth name, the project is a sonic memoir exploring the tangled realms of trauma, recovery, and love through autobiographical soundscapes.
A Body Like a Home is the artist at her most exposed. Comprising 13 songs and 15 poems, the album sees her set aside collaborative fusions for solo catharsis, channeling years of turbulence - intergenerational scars left by colonialism, racism, domestic violence, and alcoholism - into a work that oscillates between brutality and tenderness. Cárdenas states: “I grew up under Alberto Fujimori’s dictatorship, when a veil of hopelessness seemed to settle over everything. This is the backdrop of the album. The songs and poems trace the inevitable loop between private wounds - addiction, domestic violence, fractured intimacy - and Peru’s national scars, carved by colonialism. It’s not a straight story or a resolution. Writing and composing became a ritual of digging for meaning, into what’s buried, disguised, or renamed, until the body itself became a living archive.
” At the heart of the album is Cárdenas’s own voice - part witness, part confessor - reciting over layers of electric guitars, electronic textures, the haunting violin of Mexican musician Gibrana Cervantes, and a collage of field recordings, from rainfall, muffled whispers, broken glass, to archival protest footage from Peru. The result is a work that resonates like a diary written in sound.
The first single, "Motherland", is a searing testimony where Cárdenas voice cracks under the weight of history and personal loss. Amid a storm of distorted guitars, she traces the cyclical legacies of colonialism, from state massacres branding Indigenous bodies as “terrorists” to the spiral of addiction as an unavoidable future. The lyrics draw parallels between political and domestic violence: a mother’s drunken knife pressed to her chest, and a motherland where racism is currency. She utters: “sacrifice demands a body.” Yet, amid the wreckage, a willful grip on love and faith persists. Ultimately, A Body Like a Home is a document of transformation. Tracks like "Evangelina" and the title piece "A Body Like a Home" hold space for resilience, spirituality, and love, while "Early Road" and "Going South" thread subtle nods to Peruvian folklore, opening up bright vignettes into a sense of belonging.
The poetry chapbook accompanying A Body Like a Home (five of its pieces are also recited on the album) extends the work, building a parallel architecture. Oscillating between the documentary and the mythic, the intimate and the forensic, the profane and the oniric, these poems practice a theology of the ordinary, where everyday objects - cameras, knives, moth-eaten cotton - are charged withspiritual and historical weight. Here, the body is land, house, battlefield, collective pain, geological territory; and trauma is, in contrast, archival, cellular, ritualistic, inherited. Read alongside the music, the stories refract across two mediums: songs give them breath and poems give them bone.

Natural Element proudly presents the long-awaited album The Paradigm Shift by one of Amsterdam’s finest and most prolific producers, Kid Sublime. Following on from the 12” single ‘You Got Me Runnin’’ which dropped in the summer, this 8 track, double LP offering is a special piece of work crafted during the pandemic years and Turbulence recording sessions with maestros Beka Gochiashvili and Mishulino.

The album showcases the evolution of Kid Sublime’s sound and the influence of London’s vibrant broken beat scene, with him having connected with some of the artists around the time of the passing of the legendary Phil Asher. It touches on house, bruk and even techno, with his signature soulful touch palpable across the whole record. Features include talented London artist Oliver Night, Sydney-based vocalist Natalie Slade and long time collaborator, flautist Han Litz, amongst others.

The Paradigm Shift takes you on a deep sonic journey straight from the heart, celebrating love, connection, spirituality and human evolution. There’s introspective moments with the jazzy house drifter ‘The Awakening’ and the dubbed out bass of ‘Kingz’, as well as joyful moments such as the uplifting ‘Heaven’s Glory’ and the romantic ‘Stay Over’, which is as soulful as it gets. ‘Bring It Come’ brings some minimal bruk flavours reminiscent of Bugz in the Attic, and the title track takes things a bit darker with a club-ready roller.

Sitting somewhere between the living room and the dancefloor, this album is sure to enliven the spirits of many a discerning listener and bring some much needed radiance and hope into people’s lives.

The seventh release in the Punctuality canon lands hot with a peak-time four-tracker from Persian-Swedish DJ and producer Mohajer based in Berlin. All In is a bold statement of intent—the music glistens with sleek, modern production aesthetics, drawing from UK-tinged breaks, pumping ’90s house, and sultry, timeless trance moods, perfect for big rigs and intimate dancefloors alike. Like her DJ sets, the tracks are scintillating and high-throttle, twisting and turning through unexpected paths while maintaining a steady dancefloor focus throughout.
“Intake” sets the tone for the EP. The A1 is a high-octane collage of lustrous, contemporary house, where playful, bouncy low-end slips and skips around glitched-out atmospherics, sleazy tech synths, and earworm organs. The arrangement careens and veers without relenting, driven by pumping amens and provocative vox chops fluttering in and around the bass.

A2, “i c u” keeps things heated with rolling breaks and ultrabright melodies that ignite the track with dazzling intensity. A sultry take on UK soundsystem music, its undulating wubs and flirtatious vocals are anchored by a dub sensibility that keeps the groove low, slung, and sexy. Think smoke machines, red lights, and smoldering sexual tension.
Luscious, trancey, and dripping with percussive sensuality, “You Wannabe” carries the sensuous mood to the flip. The track unfolds like the arc of a DJ set, teasing moments of magic amid layers of atmospheric pads, FX, and a pulsing bassline that grounds the arrangement from start to finish. The vibe is sweltering, cosmic, and irresistibly sultry—drawing from many directions but always locked into the groove, built for DJs and dancers alike.
The EP closes with “Backseat,” a hypnotic journey through swirling synthetic flourishes, rumbling subs, and psyched-up lead lines. It expertly builds tension and release, flipping halfway into bright flashes of euphoria and light. The result: a mysterious, sensual number that captures the ephemeral magic of the dancefloor and showcases the expert production skills of Mohajer.

This is buy-on-sight material from start to finish—don’t sleep.

DarkSonicTales is a project by Rolf Gisler and his eponymous album his first for Hallow Ground. Having been granted an artist residency by the label in a 300 year-old farm house in the Swiss countryside in autumn 2019, the Lucerne-based musician and sound artist explored the peculiar sonic environment of the building and its surroundings through the use of field recordings, modular synthesizers, guitar, bass, kalimbas, a singing saw as well as self-built instruments. "DarkSonicTales" starts with kalimba sounds and field recordings, setting the stage for "Sonic Darkness"- a self-referential spoken word piece whose sinister jazz-like sound calls to mind Bohren & der Club of Gore. The following "Spring Feelings" contrasts insect sounds with harsh noise elements, elegiac drones and a throbbing rhythm. It's not quite what you'd expect from a piece with such a title, but the stories that Gisler tells throughout the record are more concerned with uncovering the hidden histories underneath what meets the eyes than (re-)creating idylls. The nine minute-long "I Still Believe" further underlines that by bringing together glistening synthesizer notes with industrial-like drones and field recordings that give it a palpable effect before Gisler unexpectedly changes course and quite literally bursts into song. Towards the end of "DarkSonicTales," the music becomes notably more minimalistic. Gisler experiments with the dynamics of modular drones on "Kind of Restless," juxtaposing birdsong and ominous electronic noises on "Best Buddies" before a mid-tempo beat emerges, making the record close on a decidedly hopeful note. These dark sonic tales, they have a happy ending. "DarkSonicTales" is an organic album in more than one sense of the word. Reacting to and reflecting the world around him as well as expressing his inner one, Gisler gives the sounds at the core of his multifaceted compositions space and lets them breathe. Working along stark contrasts and with surprising twists, he also shines a light on the atmospheric and emotional ambiguity of the world he encountered during his solitary artist residency-unearthing the hidden layers underneath what is perceivable.

Musiq Voyage sets sail with its debut release by TORRE Bros, a producer duo from Aix-en-Provence. A heartfelt tribute to Marseille and the Mediterranean through two shimmering Space Disco cuts: Gyptis and La Pointe Rouge.
Remixed by the legendary Moplen, Alex From Tokyo, and Julien HBT, this EP blends house, boogie, and balearic vibes into a warm and elegant sonic journey.
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After cruising their native Provence and spinning on the mythical shores of Ibiza with their iconic pink-and-blue DJ truck, the Musiq Voyage crew is proud to launch their new label with a sun-soaked debut EP.
Rooted in Mediterranean soul, Phocaea Vol. 1 features longtime friends and local legends TORRE Bros (Jean-Marc & Patrick Torre), producers from Aix-en-Provence with over two decades of musical exploration—from disco and house to hybrid electronic jams. Known for underground hits like Corps à Corps and Baleora, supported by artists such as Carl Craig, the duo now pays tribute to Marseille, their beloved coastal city.

A1 – Gyptis
Named after the legendary princess said to have founded Marseille, Gyptis is a lush space-disco homage to the city’s ancient roots—where Greek sailors met local tribes, and myth met the Mediterranean.
A2 – Gyptis (Moplen Remix)
Italian disco don Moplen (Chaka Khan, Talking Heads, Loose Change) delivers a floor-ready rework—elevating the groove with cosmic flair while keeping the original’s dreamy vibe.
B1 – La Pointe Rouge
A sonic postcard of one of Marseille’s most iconic seaside spots—sunsets, sailing, and slow walks by the sea. Built on a strong boogie beat, 80s synths, and balearic textures.
B2 – La Pointe Rouge (Alex From Tokyo & Julien HBT Remix)
Legendary DJ/producer Alex From Tokyo (Tokyo Black Star, Innervisions) teams up with Parisian underground figure Julien HBT (Demented, with François X) for a deep, syncopated reimagining. Infused with Chicago house and leftfield boogie influences, this remix flips the original into a spaced-out late-night groover.
More than just a legendary DJ, Alex From Tokyo has built a global career bridging cultures and sounds. After growing up in Japan, he returned to Paris in the early ’90s and co-founded A Deep Groove with DJ Deep and DJ Gregory, launching one of France’s first underground dance radio shows on FG 98.2 FM.
A key link between Europe and Japan, Alex worked with labels like F Com, Mr Bongo, and Yellow Productions, before living in NYC, Berlin, and beyond.

2025 Repress

“UR wonders” What happens to jazz if combined with the current electronic sound tools used to make Detroit techno now?
What might Jazz sound like if the inspirational pioneers of fusion ie; Return to Forever, Astral Pirates or Weather Report had access to the music production technology available now or in the future?
The artform called Jazz was a unique reflection of “The African American experience here in the United States.Unfortunately by the 90″s it had been compromised by major record companies and made “smoother” for mainstream consumption and more profits.
Born in America’s rural black south Rock & Roll had suffered the same fate years earlier. Original artists eventually replaced by well studied clones and corporate mega profits!! Also happening the original artform of jazz appeared to be caught, processed & throughly EXPLAINED by people who sought to intellectualize “struggle & human emotion” into mere words and then benefit immensely financially by being authorities on the subject.
Hmm sound familiar?

As you watch the current intellectual colonization of the urban inner city African American art forms house music, hip-hop, Jungle & Detroit techno get studied, bent, twisted renamed and turned into EDM profit formulas.

There stands records like Nation 2 Nation that defy these definitions and inspire the next generation of Pioneers who continue the undefined exploration of Jazz like Derek Jamerson, Jon Dixon, Raphael Merriweathers, Desean Jones, Timeline, Galaxy 2 Galaxy, Raphael Statin & Ian Finkelstein. Mother to daughter, Father to son,

Nation 2 Nation a work inspired and that inspired what’s next.

The pioneering electronic sounds of Daphne Oram reimagined by TAAHLIAH, Cosey Fanni Tutti, Marta Salogni, Arushi Jain and others using tapes from Oram's archive.

To mark the centenary of overlooked electronic pioneer Daphne Oram, Nonclassical - together with Oram Trust and Oram Awards - have commissioned new music by a set of contemporary visionary minority-gender electronic artists celebrating the next generation of trailblazers.

This group of artists span early-career to high-profile DJs and musicians across diverse electronic worlds, representing a spectrum of distinct practises - from uncompromising club beats, performance art and sound art to ambient music and deconstructed future-forward Arabic dance music.

The artists have created these new works using samples from Oram's archive - housed at Goldsmiths, University of London - which features a mix of sound clips covering not only her innovative Oramics machine and other electronic music, but also match strikes, cat purrs, scraped objects and commercial jingles as well as recordings of Oram's own voice.

Look out for gigs around the UK and at London's Barbican Centre around the release.

Der zurückgezogen lebende Elektronikmusiker Jeremy Dower aus Melbourne kündigt eine Compilation mit bisher unveröffentlichten Stücken aus einem Vierteljahrhundert an, die in zwei Hälften unterteilt ist, um sein unaussprechliches Ambient-Techno-Projekt Tetrphnm aus den 90er Jahren sowie die melancholischen Faux-Jazz-Aufnahmen, die er später unter seinem eigenen Namen veröffentlichte, zu präsentieren. Personal Computer Music, 1997-2022 ist der Höhepunkt der laufenden Reissue-Reihe von Chapter Music für Jeremy. Im August veröffentlichte Chapter seine früheren Alben erstmals digital - Sentimental Dance Music For Couples (ursprünglich 2000 über das US-Label Plug Research, Heimat von Veröffentlichungen von Flying Lotus und Jon Tejada) und Music For the Young and the Restless (ursprünglich 2004 auf dem japanischen Label Bit Of Heaven). Zunächst inspiriert von strengem deutschen Techno wie Monolake und Mouse on Mars, wuchs Jeremys Klangwelt und nahm so unterschiedliche Einflüsse wie The Sea and Cake, Joao Gilberto, Jaki Liebezeit und Alain Goraguer auf. Jeremy arbeitete jedoch ganz allein auf der anderen Seite der Welt an diesen Meilensteinen und improvisierte Systeme der ,subtraktiven Komposition" mit billigen Soundkarten aus den 90er Jahren, 12-Bit-Samplern und gebufferten Noise Gates. Seine Musik entwickelte sich in einer parallelen, aber separaten Welt zu Genres, die später als IDM oder Microhouse bezeichnet wurden, aber eigentlich klingt sie wie nichts anderes als Jeremy Dower - magisch einfallsreich, berührend und persönlich. Efficient Space hat einen Tetrphnm-Track auf ihrer beliebten 2018er-Compilation mit australischer Elektronikmusik der 90er Jahre, 3AM Spares, veröffentlicht. Aber Personal Computer Music, 1997-2022 ist Ihre erste Gelegenheit, Jeremy Dowers faszinierende Musikgeschichte mit der Tiefe zu erkunden, die sie verdient.

BDK lands on Footjob for his label debut, serving up a four-track EP of disco-laced dancefloor power. The Belfast producer delievers high-octane, funky-driven, floor-focused cuts packed with punchy drums. A guaranteed lift to any house/disco set.

Los Angeles artist and musician Shlohmo returns with a vinyl repress of two of his defining albums: "Bad Vibes" and "The End". From the first sounds of Henry Laufer"s early work, it was clear he was forging a new path in electronic music - melding hazy textures, emotive melodies, and fractured beats into a sound both intimate and expansive. Bad Vibes introduced Shlohmo"s lo-fi, slowmotion approach, crafting emotive atmospheres that would influence a generation of West Coast producers. The End, a cinematic journey of chaos and calm, cemented his status as a visionary, blending apocalyptic tension with moments of quiet reflection, made with drum machines, vintage synths, and improvised recording techniques.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel. Loving You from 1957 was Elvis Presley’s first soundtrack and accompanied the eponymous film that follows a delivery man who is discovered by a music publicist and a country–western musician who wants to promote the talented newcomer. This was Presley’s first major starring role. The fact that only the tracks on the A-side appeared in the movie couldn’t spoil the fun for the fans, as the LP contained hits such as “(Let Me Be Your) Teddy Bear” reaching #1 in the U.S., some covers and some lesser-known deep cuts. It’s not without reason that this album reached Certified Gold status. The Midas touch, so to speak. Loving You is available as a limited edition of 1500 individually numbered copies on yellow translucent coloured vinyl.