This year’s edition of our Glome series leans into a deep, driving, club-focused sound. The A-side opens with Mitra’s signature bass-heavy, bubbly textures, setting a warm, energetic tone before moving into Mordio’s relentless
groove, where the rhythm is lifted by chords that carry a subtle dub-like glow. On the B-side, Tenzia brings his unmistakable sense of groove and an uplifting, wide-open sound palette that feels both playful and effortlessly fluid until the record wraps up with Vanta’s eerie, enveloping atmospheres that creeps right under your skin. Each track carries the unique fingerprint of its artist while staying true to the evolving sonic identity the label is shaping.
Suicide AFTR 7 moves deeper into the shadows on this release, stripping things back while letting the groove hit harder. Built on pumping 808s, restless synth lines, and a subtle acid pulse, the project blends electro, cold wave, and leftfield instincts into something leaner and more focused than earlier records. There’s a proto-80s spirit running through it: raw, tactile, and slightly unpolished, where tension lives in the negative space and repetition becomes hypnotic rather than obvious.
For the first time, real bass guitar and drums enter the picture, adding human weight beneath the electronics without diluting Suicide AFTR 7’s core identity. The result feels rawer, more intimate, and quietly confrontational. Music for late nights, dim rooms, and inward motion. Still unmistakably SA7, but closer to the bone.
Vakula flips the script with U’re Made Of Sound – cosmic textures meet raw basement energy straight from Konotop. Deep beats, hypnotic layers, every groove tells a story. Elevate your set, ride the soundwave.
With the Hormesis EP, Alric Aerial explores the delicate threshold between pressure and growth. The title a reference to the biological phenomenon where stress triggers a positive adaptation serves as the conceptual foundation for a sound born from deep introspection.
It is a testament to the idea that resilience is not just about enduring, but about evolving through the friction.
In his productions, Alric Aerial weaves together personal and cultural fragments, bridging the echoes of his heritage (Tales From The Desert Part II) with a conscious departure from familiar scenes and habits (Good To Be Gone). This work marks a natural evolution a shift from the noise of the outside world toward a more refined, intentional focus in the studio.
The tracks strike a balance between "dirty" authenticity and infectious, groovy basslines. From driving, straight-forward rhythms to melodic leads, the work shifts between cinematic tension and uncompromising momentum. Especially in the title track, Hormesis, Alric’s vision culminates in the transformation of fragmentation into energy. The music invites the listener to find a new kind of presence within the act of disappearing to get lost in the pulse, only to emerge more resilient.
The Feet Follow Hands collective present their first release: a collaborative 12” from the group
Flâneurism comprising four dub-techno studies shaped through mixed authorship.
Switches (dub) restructures its source material into ten minutes of blurred chords over a deep,
unhurried pulse.
Switches (Flâneur mix) cuts the same material apart and reassembles it with technical precision, beats sliced into a sharper focus.
Source-Continuous is an echo of an echo, original idea long dissolved, leaving only a looping trace.
De-Wave builds stepping, uneasy momentum contrasting bright sound design over a dub undercurrent.
Feet Follow Hands are proud to share this release built on the collaborative ideals of iteration, versioning and shared process.
Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK.
In 2023, Laurie shifted focus to work on her own creations, a process of making time - the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, 'Après coup' finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of "other options".
"Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen."
Centering around piano, drums and synthesizer with interweaving field recordings, 'Après coup' follows the precursor ep 'Correspondances' in the form of a sprawling 11-track album. Translating directly from French - afterwards, after the event - its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where 'normal' life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild in St-Zénon, Québec offered an unparalleled location and set up for her freeform creativity.
Instrumental music seemed like a natural response and evolution for Torres who had long basked in the world of "pop music" as she elaborates: "I had an urge to use creativity as a sort of resting place, a place where things can unfold slowly and take time to reveal themselves. In other worlds words, I felt the need to make something slower, more elusive"
The immediacy of Torres' recorded takes doubled with minimal overdubs create a fiercely direct, intimate and unpolished lo-fi beauty. 'Après coup' then is self-reflective, open and inclusive with Torres allowing herself to be fully seen. An album to be felt at close distance with unrivalled authenticity. This album stands as a testament to Laurie's artistic evolution and serves as a beacon, inspiring her to continue nurturing her own creative pursuits and finding exhilarating freedom.
Rotation does not necessarily imply movement. Phase differences open up enough glimpses to mirror themselves in cristal clear waterways, thus appreciating the treasure hidden inside.
Francisco Foo gives us a beautifully pensive 4-track chillage EP as his vinyl debut. Europe After The Rain perfectly captures the ideas of healing, regeneration, and rebuilding.
Barrington Levy's 3rd LP for Jah Life, another killer selection from the fruitful works of the Wright/Lawes/Levy axis. From the golden era of the Radics at Channel 1, mixed by Scientist at Tubby's, 10 tracks, great all the way thru. Finally available again, this was only repressed once before in the late 1990's, other than its original release in the early '80s. Featuring iconic cover art by the late NYC legend Jamaal Pete and pressed from the original mothers, identical to the original press.
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!
Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.
From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.
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."
We welcome you to the third installment of Scala. Each new release on Scala Muziek reflects the evolving mindset of its founder. For the third chapter, Pascal Benjamin delivers Soul Extension EP, an exploration of movement, mood, and the subtle shifts that define his sound. A1: Almost Fact sets the tone with taut rhythms and shimmering low-end pulses, balancing tension and release in constant motion. A2: Shift Happens dives deeper into modulation, its warped stabs and filtered delays gradually building a shifting, evolving energy. On the flip: B1: Extension expands into rolling grooves and atmospheric layers, blending vintage warmth with modern precision. B2: Phases closes with a sparse, contemplative mood—fragmented voices and echoes creating a hypnotic sense of drift. Soul Extension captures Pascal at a point where artist and label move forward as one, shaping the next chapter of Scala Muziek’s identity.
Nicaraguan-American artist Dagmar Zuniga makes music that feels both intimate and expansive: songs drift like disrupted signals, carried by harmony, tape hiss, and a strong sense of touch. Her debut solo album in filth your mystery is kingdom / far smile peasant in yellow music — written and recorded in New York, Norway, and Athens, Georgia over a period of five years on her longtime companion, the Tascam 424 — was uploaded to Bandcamp and YouTube in January 2025, quickly garnering over two hundred thousand views and the attention of artists such as Mount Eerie, who invited her to tour with them that summer. This year, what was once a jewel of tapped-in algorithms and message boards will meet the world at large, with in filth arriving digitally on March 4, and physically on April 10, via AD 93.
in filth is an atmospheric, devotional collage where one voice multiplies into a chorus of selves, sometimes delicate, sometimes severe; an effect created by Zuniga’s masterful layering of texture and complex harmonies. Synths glitter out like spears of sunlight from beneath clouds of moody, time-distorted guitars, and songs spin about themselves like tightly-wound music boxes, making use of a kind of hypnotic repetition, before melting apart into their components or slipping into the following track.
Zuniga began recording to tape as a teenager, drawn to the physicality of the medium — how a tape recording is fragile, mutable, and alive. Though her ethereal sound may draw easy comparisons to other female pioneers of psychedelic folk, she is influenced just as much by the darker sounds of Syd Barrett and The Fall. Like Barrett, Zuniga is a painter, and she is interested not only in recording music but in creating a full, self-contained artistic universe: she creates her own artwork, merchandise, music videos, and bootleg tapes of new and unfinished music that she exclusively sells at live shows (“If something is not material, it does not exist,” she insists). Her world has not gone unvisited, garnering her a monthly show on NTS Radio ‘World of Pain’, as well as a forthcoming appearance at Rewire Festival in April 2026.
Though Zuniga’s work explores themes of solitude and suffering, the suffering in her songs is not borrowed or displayed; it is held, then opened outward through empathy — an exacting practice of attention that insists on shared ground. Solitude, in her work, is not withdrawal but a starting point for connection. Likewise, over time, her recording process has become increasingly communal, with in filth featuring musicians Hayes Hoey, Austyn Wohlers (Tomato Flower), and Zach Phillips (Fievel Is Glauque). Newer recordings widen the circle even more. For Zuniga, collaboration is a way to “find a place between worlds,” echoing Badiou’s idea of love as a vision refracted through the prism of difference. Meaning emerges there — in the space between voices, between artist and listener. “I hope my music helps people work through difficult experiences,” she says. “The same way it helps me.”
it „Symphonica“ schlägt Dark Tenor alias Billy Andrews ein neues Kapitel auf. Das 13 Tracks umfassende Rock-meets-Klassik-Album erscheint am 16. April 2027 und verbindet die monumentale Kraft großer klassischer Kompositionen aus unterschiedlichen Epochen mit der unmittelbaren Energie zeitgenössischer Rockmusik.
Dabei entwickelt Dark Tenor sein musikalisches und visuelles Konzept konsequent weiter: Während er klassische Werke erneut aufgreift und zu eigenständigen Songs formt, erhält jede Single
auch filmisch ihre ganz eigene Epoche. Die dazugehörigen Musikvideos entführen das Publikum in unterschiedliche Zeiten und Stilwelten.
Das persönlichste Album von Dark Tenor
„Symphonica“ entstand in enger Zusammenarbeit mit Billys Produzenten Eric in Helsinki. Für jeweils zwei intensive Wochen trafen sich die beiden in einem Studio der finnischen Hauptstadt, um gemeinsam neue Songs zu schreiben, Ideen weiterzuentwickeln und den besonderen Klang des Albums zu formen.
Fernab des Alltags entstand ein Raum für Offenheit und musikalische Freiheit. In den neuen Songs verarbeitet Billy viele Höhen und Tiefen seines Lebens: persönliche Erfahrungen, prägende Begegnungen, schmerzhafte Momente und entscheidende Wendepunkte.
Dabei richtet sich der Blick immer nach vorn. Trotz aller Nachdenklichkeit ist „Symphonica“ ein Album voller Zuversicht, innerer Stärke und Hoffnung.
Was ist Klassik heute?
„Symphonica“ ist mehr als Musik. Das Album eröffnet einen mutigen Dialog mit der Frage: Was ist Klassik eigentlich heute?
Billy Andrews verbindet die Werke ikonischer Komponisten wie Mozart, Wagner und Beethoven mit modernen Sounds. Rockgitarren, epische Drums und das 3D-gedruckte Cello „Cellini“ treffen auf fein gearbeitete Orchesterpassagen und eindrucksvolle Chöre.
Seine klassischen Wurzeln als ehemaliger Sänger des Dresdner Kreuzchors und später an der Semperoper Dresden verleihen jedem Ton Tiefe und Authentizität.
This first-time reissue of Quinteplus’ 1971 album revives a key moment in Argentine jazz, featuring crisp trumpet and tenor sax, electric piano-driven funk and modal grooves, and a tight, spacious rhythm section. It showcases prominent figures like Jorge Anders and “Pocho” Lapouble.
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Quinteplus was born in Buenos Aires at the end of the 1960s, emerging directly from the ideas and experiments of the legendary Agrupación Nuevo Jazz. Founded in the early ’60s, this collective brought together some of the most forward thinking figures in Argentine jazz functioned as a creative lab where musicians questioned where jazz could go next. Among the key ideas discussed was the fusion of jazz with Argentine folk styles such as zamba, chacarera, malambo, cueca, and candombe, as well as a deeper look into African rhythms as a bridge between musical worlds.
Two members of that collective, keyboardist Santiago Giacobbe and bassist Jorge “Negro” González, carried those ideas forward when they formed Quinteplus in 1969. The group came together naturally: all the musicians already knew each other and had played in different projects around the Buenos Aires scene. They shared a strong admiration for Julian “Cannonball” Adderley’s quintet, along with a clear goal—to develop a modern jazz language grounded in local Argentine rhythms.
From the start, Quinteplus stood out for its openness and adventurous spirit. Rhythm was central, and so was experimentation. The band belonged to a generation of Argentine jazz musicians eager to explore electric instruments and new textures, anticipating what would soon be known as jazz-rock. This was happening in Buenos Aires at the very same time Miles Davis was opening new doors with “In a Silent Way” and “Bitches Brew”. Giacobbe introduced one of the first Fender electric pianos in Argentina, while González pioneered the amplification of the upright bass and even developed a hybrid electric, boxless version of the instrument. Trumpeter Gustavo Bergalli, meanwhile, maintained close ties with the emerging Argentine rock scene, collaborating with Luis Alberto Spinetta and appearing on Almendra’s first album.
In 1971, Quinteplus recorded its first and only studio album for EMI. The original lineup featured Jorge Anders on tenor saxophone, Bergalli on trumpet, Giacobbe on keyboards, González on upright and electric bass, and Norberto “Pocho” Lapouble on drums and percussion—who also illustrated the album’s iconic sleeve. The record is a refined showcase of the band’s musical vision: original compositions, fluent jazz language, folk-derived rhythms, funky electric textures, tight ensemble playing, and standout brass solos. Though critically praised, the album received little label support and sold modestly, eventually becoming a sought-after collector’s item.
Quinteplus disbanded in 1973, their music was perhaps too bold and unconventional for its time.
Entering the abandoned warehouse full of haze and blinded by the strobe lights, you feel the rush when the bass kicks in. You have no idea if the year is 1996 or 2026, but it doesn't matter as long as you are alive.
Indeed, another batch of forgotten and previously unreleased radioactive acid techno has surfaced on the anonymous, vinyl-only Kilotoni imprint — possibly their strongest release so far.
A1 The peak of acid techno is perhaps found in its most stripped-down form. As the bass line throbs your breath out, you try to chase the kick drum in a game of hide-and-seek until complete exhaustion. It's something you play after the copies of Betty Ford and Sync In start to melt during a nuclear reactor accident.
A2 A ravey or hard-techno-oriented approach is applied to the acid techno formula here. The squelching, pulse-width-modulated synth makes for an eerie yet irresistible call to the dance floor. The snare rolls might just be your guilty pleasure.
B1 The flip side opens with funkier techno that the Voyager probes could bump to in outer space a million years from now. A wild acid line is accompanied by playful chords and beats. Detroit influences meet Nordic melancholy.
B2 The kick drum keeps pounding its way through while a lonely TB-303 is traveling in its own space and time. Influenced perhaps by the Midwest acid techno style, this could be a mid-90s DAT-tape lost inside the transatlantic postal system on its way to the Analog Records USA headquarters.
Tom Jenkinson, alias Squarepusher, präsentiert Kammerkonzert – ein Feuerwerk aus messerscharfen, rasend schnellen Riffs, teuflischen Orchesterklängen und rasanten Wendungen, das Progressive, Ambient, elektronische und experimentelle Musik vereint.
Der einzigartige Hardcore-Rave-/IDM-Produzent, experimentelle Musiker und Schöpfer futuristischer Fusion-Formen blickt auf ein 30-jähriges Schaffen mit einer Vielzahl herausragender Alben zurück. Von dem furiosen Breakbeat-Acid und dem brachialen Live-Bass-Angriff auf "Feed Me Weird Things" (1996) über das selbsterklärende "Music For Robots" (2014) bis hin zum virtuosen Live-Showcase "Solo Electric Bass 1" (2009) und dem entrückten Concrète-Jazz von "Ultravisitor" (2004) – nur wenige zeitgenössische Musiker haben ein so breites Spektrum an Musik so souverän abgedeckt. Doch trotz dieser Bandbreite zeichnet sich sein 30-jähriges Schaffen vor allem durch zwei Dinge aus: Unberechenbarkeit und Regelbruch. Da sein neues Album "Kammerkonzert" auf Warp im Grunde ein Kammerkonzert ist, bei dem er alle Parts selbst spielt, kann man getrost sagen, dass er seit seinem kristallklaren Drum-&-Bass-Debüt für das Label im Jahr 1996, der EP "Port Rhombus", einen langen Weg zurückgelegt hat.
Mit "Kammerkonzert" beginnt für Squarepusher nach 21 Alben eine neue Ära als Komponist.
Loud Ambient 2 picks up directly from where Loud Ambient left off. After picking the drum machines back up, we returned to the colourfield ideas that shaped the first record. Rothko remained a key reference, along- side a strong recommendation to spend time with the work of Josef Albers. We did exactly that, and it paid off.
Alongside the music, we created 50 new pieces of artwork for Loud Ambient 2. These became tools rather than decorations. Working this way felt open and rewarding, and brought a real sense of play back into the process. We already understood what a Loud Ambient track could be, so slipping back into that headspace felt natural. The tracks came together quickly, full of energy, movement and that familiar noodle quality.
The creative side landed easily this time. There is some- thing about working with colourfields that frees you up and pushes you further into abstraction. It removes hesitation and keeps the focus on instinct and response.
With the drum machines and synths loaded, we kept our heads down and made the kind of music we want to hear on a dance floor. Loud Ambient 2 is the result.
Valvula Records returns with its third EP, reinforcing its identity through a powerful release that brings together Swedish and Brazilian artists in a compelling convergence of contemporary Techno. The project highlights the creative strength of artists who are actively shaping Raw and Hypnotic Techno with personality, consistency, and a clear artistic vision.
Alexander Johansson and Mattias Fridell deliver an intense and precisely crafted collaboration, reflecting the maturity of a partnership built on deep, impactful productions. Brankelo continues to expand his international presence following recent releases on the renowned Planet Rhythm, contributing a track driven by raw energy and sonic intensity.
Sev Dah maintains his distinctive contemporary groove, offering an exclusive track that adds tension and movement to the EP. Alvinho L. Noise and Steel Force join forces on a hypnotic, driving track powered by a solid and immersive groove, reinforcing the EP's raw and uncompromising character.
Designed for the dancefloor, DJs, and true Techno enthusiasts, this release marks another strong step forward for Valvula Records in building an authentic and relevant catalog.
Fides Records continues its 10-year anniversary journey with X5. This instalment widens the emotional spectrum while staying locked to the club: dub-soaked pressure, sunrise euphoria, cinematic tension, and leftfield elegance: six tracks that underline the label’s taste for both functionality and narrative depth.
Side A opens with Jon Hester’s “Oblique”, a timeless cut where dubby undertones meet crisp percussion, crowned by a high-pitched saturated motif that results warm, powerful, and sharply functional. “Caballo Azul (Z.I.P.P.O Rework)” follows, reshaping Franzizca’s original through Z.I.P.P.O’s lens into a dub-infused, precise reinterpretation, layered with meticulous sound design and understated force. Closing the side, Pink Concrete’s “Now We Are” keeps the emotional momentum alive with euphoric tones and introspective energy that feel built for sunrise closings.
Flipping to Side B, Tal Fussman’s “Ghost” adds cinematic weight, driven by an organ-inspired chord progression and dynamic percussion showing his bold, colorful, and razor-precise creative process. Aasthma is the project of Swedish heavyweights Peder Mannerfelt and Pär Grindvik and land on FIDES with “The Love Bees”, a genre-defying anthem where disco and house flair shine through a peak-time techno skeleton. The record closes with Hiver’s “Restless”, an IDM-infused finale rich in harmonic complexity and breaky elegance, perfectly capturing the Milan-based duo’s distinctive, emotionally charged signature
Incl. Remixes by Red Axes, Roman Flügel & Abe Duque
What does it mean to exist in sound?
It does not begin with a beat, but with a choice. With the moment when someone decides not merely to inhabit the space, but to shape it – and in doing so, makes themselves visible.
Roman Flügel stands as a constant in the background. Not as an authority, but as a collective consciousness. Since the 1990s, he has moved through club music like a seeker, never content with the first answer. House, techno, experimentation – these are not genres, but states of being. His remix thinks, hesitates, opens, strikes like a surging acid wave, warping reality and demanding true presence.
New York taught him that club music is never neutral. It is body, friction, attitude. Abe Duque’s remix carries a strangely enchanting relentlessness, a resistance to smoothness – as if the dancefloor were a place where freedom is not claimed, but fought for.
Red Axes do not enter this space; they conjure it. Their sound is raw, repetitive, circular, as if deliberately refusing linearity. House, dub, and acid elements become material for a movement that is more trance than structure. Their remix does not ask where it is going; it asks why one should ever stand still.
And then there is Tim Paris. Not at the center, but as a narrator. As someone who knows that the voice is an attitude. “That Boy” is not a pose, but a mirror, ironic, direct, vulnerable. Paris moves between new wave house and club, always aware that identity is never fixed, but formed in the moment.
This remix record is not a gathering of names. It is a situation, four perspectives on the same question:
What does it mean to exist in sound?
Yet sound alone does not tell the full story: like music, the visual is a space to be shaped, felt, and deciphered. The cover of Tim Paris feat. Foremost Poets – That Boy, created by Konstantin Fürchtegott Kipfmüller, a visual artist at the Hochschule für Gestaltung in Offenbach under Heiner Blum, embodies this principle. Drawing inspiration from the urban environment, Kipfmüller transforms traces of decay, weather, and time into abstract narratives that, like the music of Tim Paris, Roman Flügel, Abe Duque and Red Axes, unfold meaning layer by layer. The result is no mere adornment, but a mirror of the sonic landscape: every line, every surface an echo of the question of what it means to exist – fully, in the moment, in sound.
Signaling their long-anticipated debut on ICONYC, the label welcomes acclaimed Italian duo Glowal with their Future Faces EP. Uncompromising in its intent, this two-track capsule extends the duo’s emotional vocabulary, threading new ideas through their unmistakable sonic lens for a release that underscores the expressive precision at the heart of their craft.
Casting their gaze forward on “Future Faces”, Fabio Giannelli and Alessandro Gasperini open proceedings with a fractured rhythmic chassis driven by a throbbing low-end pulse that warps with each passing beat. Heavy percussive strikes carve their path into the night before a disarming female vocal emerges from the shadows, injecting a sense of yearning and fragile wonder into the piece. A sudden brake—like tires skidding across rain-slick asphalt—ushers in laser-etched synth lines that cry out with an anthemic resolve, while iridescent sequences bubble to the surface, sealing a striking first statement on the label.
Turning the corner, Glowal unveil the esoteric “Desert Soul,” a slow-burning reverie that expands on the EP’s emotional terrain. Patiently unfolding over fragmented rhythms and a meandering bassline, neon traces guide us toward a robotic vocal presence that introduces a subtle human-machine tension. Stripped to a minimal core yet rich in sentiment, “Desert Soul” resonates with quiet introspection—an understated meditation on self-discovery that lingers well beyond its final echo.
In den letzten fünf Jahren hat sich Joe Westerlund intensiv mit der Clave beschäftigt, dem metrischen Muster, das zunächst die afro-kubanische und lateinamerikanische Musik geprägt hat und dann in fast alle Bereiche des Jazz und Rock Einzug gehalten hat. Was bedeutete es, dass eine Idee so flexibel war, dass sie so viele Formen annehmen konnte und dabei doch ihre eigene Essenz behielt? Das Ergebnis ist für Westerlund ein Sprung ins Unbekannte: Curiosities from the Shift, ein 12-Track-Spielplatz mit endlos verwobenen Beats und Melodien, auf dem Westerlunds Begeisterung für die Clave auf seinen experimentellen Umgang mit Texturen trifft und seine rhythmische Symphonie mit Freunden Hand in Hand geht, die diesen Raum gemeinsam mit ihm gestalten. Die dreiteilige Suite, die die erste Hälfte von Curiosities ausmacht, beginnt mit den Schrottplatz-Percussions und den entzückenden Bass-Splashes, die ,Tem" umrahmen, und endet mit dem surrealistischen Boom-Bap von Daumenklavieren und Shakers auf ,Can Tangle". Diese Stücke strahlen eine hart erkämpfte Freude aus, als würde Westerlund sich in Echtzeit daran erfreuen, eine potenzielle Sackgasse zu entdecken, aber trotzdem seinen eigenen Weg nach vorne zu finden. Diese Songs wurden zu einer Art Arbeitsplan für das Terrain, das Westerlund auf Curiosities erkundet, vom glorreichen Call-and-Response-Opener ,Nu Male Uno" bis zum unheimlich amorphen Schlussstück ,Felt Like Floating". Alle diese Songs zeichnen sich durch einen erkennbaren Rhythmus aus, wie den galoppierenden Gang in der Mitte von ,Midpoint" und den kopfnickenden Puls, der sich durch ,Persurverance" schlängelt, dessen Name augenzwinkernd falsch geschrieben ist, um seiner Aussprache aus North Carolina via Wisconsin zu entsprechen. Aber das sind nur Sprungbretter für andere Texturen, Stimmungen und Ideen, wie die New-Age-Anklänge - schimmernde Metallophone, zwitschernde Vögel, zurückhaltende Flöten -, die ,Midpoint" durchziehen, oder die Dub-artigen Delays und Gamelan-Hymnen, die ,Persurverance" durchziehen. Dies ist zutiefst vielschichtige Musik, deren treibender Kern durch eine Reihe überraschender Entscheidungen ausgeglichen wird. Bittersüße und Freude, Trauer und Befreiung, Seufzer und Lächeln: All das ist hier vorhanden und verflechten sich bis ins Unendliche. In den Monaten nach den ersten Sessions wandte sich Westerlund an Freunde - darunter Tim Rutilli von Califone, den Saxophonisten Sam Gendel, den Trompeter Trever Hagen und die Violinisten Libby Rodenbough und Chris Jusell. Es waren seine am gründlichsten komponierten und präzisesten Werke, aber er wollte hören, was passierte, wenn seine Freunde in Echtzeit darauf reagierten. Sie lieferten Anmut, Tiefe und Gefühl, wobei ihre Parts den Vorhang zu verborgenen Winkeln rhythmischer Welten öffneten. Westerlund gibt bereitwillig zu, dass er von der Betonung des Grooves und des Metrums des Albums überrascht ist, die sich von abstrakten Klängen abhebt. Nachdem er so lange mit Bands gelebt und gearbeitet hatte, ging er davon aus, dass er mit grundlegenden Metren fertig war. Diese 12 Songs verschmelzen so viele von Westerlunds Leidenschaften zu endlos faszinierenden Stücken, die mit vertrauten Elementen seine Abenteuer ins Unbekannte übertragen. Verspielt, aber zart, wehmütig, aber wundersam, von Beats angetrieben, aber nicht an sie gebunden - dies ist Westerlunds bisheriges Vermächtnis, das Soloalbum, das einen Blick auf eine musikalische und emotionale Landschaft eröffnet, die vielleicht sogar noch reichhaltiger ist, als er es sich jemals hätte vorstellen können.
StandUP Records returns with its second release, welcoming a respected name Konerytmi with the 1999 EP.
Across five tracks, Konerytmi pulls listeners straight into the golden era of 80s electronic music. Steering clear of formulaic kicks and basslines, the EP embraces eerie nostalgia, raw textures, and dim-lit atmospheres, the elements that defined the genre’s earliest identity. It’s a deep dive into the past, capturing the authentic sound, spirit, and experimental edge of early electronic music.
"Lost in the spinning sound" is the 12th studio album by The Dining Rooms (Stefano Ghittoni and Cesare Malfatti) who, over the years, have delved into an original style that balances cinematic atmospheres with funk, dub and ambient music. Here they have invited just one vocal guest, Chiara Castello from I'm Not a Blonde, for a collaboration that delivers a slow, nocturnal, orchestral, very minimalist album, oscillating between folk and blues, with deeply meaningful lyrics that explore the intricate nature of interpersonal relationships. The album cover, an illustration by Sara Vivan, conveys the idea of metamorphosis and invites us to dive into the sounds that surround and protect us. This is also the main message of the album: losing ourselves in order to protect ourselves a little. Drifting along and finding new, safer and more peaceful shores.
In Hayk Karoyi’s music, the vibrant palette of the Mediterranean meets the deep layers of Armenian medieval culture. A composer, sound artist, producer, selector, and live performer, as well as a multi-instrumentalist specializing in Armenian woodwinds, Hayk channels his cultural identity intuitively, allowing memory, place, and subconscious expression to shape his sound. Coming from a mixed East Mediterranean and Armenian heritage, he has never aimed to define himself—or his music—within a single tradition.
Instead, his work exists as a continuous fusion: electronic music intertwined with ancient timbres, improvisation, and experimentation. His work has been presented in clubs, concert spaces, and international festivals across Italy, France, Spain, Germany, Armenia, Georgia, Uzbekistan, and Indonesia. He has appeared on festival lineups such as Terraforma Symposia (Italy), Stihia Festival (Uzbekistan), O3 Festival (Armenia), Nopa Sound Festival (Armenia), TKESHI FESTIVAL (GEORGIA) ,Urvakan Festival (Armenia), New East Festival (Barcelona, Spain), Suara Festival (Indonesia), and Un Week-end Festival (France).
“Yotqar” is a love letter to the artists and musicians who have shaped me; those whose music I’ve carried in my heart and those I’ve shared stages and moments with over the years. The album is deeply rooted in Armenian woodwind traditions, echoing voices of the masters I admire. Its soundscape stretches across a wide geography and draws inspiration from the mountains of Syunik to the streets of Anjar, weaving in local sounds, memories and emotions. Endless gratitude to my parents, and especially to my mother for the folklore melodies she sings while cooking, filling the house with warmth and history.” - Hayk Karoyi
WRWTFWW Records is very happy to announce the release of Renga, the new collaborative album from Gak Sato and Tadahiko Yokogawa - available on limited edition LP (300 copies worldwide !) housed in a heavyweight sleeve with inside out print of a beautiful artwork by Aoi Huber Kono.
Renga (??, linked poem) is a genre of Japanese collaborative poetry in which alternating stanzas, or ku (?), of 5-7-5 and 7-7 morae (sound units or syllables per line) are linked in succession by multiple poets.
Inspired by the traditional Japanese poetic form of linked verses, Renga unfolds as a fluid 10-track journey spanning ambient, jazz, breakbeats, electronica, environmental music, techno, cinematic, library music, and musique concrète. Much like its literary namesake, the album is built on intuition and shared momentum, each piece emerging from what came before while opening new paths forward. Beats appear, disappear, then reassemble, while textures shift between organic warmth and electronic abstraction. The result is music that resists fixed categorization, existing somewhere between known subgenres and free-form exploration.
The album's visual counterpart, created by Aoi Huber Kono, mirrors the sensibility of the music. It's elegant, modern, and quietly expressive, extending the idea of linked forms from sound into image.
Points of interest
- For fans of ambient, experimental electronic music, jazz-inflected compositions, breakbeats, techno, cinematic soundtracks, library music, musique concrète, genre-blurring sonic exploration, linked verses, and dark blue.
- A unique collaboration between Gak Sato and Tadahiko Yokogawa, inspired by the Japanese poetic form of linked verses.
- Presented on limited edition LP housed in a heavyweight sleeve, edition of 300 copies.
- Artwork by acclaimed visual artist Aoi Huber Kono, extending the album's concept of interconnection across disciplines.
Clock Poets returns with Get Down, the seventh release on the label and a floor-focused statement from Spanish producer Baltazar, based in Palma de Mallorca and founder of the Sapernika platform. Known for selecting and developing distinct, groove-centred voices from the underground, Clock Poets hands the reins to an artist who understands hypnosis, repetition and tension as tools rather than effects.
The A-side, “Get Down”, is a pumping minimal cut shaped by slightly tribal percussion loops and a locked-in groove that builds momentum through subtle shifts rather than overt peaks. Hypnotic male vocal samples circle like a mantra, weaving ritual into rhythm as the track steadily tightens its grip on the floor. On “Try On Trust Me”, the formula expands: a female vocal, washed in reverb and echo, floats between melodic textures and soft pads, creating a more spacious, emotive framework while maintaining the same disciplined drive and forward motion. Closing the record, “On My Way” dives deeper — a stripped-back 4/4 minimal construction infused with Arabic and double harmonic scale influences. Spatial, meditative and profoundly hypnotic, it stretches time and space, offering a moment of emotional suspension within the dancefloor continuum.
With Get Down, Baltazar doesn’t chase trends — he commits to groove, sophisticated repetition and unique atmospheres. In doing so, he both reinforces Clock Poets’ sonic identity and injects it with a fresh, trance-like intensity, proving once again the label’s consistency without predictability.
This record contains six tracks by Freephilipp and Robin — two Bremen-based musicians who meet where the void of digital subculture and experimental electronic music opens up. Freephilipp contributes four glitch-driven pieces that move between IDM-tinged ambient, electro, atmospheric broken beats and junglish fragments. Random Chords Memory is one of the reasons this release needed to be carried out into the nexus: it stands on its own, just like the rest of the EP, yet it may be the signature track of Freephilipp’s nocturnal enthusiasm — mixing between night shifts and sharing production skills with the people around him. Robin (zckr rec / ph17) completes the EP on the flipside. Tau-37 and Omega5, named after two star systems, invite you onto a dub-soaked, drifting flight. The Basic Channel- esque impact of Tau-37 rounds out the journey in combination with Omega5, whose drone-laden soundscape slowly opens and dissolves. This music was never meant to be produced for an audience. It is a document of what it sounds like when you say goodbye to the outer world and begin building landscapes in another.
Anywhere, Anyway captures a selection of club tools that Makèz and their close circle have tested, refined and played across dance floors worldwide. Each track carries that familiar equilibrium the duo keeps guard over, a steady pull between raw club energy and moments meant for intimate listening.
Much like their recent album on No Art, the EP took shape while traveling, moving from session to session with artists from different musical worlds. Those encounters left their marks, subtle shifts in rhythm, harmony and texture, shaping the edges of the EP. The Amsterdam duo keeps seeking creative impulses from unexpected angles, letting ideas find them wherever they are. Anywhere, anyway.
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.
For our second release of the year we have Sonidy & Benny S joining the label for a brand new House EP. Featuring four carefully crafted tracks, the release showcases their shared vision and refined sound, delivering groove, energy, and a strong dancefloor identity.
Guti returns to Crosstown Rebels with improvisational new EP, ‘You Know Ya Miss Me’.An exploration of instinct, groove, and the new Latin sound, the Argentinian live maestro returns to Damian Lazarus’ imprint on 13th March 2026.
A new wave of Latin-infused groove arrives on Crosstown Rebels, and South American favourite Guti is at the helm. Returning to Damian Lazarus’ imprint with a release that captures his music in its most immediate and expressive form, his four-track ‘You Know Ya Miss Me’ EP marks his first material on the label since 2020, reigniting a relationship that stretches back over 15 years. For the Argentinian artist, the studio has always been a living room, a jam space, a place where ideas can breathe, collide, and evolve naturally. Throughout his career, Guti has blended groove-driven house and Latin percussion into a signature sonic language in which spontaneity guides the process. The result here is a new release that feels as alive as it does intentional, designed for ears, hearts, and dancefloors alike.
Title track ‘You Know Ya Miss Me’ opens with warm rhythmic layers and subtle instrumental interplay, a space where melody and movement coexist freely. ‘What You Give’ follows, pulsing with the organic energy of jam-session dynamics, each percussive gesture and melodic line alive with intention. On the flip, ‘The Truth’ unfurls a rich tapestry of percussion, soulful vocals, and improvisational motifs, while ‘La Nueva Onda Latina’ closes the EP as a vivid statement; an embodiment of the “new Latin sound” at the heart of Guti’s ethos, where instruments, electronics, and collaborative energy meet on equal footing. At its core, ‘You Know Ya Miss Me’ is a showcase of a musical mind at work: deliberate yet free, precise yet flowing, rooted in tradition but open to the unexpected. It’s a reflection of Guti’s belief that dance music can be both kinetic and expressive, that improvisation and groove can coexist, and that the most resonant sounds are born when musicians let go in the moment. This EP invites listeners into that space, to move with the rhythms, and to experience a sound unmistakably Guti; organic, vibrant, and alive.
Whilst considering the “Hutson Sevens” series, there was a LeRoy Hutson record that stood out like a sore thumb for us when sifting through the amazing LeRoy Hutson portfolio to identify which pieces of music had not yet been made available on 7-inch vinyl. Many of you will know the story of LeRoy Hutson and Donny Hathaway being roommates at Howard University and together writing the legendary rare groove track "The Ghetto". In 1974, LeRoy Hutson used his artistic licence and adapted the track to feature on his album "The Man!" and subtly retitled the track "The Ghetto '74".
Home of The Good Groove Records are delighted to include this magnificent track on 7-inch vinyl for the very first me.
We are always trying our best to compliment each side of the 7-inch records we are releasing in the "Hutson Sevens" series. For the A-side on our third release we have chosen an outstanding track, which again is previously unreleased. Recorded at the Curtom studios in April 1977 "Thank You" is a fabulous “easy to the ear” piece of smooth soul music that has the classic Hutson groove. One for the soul music lovers, and a possible future sing along favourite to end a night of dancing.
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.
Small Great Things / Small Great Beats returns with a shiny yellow vinyl by Quadrakey - the Summer Vibes EP.
With SGB003, Small Great Things delivers a warm and groove-driven vinyl release from Quadrakey, featuring four carefully crafted cuts designed for both late-night dancefloors and sun-soaked daytime sessions.
The EP opens with A1 Good For You, bringing uplifting, feel-good house energy driven by a steady groove, playful details, and a warm bassline that instantly sets a positive tone on the floor. A2 Feel Alone follows on a deeper and more emotional tip, exploring hypnotic rhythms and moody atmospheres, perfectly suited for intimate club moments and late-night transitions.
Flipping to the B-side, B1 Dancing With You delivers a smooth and infectious flow built around rolling rhythms and subtle melodic touches, balancing elegance with dancefloor functionality. Closing the record, B2 Summer Vibes lives up to its name with sunny chords, relaxed grooves, and an effortless open-air feel, ideal for daytime sessions and sunset sets.
From hypnotic grooves to feel-good summer moods, SGB003 showcases a refined and confident production style, staying true to the Small Great Things philosophy: quality music, pressed on vinyl, made for DJs who value depth, groove, and longevity over short-lived trends.
A solid addition to any record bag, SGB003 captures the essence of modern house music with a classic touch, simple, honest, and effective.
Rob Clouth returns to Mesh with Cicada, a follow-up to his EP earlier this year and a continuation of his ever-curious approach to the outer limits of electronic music.
An artist who has spent much of his career committed to a dialogue between scientific phenomena and music built for big soundsystems, Bichillo signalled a segue into a more free-running idea of creativity - one that didn’t pander to unrealistic expectations and, essentially, brought the fun back to Rob’s production process. A theme also explored in a link-up with long-time collaborator and label boss Max Cooper on their recent joint EP 8 Billion Realities, out now on Mesh.
Cicada, he continues to expand on this universe, prioritising experimentation over concept, and arriving at some of the funnest music he’s ever made.
Like a field of insects, ‘Cicada’ opens with cross-rhythmic layers of animated glitches, soon joined by huge bass swells that gradually build into a maximal tranced out build-up and a swarm of vocal chops. ‘Core’ builds a quietly dramatic symphony of machinist built sound - a soothing polyphony of computers singing. Leaning into an off-kilter 2-step, ‘Gummy Clusters’ swirls into a hazy blur of distorted voices and acoustic rhythms. Closing things off, ‘Grefuser’ puts pedal to the metal with a high BPM storm of pointillist drums and melancholic leads.
Cicada is music that twitches and mutates, but most importantly, breathes fun into the circuitry.
Bound to break the new year in with all our might, we are excited to unveil our new baby, RYCX. Expanding the scope of our main catalogue to bottle what we consider pure techno quality with its idiosyncrasies and inherent untamedness, RYCX will serve as our platform of choice to embrace the more minimalist, dubby vibe of techno, focussing on tracks that sound more like a rabbit hole, trippier, psychedelic, and immersive, yet still powerful enough to fill a dance floor. Kicking off the journey is 'RYCX01' by Ruben Ganev, up with his debut solo release after contributing a track to our 2023-issued 'Heimat' VA. The music here featured packs the very defining qualities RYCX aims to engage its audience with: a raw, inspired, quality-driven combination of force and thoughtfulness, ruggedly honest yet built to meet the expectations of the most picky dance floors and home listeners out there. Ganev's quartet of stormy churners, cut from the most hypnotic cloth and eerily vibrant machine funk, has us diving deep into a throbbing furnace of charred dubs, steely industrial reliefs and post-apocalyptic atmospheres. A most fitting manifesto in sound, telling the beads of the sonic revolution in march.
Essential 1969 album from Gal Costa, one of the defining voices of the Tropicalia movement. It showcases a bold fusion of psychedelia, Brazilian pop, rock, and samba, featuring standout tracks like Caetano Veloso's 'Baby' and Caetano and Gilberto Gil's 'Divino Maravilhoso,' as well as songs written by other iconic artists such as Jorge Ben and Erasmo Carlos.
A timeless classic that still sounds fresh and relevant. 180g vinyl reissue.
That’s a project led by a flamenco guitarist who turns out to be a talented lyricist and singer.
Billy Sharp received early support from Billie Eilish on SoundCloud and later from Nils Hoffman, who fell in love with his toplines. This first glimpse into his musical landscape reveals an intriguing personality, touching contradictions, but beyond that and more simply: a voice, a guitar, and mesmerizing melodies.
We're talking about music that moves, transcends, and resonates with the listener's emotions. All the tracks are elegantly carrying the project's message: introspective and passionately intense.
Billy Sharp unveils "Rose Tint," an EP with a strong identity, destined to be one of those timeless pieces. Billy worked meticulously on each of the 4 tracks composing this debut EP, resulting in an impressive outcome. The first notes of the opening track are sure to captivate anyone with their touching vocals and top lines. The EP builds in intensity with each performance, culminating in "2013," a danceable and nostalgic track.
Loto Azul (EP) distills EC13’s sonic identity into four focused pieces shaped for the 12″ format: cinematic atmospheres, cosmic resonance, and meticulously crafted rhythmic structures — infused with high-energy dynamics, epic tension, and textured distortions that add depth, grit, and dramatic weight.
From the mystical tension of Astrum Nox (Phase I) to the melodic, ascending narrative of Sinfonía Tercera, the EP moves between introspection and propulsion.
Perdiendo, in both its original version and the Jupiter Rhythms reinterpretation, forms the emotional core of the release — a hybrid between electro, techno, and celestial harmonic design.
A refined work that expands EC13’s role within the Cosmic Tribe universe, reaching toward new sonic dimensions with precision and depth.
Amsterdam-based producer Retromigration makes his debut on the launch of a new Oathcreations imprint "KARAMÜRSELL?" with 'Can't Go', a hyper-kinetic and rapturous piece of dance music sure to ensnare any dancefloor.
Inspired by soul, funk, jazz, and hip-hop, his auditory identity is one of profound melodic effusion and expert percussive sequences, absorbed within life-affirming atmospheres.
'Can't Go' feels like yet another landmark, tuning itself into the pulsating energies of the club, drawing lines between bass music, footwork, garage and jungle.
The EP is completed with 'Distant', featuring fuller harmonies, a tear-jerking chordal line and a spiritual sax solo.
In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series.
French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive.
Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels.
Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form.
Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory.
Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.
Nach ihrer gemeinsamen Interpretation von I See A Darkness mit Perfume Genius kündigt Anna Calvi die neue EP Is This All There Is? an, die am 20. März erscheint. Die vier Songs versammeln Kollaborationen mit Perfume Genius, Iggy Pop, Laurie Anderson und Matt Berninger.
Eröffnet wird die EP von God’s Lonely Man, in dem Calvi Iggy Pop die Stimme eines zerstörerischen inneren Monologs überlässt. Der Song ist von nervöser Energie getragen: kantige Gitarren, antreibende Drums, eine direkte Konfrontation mit emotionaler Stagnation. Pop verkörpert dabei genau jene rohe Präsenz, die Calvi für die Erzählung suchte.
Seht und hört "God´s Lonely Man" HIER.
Is This All There Is? bildet den ersten Teil einer geplanten Trilogie, die Identität als etwas Veränderliches begreift, geformt durch Nähe, Liebe und biografische Brüche. Ausgangspunkt ist Calvis eigene Erfahrung des Mutterwerdens, die ihren Blick auf Sicherheit, Verantwortung und Möglichkeiten verschoben hat. Die EP kreist um grundlegende Fragen moderner Existenz: Wie lässt sich Intimität neu denken? Was bedeutet es, sich wirklich verbunden zu fühlen? Und wann fühlt man sich wach?
Neben dem bereits veröffentlichten I See A Darkness interpretiert Calvi gemeinsam mit Laurie Anderson Kraftwerks Computer Love neu. Mit Andersons Stimme im Zentrum und choralen Arrangements entsteht ein Stück über digitale Nähe und emotionale Distanz. In ihrer Gesamtheit wirkt die EP wie ein zusammenhängender filmischer Bogen – vier Songs, vier Perspektiven, eine fortlaufende Erzählung.
Is This All There Is? versteht Kollaboration nicht als Zusatz, sondern als Strukturprinzip: Die Stimmen der Beteiligten werden zu Figuren innerhalb eines gemeinsamen Klangraums, in dem Fragen offen bleiben dürfen.
M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.
When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.
The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.
M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.
Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.
It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.
uper Deception dives into the uncanny beauty within the everyday, drawing inspiration from M.C. Escher’s idea of “super deception”: the art of creating the impossible without illusion. Nelson of the East translates that concept into sound: deep, tactile basslines and intricate percussion twist familiar rhythms into hypnotic new forms. Textures and samples are lifted from their origins and reimagined, creating tracks that feel both ancient and futuristic, physical and dreamlike. The result is an electronic landscape where sound folds in on itself: a timeless, shape-shifting exploration of rhythm, resonance and perception.
Nelson of the East is a Berlin-based sound artist, producer and educator. He operates at the intersection of experimental composition and club culture, shaping his craft both as a music teacher and behind the scenes as an experienced ghost producer.
There’s a special kind of feeling when everything falls into place - when the drums bounce easy, the bassline rolls steady, and a bright guitar line cuts through the warmth of tape. That feeling became the heart of the FULLNESS, from Marcus I meets aDUBta. The sound of FULLNESS is built on simple, living elements: real drums, deep bass, a warm sound, and melodies that leave space to breathe. It moves between Early Reggae, Rocksteady, and Roots - sometimes straight and solid, sometimes stretching out into Dub and Echo. With its voice, from singer and lyricist Marcus I, FULLNESS carries the message about gratitude, love, freedom, and the small moments of everyday life. While Marcus’s singing style nods to the great singers, he stays grounded in his own experience, which perfectly complements aDUBta’s production, giving him space to shine. This LP is a complete, warm, balanced, and uplifting experience from start to finish.
FULLNESS grew from a steady musical exchange between Marcus I and aDUBta - two people on different sides of the Alps (Marcus I in France and aDUBta in Germany), finding a shared rhythm. What began in early 2022 with a few Riddims sent back and forth soon turned into a regular flow of songs. Every week brought new ideas, new words, and new melodies. When they finally met in person at aDUBta’s Attic Roots Studio in Bavaria, Germany, it all fell naturally into place. Most of the instruments were played by aDUBta, and the whole LP was mixed live on his Tascam 388, keeping that raw, handmade feel. With several friends helping bring even more color into the music, aDUBta brought in Viti Sanchez to lend his expressive saxophone and horn lines, Michael Salvermoser with his warm trombone tones, and members of the Black Oak Roots Allstars - King HuHa and Jannis Klenke on bass and guitars, along with Morry 'Da Baron' (Dub Inc.) on bass. FULLNESS means the fullness of music, of life, of friendship, of gratitude. It’s what happens when music becomes more than a project - when it turns into a shared space where things just flow.
Sicily's SLV is able to merge technical mastery with emotional resonance. His potent techno sounds have come via the likes of SHWD's Mutual Rytm and Slam's Soma, and unite timeless yet forward-thinking sonics.
On 'Fleeting Dreams', he continues to refine his signature sound while channelling introspection and intensity into a collection of meticulously crafted cuts that balance precision and feeling, energy and space. Each track reveals a different side of his sonic identity: hypnotic rhythms intertwine with evolving soundscapes, while layers of distortion and melody merge into a dreamlike tension between the mechanical and the organic.
'Fading Moments' kicks off with a sleek blend of driving, supple kicks and warm synth ripples, while a euphoric vocal cry is buried deep to amp up the emotion. 'Scenario' then brings icy hi-hats and sinewy synths bring a futuristic feel to the unrelenting, high-pressure drums down low. 'Daruma' has a darker energy with menacing textures and paranoid FX bringing the rolling drums to life, while 'Bass Grit' has a hunched up rhythm, with groaning pads and fizzing static electricity that charge up the party. To close, 'Shimmer' sinks down into a muscular and deep rhythm that's marbled with restless synths and ever-rising tension.
In addition, digital bonus cuts 'Trust' and '1990' offer different perspectives with slamming drums, seductive vocals and feisty synth loops making for two more bold, immersive techno weapons.
Hailing from Barcelona they are an eclectic, discerning form of contemporary industrial music, deploying compulsive minimal synth and primal polyrhythms, as well as uniquely reconstrued elements of post-punk & EBM. An artistic identity that embraces influence yet eschews compromise, changing flavors, but not essence, from release to release. Their music has been shared or praised by Iggy Pop, Cosey Fanni Tutti (Throbbing Gristle, Chris & Cosey), Geoff Barrow (Portishead, Beak), among many others.
This LP shows Dame Area most melodic side, bringing back experimentation to the genres of minimal synth, synthpop or EBM: subverting them from the inside, finding new ways to innovate, giving us unexpected twists along the ride. FFO: Chris and Cosey, DAF, Giorgio Moroder, Essaie Pas, Kraftwerk, Liasons Dangerouses.
Following the massive success of Torment, Bidoben returns to Sciahri's Sublunar with a new EP titled Jett, a record that showcases his distinctive and forward-thinking sound design, cementing him as one of the strongest figures of the new generation.
The EP opens with Jett, a powerful and melodic cut marked by Bidoben's unmistakable sonic identity, followed by Voltage C, a refined and minimal piece with a subtle epic touch. The A-side closes with Tormented, a fierce reimagining of the atmosphere that defined Torment, demonstrating the artist's ability to evolve and expand his expressive range.
On the flip, Hypernature sets the tone with captivating grooves and cosmic melodies, leading into Ashley Origami, a solid, floor-oriented tool designed for peak-time tension. The journey concludes with Edges of Normal, the most mystical track of the release, lighter in tone but no less engaging.
Now, with a new chapter in his musical journey, Pete Blaker presents his first-ever LP of Original Music, an eight track 2x12" masterpiece on the esteemed label Love Universal.
This isn't a collection of edits, but a deep, personal exploration of the Balearic/Deep House sound, a testament to his decades-long immersion in its eclectic and free-spirited essence.
The album invites listeners on a sublime journey, where laid-back grooves and atmospheric synthesisers create a rich mix of sound. It’s an album that perfectly captures the "anything goes" spirit of the Balearic beat, where elements of funk, jazz, ambient, and world music swirl together to create a sound that is both transportive and timeless. A1. RICHIE
Adrien d'Elzius delivers a sharp blend of acid, electro, and IDM, driven by energetic rhythms, strong physical drive, and deep, atmospheric soundscapes. Tension-and-release dynamics define the EP.
The release is completed by a powerful remix from Serge Geyzel that pushes the impact even further.
High Altitude 002 brings together three rising forces from three different corners of the world. Stckman, Simone Rossari, and Goosebumps represent a new generation of producers with a shared futuristic vision and a highly distinctive musical identity.
The EP features three forward-thinking tracks, each shaped by the unique taste and cultural background of its creator, yet unified by a powerful, modern sound aesthetic. From deep afterhours mornings to the most crucial peak-time moments of the night, High Altitude 002 is designed to fit seamlessly into any part of a DJ set.
A global collaboration, a futuristic attitude, and a fresh perspective on underground dance music — this is High Altitude 002.
Lucas Santtana’s tenth album celebrates the vitality and musicality of the Romance languages.
The heir to Brazilian tropicalism, Santtana marks 25 years of his career with Brasiliano, a true collective celebration that brings together prestigious collaborators: Gilberto Gil, Oxmo Puccino, Flavia Coelho, Piers Faccini, Chico César, Paralamas do Sucesso, Cocanha, Dimartino, Karyna Gomes, Tainara Takua, Rachel Reis and Maria Lado.
Sung in eight different languages, Brasiliano is both an ode to linguistic diversity and a testament to its symbolic power. Carried by luminous and layered arrangements where voices intertwine like a polyphonic conversation, the album treats language as a musical instrument in its own right, but also as a political tool. Santtana questions cultural heritage, identity, colonial memory, and the possibility of a shared language. With his singular approach—blending popular rhythms, contemporary soundscapes and vibrant melodies—he celebrates the love and exchange embodied in Romance languages, where music becomes fertile ground for encounters and reinvention.
The breakout underground star of the past year, the deservedly hyped Thought Leadership returns with another X ideas: the deck this time chooses the suit of Cups. This new collection is closer to the Post-Punk tonality of Pentacles, than the breezy Balearic Jazz of Swords. Gone are the brushed drum samples and airy synths and in their place are BIG guitars, 808 thumps and a decidedly more prominent use of bass as a melodic device.
As the suit of Cups reflects the emotional heart of the Tarot, presented within are a further X pieces, this time displaying the full range and fervour of Thought Leadership.
You know the drill by now. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.
Side A explores the emotional levels of consciousness; angst, joy, love, sorrow, relief, regret – they are all represented across the first seven tracks, and often within the same piece. XXI kicks us off with a huge tumbling D minor passage, layers and layers of guitar front and centre, whilst the drums pound away in the distance. Release is provided with a gorgeous G Dorian section, where we hear the bass take flight with a high melodic line.
We’re still in familiar Durutti Column meets Dif Juz territory here, but things switch up with XXII. This piece showcases a darker, more angular palette of guitars; think Alan Rankine (The Associates), or Deb Demure (Drab Majesty) in the unexpected harmonic shifts, knotty arpeggiated patterns and heavy, goth-adjacent modulation. A real love letter to 45+ years of darkly inclined guitar heritage.
XXIII enters the fray with tight, thumping 808s and Marr-esque guitar figures; and again, the bass providing heavy melodic counterpoint to the guitars. Enter chiming, lyrical lead phrasing, reminiscent of the eternal opening to "Everybody Wants To Rule The World". Another accidental perfect pop moment from the Thought Leader. Whilst on the topic of Tears For Fears, XXIV comes swinging out of the gate with some serious Sophisti-chug; we’re reminded of "Shout" in the A section, before being beautifully juxtaposed in the B section with more Vini-eqsue patterns, reminiscent of his timeless classic, Another Setting.
XXV gives us welcome pause to take stock midway through the A side. No drums this time, but instead a heartbreaking conversation between two guitars; think Kevin McCormick and David Horridge’s masterful Light Patterns, or perhaps even the early solo-Bill Connors mid-70s cuts for ECM. The moment of quiet reflection passes, and is quickly shattered by the thudding march of XXVI – this piece comes across like The Associates playing "Wicked Game"; heavy, moody, and utterly compelling. XXVII ends our journey across Side A with more Marr-inspired playing; one for the heads and already featured on mixes, this one is real testament to the vision of Thought Leadership.
Side B again takes us on a trip through three long-form semi-improvised pieces. XXVIII is like those classic Jonny Nash, early Melody As Truth releases, slowly unfurling, additional details introduced deliberately piece by piece, this idea builds across 7+ minutes culminating in some utterly joyous ebow fireworks at the end – well Balearic.
XXIX again, like XXV before it, dispatches the drums with a focus purely on melody and mood. The piece feels like a lost Save Room Theme from the Resident Evil series, pure golden age Capcom Sound Team vibes. Unadulterated aural nostalgia for hours spent with a PS1 in haze of hash.
XXX completes this majestic voyage with another Modal exercise; this time the Thought Leader has opted for the Lydian Mode. Beautifully dreamy, undeniably Soundtrack-y, and arguably the most concise distillation so far of everything this project stands for; drum machines, guitars, pedals, one-take improvised solos – XXX has the lot, and is surely destined for greatness.
So, another X epic statements for guitar, homespun with the humblest of means, for all the dreamers out there. The first ever vinyl release of IV Of Cups has been carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.
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.
WRWTFWW Records is very pleased to announce the first-ever vinyl release of Art Form 2, the seminal 1998 Various Artists compilation from Tokyo’s cult label 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.
Initially available only in CD form, Art Form 2 emerges as a quiet artifact from an exploratory phase in FORM@ RECORDS’ late-1990s trajectory. The compilation drifts through the deeper layers of Tokyo’s electronic underground, where IDM, techno, ambient, and downtempo dissolve into one another within an atmosphere of deliberate experimentation. Both intimate and forward-looking, it preserves a moment in which a local scene, largely unseen, was patiently reshaping the future beyond the reach of prevailing global narratives.
Flowing with carefully sculpted rhythms, immersive sound design, and a subtle sense of machine soul, Art Form 2 reflects the maturity of the FORM@ aesthetic in 1998. The compilation resonates with the spirit of Warp’s Artificial Intelligence era, Carl Craig’s melodic futurism, Ken Ishii’s cerebral techno, B12’s deep electronics, and Ian O’Brien’s emotive touch, while remaining unmistakably rooted in its own local context. Timeless and singular, it stands as a beautifully preserved time capsule of underground electronic music.
Following the vinyl excavations of Virgo’s Landform Code (1998) and Remnants (1999), Art Form 2 continues WRWTFWW Records’ collaboration with FORM@ RECORDS. It is released simultaneously with Art Form I (1997), further expanding this archival series, which will continue with the forthcoming vinyl edition of Re-Form Ver-1.0 (1999).
For more than two decades, Eamon Harkin has helped shape New York’s communal pulse. As a founder of Mister Saturday Night, Mister Sunday, Planetarium, and Nowadays, he’s created and DJed in spaces where dance, listening, and connection blur into something deeper — places where people come together to make sense of the world through sound.
On his new album, The Place Where We Live, Harkin turns that lens inward. Drawing on 25 years as a DJ and curator, he moves between house, techno, and ambient currents with a sense of stillness and searching. The result is a record that feels both physical and introspective — the sound of the dance floor seen through memory.
The title comes from psychoanalyst D.W. Winnicott’s idea of “the place where we live,” the psychic space between the inner and outer world — where play, art, and culture help us build meaning. For Harkin, an Irish immigrant long settled in another land, that idea resonates both philosophically and personally. The Place Where We Live captures the tension and beauty of the pulse of the club and the quiet of reflection — an album about belonging, transition, and the quiet resonance of finding home somewhere in between.
New 12” from WEorUS Records, catalog number WU009, is titled "First Dip" by Wetsuit. The record is written and produced by Vincent Lemieux and Ohm Hourani, two acclaimed figures known for their contributions to forward-thinking electronic music. This fresh EP features three tracks: “It’s OK” on one side, with “Believe it” and “Papapi Papapa” on the other, promising a genre-blurring journey ideal for discerning selectors. Jazz infusion and eclectic electronic production is the best way to identify this masterpiece.
Mastering is handled by Cristobal Urbina, ensuring high-fidelity audio.
Daniele Baldelli
"A pleasant surprise to find in this release various atmospheres and sounds that have always been part of my DJing. It even made me rediscover M’Bamina, whom I used to play back in 1974 at the Tabù Club in Cattolica.
There are afro vibes as well, with Black Line – Myele, which is featured on one of my Cosmic tapes, and Nowhere by the Stratosferic Band recalls a track I used to play at the Baia degli Angeli…
Excellent work!"
Voom Voom Music was an independent Italian record label based in Turin, founded and managed by record producer Ivo Lunardi (Turin, December 6, 1940 – December 9, 2010). A pivotal figure in the Piedmont music scene, Lunardi was active both as a DJ and as the owner of several disco clubs.
The label operated for several years in the latter half of the 1970s, releasing mainly productions connected to the Italian dance and pop scene.
Since 2016, the original master tapes from the Voom Voom Music catalog have been owned by Gianluca Pandullo (I-Robots), a close friend of Ivo and Luca Lunardi. Through his labels Opilec Music and Turin Dancefloor Express, Pandullo oversees their preservation and historical enhancement.
The artistic direction of Voom Voom Music was marked by a distinct sonic identity — eclectic yet visionary. The Turin-based label founded by Ivo Lunardi embraced a sound that blended disco, pop, and rock influences, interwoven with African American grooves in a pioneering, international perspective.
Voom Voom Music was among the first Italian labels to introduce this kind of musical language in the country. A prime example is the Italian edition of the debut album by B.T. Express, Do It ('Til You're Satisfied), released in LP, 8-Track Cartridge, cassette, and 7" single formats.
The label’s productions clearly reflected the influence of black and funk music, as evidenced by the references and inspirations running through its catalogue. The track “Lady Pick-Up”, for instance, includes direct nods to “Do It Good” by KC & The Sunshine Band and Manu Dibango’s iconic “Soul Makossa”, revealing a musically refined and contemporary sensibility.
Among the label’s most representative works is Splash (1977) by the Stratosferic Band, a project conceived by Luigi Venegoni — producer, songwriter, and guitarist of Arti e Mestieri. Venegoni’s artistic journey spanned from progressive rock to space and Italo disco. The album artwork was designed by Piero D’Amore (1944 - 2022), a charismatic and multifaceted figure of Turin’s art scene (one of his works was even acquired by the MoMA in New York).
The record includes a disco reinterpretation of Van Morrison’s classic “Gloria”, and “Splashdown”, a track fusing the disco-rock energy of Rockets and Space. In contrast, “Nowhere” revisits the 1975 single by Hokis Pokis, a soul/disco band from Nassau County (New York), transforming it into a vibrant disco-funk number.
Another significant expression of the label’s catalogue is the afro-rock sound of M’Bamina, an Italo-Congolese group whose rhythmic energy and dialogue between African percussion and Western funk evoke the style of international formations such as Osibisa — themselves linked to a rich artistic history in Italy.
We’re proud to present the latest offering from Promising/Youngster & UF0, on the sublime Deep Techno / IDM imprint out of the UK, Fourier Transform
A lush 4-tracker. Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio
Uf0 and Promising/Youngster are the answer to a desire for breakbeats and perfect melodies. This is Uf0s’ (Sergio Garcia) second release on the label and when asked who he would like to be paired with, he wasted no time in suggesting fellow electronic musician and Spanish resident – Promising/Youngster (Diego Cardierno). This EP begins with P/Y’s “Random Memories” as tried and tested live by him last year and its big sound simply fills floors and gets feet moving. The second track of his is with a more subtle approach to the dancefloor but the analogue arpeggios and breaks still rock. Uf0 and his opening track “Sashita” uses vocals sparsely to create atmosphere and an epic soundscape. Ending the ep “La Musica Non Riporta De Te” opens with his trademark lush pads which drop into breaks, more well-crafted gentle melodies and of course “Bass”.
Between them both they have appeared on an impressive roster of underground labels - Wave Modulation, Analogica Force, Further Electronix, Adepta Editions, Altered Sense, Withold, Gated. Limited to 200 copies on marbled Eco vinyl, with painted sleeve, a sticker and an insert “Fun in the Sun”, giving you some interesting activities and experiments you can do using the power of the sun. Radio plays to come from Damo Bs’ Outer Limits, Marcelo Tavares’ Deep Space, Richard Sens’ DoYouRadio.
It Goes Further...IDREN NATURAL & THE UK PLAYERS reissue! The original version of 'Further' was recorded by the INI Oneness, Idren Natural & The UK Players on analogue tapes at the Jah Works '7th Sense' Studio in UK in the late 90's. The tune went on to have great success on sound systems around the world and since became a highly sought after collectible.
Jah Works & The UK Players are reconvening at Earth Works Studio in Amsterdam to record more music together in tribute to their mutual friend and musical collaborator, Idren Natural, who is sorely missed by many in our musical family & those that worked with him intend to make sure that his music and message lives on! This 10" has an alternative vocal mix & alternative dub cut to the original 7", carefully remastered from the original tape mixes & now presented on 10" at 45RPM.
DJ Support: Laurent Garnier, Dennis Cruz, Girls Of The Internet, Horse Meat Disco, Stacey Pullen, Elliot Schooling, Solomun,Marco Carola, Joseph Capriati, The Martinez Brothers, Dam Swindle, Soul Clap, Luke Solomon, Riva Starr, Franky Rizardo, Archie Hamilton, Silvie Loto, Fouk, Austin Ato, Salomé Le Chat, Blackchild, Jean Pierre, Black Loops, Kassian, Seamus Haji, Melvo Baptiste, Rimarkable, Sophie Lloyd
In-demand Amsterdam-based duo Makèz step into new ground with the release of their album ‘Arriving Home Elsewhere’, via ANOTR’s No Art label. A kaleidoscopic project that moves between deep house, cosmic jazz, R&B, broken beat, and club-ready energy, the record is both a declaration of identity and a dissolution of boundaries - proof of the duo’s rare ability to merge worlds without diluting or compromising their true essence.
Where most albums that span electronic realms lean on functionality, ‘Arriving Home Elsewhere’ reaches for something much more expansive. The project is a true hybrid: half shaped for the intimacy of a headphone listen, half designed for the electricity of the dancefloor. together forming a seamless continuum between reflection and release. Tracks like ‘REARRANGE YOURSELF’, ‘BE REAL’, and ‘LOOKS LIKE IT (SPACE TALK)’ are stripped to the core of house music’s driving pulse, made for bigger systems and peak-time release. In contrast, ‘Dreams’, ‘Fruits of the Universe’ (with douniah), and ‘Without The Sun’ (with Oliver Night) explore lush, textured arrangements where live instrumentation and improvisation carry equal weight to rhythm and groove.
Collaboration is at the heart of the LP, with Makèz inviting a constellation of voices who each expand the project’s palette. Ben Westbeech, Liv East, and SANITY bring soulful intensity; 30/70 and dreamcastmoe connect Amsterdam to Melbourne and DC; Cor.Ece and Oliver Night weave delicate threads of emotion; Goya Gumbani and Javonntte guide the production with their vibey, groove-led performances; while Life on Planets reprises his role as a core creative partner, appearing across the album on tracks including the standout ‘BE REAL’ and the previously released ‘ILLUSIONS’ alongside rising Amsterdam talent AVA LAVÁ. Together, these contributions shape an album that feels less like a singular statement and more like a living, breathing ecosystem.
For Makèz, ‘Arriving Home Elsewhere’ is as much about philosophy as it is about music. The title encapsulates a tension central to their art: the feeling of belonging to multiple worlds without ever being confined to one. Jazz, house, soul, and experimental club sounds are not separate influences but parallel languages, and in merging them, the duo has created a record that mirrors the fluidity of contemporary identity and expression. And while it may speak in many voices, the LP tells one clear story - that of Makèz, arriving, again and again, home elsewhere.
Garage Hermétique celebrates its tenth release with what could be described as a mini-album. Multi-talented producer Levat's electronic vision comes in different shapes and forms. Whether it's Electro, Italo, IDM, Trip Hop, Techno or Electronica, his brush paints a diverse yet cohesive collection of tracks, united by the ability to create dreamy atmospheres, emotional leads and punchy drum patterns, always bordering on the edge of pungent eeryness.
Andalusian emerging-talent producer GAZZI, a young yet influential figure within the broader Spanish electronic scene, presents an LP that feels like a quiet turning point in his career. Rooted in ambient and new-age minimalism, the record drifts through piano-based textures, soft pauses, and spacious moments that invite deep introspection.
Across its delicate arrangements, GAZZI captures the sensation of slowing down in a world where everything feels fleeting. These tracks hold space for reflection-offering nostalgia, stillness, and the subtle suggestion that hope remains at the edges of even the most ephemeral moments. Each piece unfolds like a landscape suspended in time, shaped by restraint, emotional nuance, and a profound sense of presence.
Presented by Glossy Mistakes, the release reflects the label's ongoing commitment to uplifting a new wave of contemporary Spanish artists, highlighting creators who are redefining the country's sonic identity through experimentation, sensitivity, and forward-thinking sound design.
In GAZZI's own words:
"These songs were made to sit with the wound - to let you drift, to feel scattered, contemplative; they're meant to keep you from thinking too much - or maybe to make you think a lot."
The result is a meditative, deeply personal body of work-one that not only marks a cornerstone in GAZZI's artistic path but also extends Glossy Mistakes' mission to showcase innovative, emotionally resonant voices from Spain's evolving music landscape.
Amsterdam-based producer and one half of Cybersex, Stef de Haan, releases his first EP on wax with Ataraxi. Ataraxia is a concept from ancient Greek philosophy describing a state of inner calm, a freedom from anxiety and sorrow, guided by a life of reason.
With this release, Stef de Haan reflects on this idea and ventures into territories beyond his usual sound, moving from a garage stepper to minimal techno, alongside two remixes - all approached with a fresh, modern take on music production.
SEVEN7009LTD is on coloured vinyl and includes a 90cm x 60cm pull out poster of an original Stef de Haan painting. Strictly Limited to 200 copies.
Amsterdam-based producer and one half of Cybersex, Stef de Haan, releases his first EP on wax with Ataraxi. Ataraxia is a concept from ancient Greek philosophy describing a state of inner calm, a freedom from anxiety and sorrow, guided by a life of reason.
With this release, Stef de Haan reflects on this idea and ventures into territories beyond his usual sound, moving from a garage stepper to minimal techno, alongside two remixes - all approached with a fresh, modern take on music production.
SEVEN7009LTD is on coloured vinyl and includes a 90cm x 60cm pull out poster of an original Stef de Haan painting. Strictly Limited to 200 copies.
DJ support – Jamie Jones, Seth Troxler Damian Lazarus, Marco Corola, Joseph Capriati, The Martinez Brothers and Rey Colino
S.A.M. returns to Up The Stuss this summer with the third release in the UTSOFF series, delivering a potent double-header that’s been rattling dancefl oors for months. Titled ‘Hit You With My Phone’, the release arrives on 4th July and features two dynamic cuts that further cement the Danish talent’s place in the label’s core family.
A mainstay in Chris Stussy’s recent sets and one of the most talked-about IDs in recent months, title track ‘Hit You With My Phone’ is pure dancefloor dynamite — a helter-skelter ride through organised chaos, laced with warped vocals, frenetic percussion and a relentless groove that grabs you and doesn’t let go. It’s bold, it’s unpredictable, and it’s quickly become one of the most commanding tracks in the Dutch label boss’s arsenal.
On the flip, ‘Got Me Down’ offers a skippy contrast — a low-slung groover that channels tension and release with tightly wound drums and rolling bass, keeping things locked for deeper moments on the floor.
Marking S.A.M.’s third outing on Up The Stuss following their collaborative ‘Get Together’ project with Stussy and the solo ‘Check It Out’ EP, ‘Hit You With My Phone’ sees them explore new ground while staying true to the raw, club-focused ethos of the label. As the UTSOFF series continues to shine a light on uncompromising, forward-facing club music, this latest instalment delivers two cuts built for impact and ready to cause damage.
Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.
Blair French shifts course with The Migration, his debut release on Choose Better Friends Records. The title track unfolds as a leftfield disco chant, driven by Jess Minnick’s vocals—hypnotic, ritualistic, and rooted in the idea of returning to the source. On the flip, Thermal Soaring moves into deep, soulful jazz-dance territory. Named for the moment a bird rides rising warm air, it lands as a hard-earned metaphor: French lifted without escape, moving forward by feel rather than force.
Desinteresse releases their second album Onschuld through Fabrika Records on September 9, 2025.
Desinteresse is a Dutch Coldwave act consisting of Bart Vranken (bass), Joppe de Swart (drums), and Sem van den Munckhof (vocals/synth/guitar). Formed in late 2022 as a duo, Bart and Sem released their debut album Voor Altijd in April 2023 and the EP Ik Wil Dood Als Ik Het Vergeet in November 2023, both on cassette through their own label DECADENCE. With the addition of Joppe in early 2024, they released their first work as trio in August 2024, the 7” single Grijze Dromen.
Desinteresse produces their music using original vintage equipment as a deliberate form of artistic expression and identity. Their live performances are a melancholic, but mesmerizing affair, where music and vocals amplify the weight of their message, emphasizing the non-existential and abandoned emotions that define their sound. An absolute delicacy for fans of Fad Gadget, The Normal, Joy Division and early work from The Cure.
The titles and lyrics are in their native Dutch. Onschuld (also the title of the opening track) translates to ‘innocence’. With other titles such as Niets Te Zeggen (nothing to say), Brekend Glas (breaking glass) and Grizje Dromen (grey dreams), this pensive album could be a good-bye to innocence, but it’s certainly the ideal companion for ruminations on gloom.
Supervibe returns with the next chapter of its vinyl-only series, delivering a 3-track EP from the legendary Tripmastaz. A release built for the dancefloor, blending energy, depth, and hypnotic groove.
A1. Simpatico
A fast-paced, energetic cut with tight, driving rhythms. True to its name, it hits hard and gets straight to the point, with punchy percussion and an upbeat tempo that injects instant energy into any set.
B1. 3001
A futuristic, space-driven journey featuring layered synths and atmospheric textures. The groove unfolds with a deep, late-night feel, perfectly suited for afterhours moments and immersive dancefloor transitions.
B2. Medina chronicles
A hypnotic, groove-focused tool with experimental sound design. Repetitive yet evolving, the track thrives on subtle variations, making it ideal for floor-building moments and seamless DJ transitions.
For over two decades, FLOX has been shaping a unique musical
identity - a vibrant blend of roots reggae, dub, electro, and
nu-soul. This French-British artist h a s become a cornerstone of
the alternative scene, known for his genre-bending productions
and powerful live performances. With seven studio albums and
countless shows a c r o s s Europe, FLOX h a s carved out a distinc-
tive path, merging analog warmth with digital precision.
crédits
Dutch composer and pianist Xavier Boot, also known as XA4, joins Philip Glass for the second release on the New York-based record label Orange Mountain Music, owned by Philip Glass.
“Xavier is really a wonderful pianist, and I am thrilled by how he now tackles my compositions, with that elegant electronica touch.” – Philip Glass
The Sea Above features not only Glass compositions but also several original pieces by Xavier: “I recorded this album inspired by all the musical influences I’ve experienced in my life, including classical, electronic (club) music, ambient, minimal, and even Indonesian music. The title track of the album is inspired by Philip Glass’s composition Mad Rush. He told me that he wrote this piece for an event with the Dalai Lama, where it was unclear when the Dalai Lama would arrive. That’s why Mad Rush was composed to last either five minutes or an hour. I tried to convey this idea of timelessness in my music, embodying this endless portal of time and space, which was also scientifically described by Albert Einstein. Another track on the album, Train I, is a reworking from Philip Glass’s opera Einstein on the Beach. You can experience the music on this album as a kind of journey, a trip where you are energetically drawn in at the beginning and later enter more of a fantasy world where dreams and unconscious elements of your mind can emerge.”
Credits:
Tracks 1 & 3 are original compositions by Philip Glass remixed by XA4
Tracks 2 & 9 remixed by XA4 and Jaro.
Tracks 4, 5, 6, 8,10 are original compositions by XA4
Track 7 is composed by XA4 and Tenzin Choegyal.
Vocals track 1: Julia Rosenhart.
Remix, production and playing: XA4.
Piano arrangement track 3: Michael Riesman and XA4.
Remix, production track 2 & 9: XA4 and Jaro.
Production assistance track 3: Jaro.
Mixing: Studio Karakterbak.
Mastering: Laura de Rover.
Cover foto: Angelina Nikolayeva.
Graphic design: Yesser Khalefa
The short, mysterious career of the female French duo Deux Filles is bookended by tragedy. Gemini Forque and Claudine Coule met as teenagers at a holiday pilgrimage to Lourdes, during which Coule's mother died of an incurable lung disease and Forque's mother was killed and her father paralyzed in an auto accident. The two teens bonded over their shared grief and worked through their bereavement with music. However, after recording two critically acclaimed albums and playing throughout Europe and North America, Forque and Coule disappeared without a trace in North Africa in 1984 during a trip to visit Algiers. The short and terribly unhappy lives of Forque and Coule are at the root of the small but fervent cult following the mysterious duo have gained since their disappearance, not least because the placid, largely instrumental music on the duo's albums betrays no hint of the sorrow that framed their personal lives.
This would be a terribly sad story if a word of it were true. In reality, Deux Filles were Simon Fisher Turner, former child star/teen idol and future soundtrack composer, and his mate Colin Lloyd Tucker. Turner and Tucker left an early incarnation of The The in 1981 to pursue another musical direction. Turner claims that the idea of Deux Filles came to him in a dream, and he and Tucker strictly maintained the fiction throughout the duo's career. Not only did they pose in drag for the album covers, the duo once even played live without the audience realizing that the tragic French girls on-stage were actually a pair of blokes from south London. Deux Filles released two albums through Turner and Tucker's Papier Mache label, 1982's Silence & Wisdom' and 1983's Double Happiness'. Both albums are included here and blend watery piano, occasionally ghostly vocals, sheets of synthesizers, heavily processed guitars and the barest minimum of percussion. Drifting and wistful, they're a pair of lost ambient gems from a time when the genre had yet to mature, an excellent example of post-Eno, pre-Orb ambient music.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in gatefold sleeve with original front covers of both albums, and a centerfold of archive images and the original liner notes. Each LP includes a sticker of the Lino cuts by Adrian Gill that was included with the original pressing.
"Like an early French film soundtrack with melodramatic overtones, the sound is jagged and disjointed but never harsh. Lilting guitars and ample use of echo smack of Vini Reilly, relying on the hypnotic qualities of the sound rather than abrasive noise" (Sounds, 03/1983)
Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.
Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.
The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.
On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.
The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.
Unearthed from forgotten DAT tapes recorded in ’93–’94, Olivier Abbeloos’ archives capture the pulse of Belgium’s vibrant club years — a scene built on instinct, groove, and pure experimentation.
Melodic, playful, and full of heart, these rediscovered moments reveal a timeless energy that still moves today.
Lovingly restored and brought back to life on HOOT004.
WRWTFWW Records is ecstatic to announce a limited edition vinyl release of the remarkable PONYBOI (Original Motion Picture Soundtrack) by Chilean-born composer, arranger, music producer, and multi-instrumentalist Cristobal "Cristo" Tapia de Veer (The White Lotus, Utopia, Smile, Black Mirror, and many more).
This collector's edition presents Tapia de Veer's complete original score for the critically acclaimed feature film PONYBOI - a bold, genre-defying neo-noir tale directed by Esteban Arango and and starring filmmaker, actor, screenwriter, model, and intersex rights activist River Gallo who also wrote the movie. The soundtrack arrives as a deluxe audiophile vinyl LP, housed in a luxurious 350gsm gold cardboard sleeve, cut with utmost precision by Sidney Claire Meyer at the legendary Emil Berliner Studios, home to Deutsche Grammophon's world-renowned legacy.
Vivid, seductive, gritty, dreamy, tender, and sometimes heart-pounding in its tension, the PONYBOI soundtrack is a sinuous creature of its own - an emotional, atmospheric, and deeply textural listening experience. Tapia de Veer fuses shimmering electronics with haunting melodies, raw rhythms, shadowy ambience, and surges of romantic intensity, perfectly embodying the film's world of danger, desire, identity, and survival on a single wild New Jersey night. It's daring, intimate, stylishly noir, and unmistakably Cristo: music that refuses boundaries and speaks directly to the pulse.
The LP showcases Cristobal Tapia de Veer's uncanny ability to blend experimental sound design with narrative emotion - a talent that has earned him global acclaim and numerous awards, including four Primetime Emmy Awards for The White Lotus.
This new WRWTFWW edition celebrates his artistry in its purest form: warm, rich, analog, and physically stunning. A must for soundtrack fanatics, ambient and experimental music lovers, and rare memorabilia collectors.
Back To Life EP marks the rebirth of a seasoned artist stepping into a fresh chapter as
Just Marco. This first record in the Bending Body series comes after a long run of
exploration and self-reset, chasing raw honesty and identity built for vinyl-only cuts.
The record links past and present: rough drum work, evocative pads, bright acid lines, all
pressed on wax to echo the moments and people that shaped Marco along the way.
Musically, Back To Life it’s a blend where nothing is forced, where unusual choices and
imperfections are embraced as part of a renewed creative philosophy. It’s a return to the
music life where intuition leads and authenticity sets the tone.
Enjoy.
Opal presents its fourth release: Turning Point, Vol. 1, a various artists EP.
The record unfolds as a continuous journey, each track flowing into the next. Energy shifts gradually, guiding the listener through a subtle change of course that is already taking shape. The EP is a curated sequence of evolving perspectives, an introspective mapping of sound in transition. Featuring BOOH, Last Chance, Lourene, Ramez, IDL, and CRL.
Idriss D returns to Memento Records with his brand new track "Oct. 13", kickstarting the label's 20th anniversary in 2026, a year that will see quite a few special events to celebrate this milestone.
True to his musical roots and upbringing, Idriss heads right into experimental territory here, merging different styles and vibes: echoes of the upbeat mid '00s Minimal Techno craze fuse masterfully with sci-fi sounds and robotic vocals, with glitchy percussions and an infectious funky bassline creating an irresistible groovy rhythm. It's a track that boldly encapsulates the history of the label, from its raw beginnings in Italy's underground clubs to the more sophisticated latest outputs, a nod to its past while looking at the future.
Mr. Marc Houle is onboard here on remix duties: the man responsible for tracks like Bay Of Figs and Techno Vocals graces the release with an outstanding production. Slightly speeding up the pace, Marc adds spacey acid synth melodies and frenetic vocal loops drenched in delay, making this even trippier and more energetic than the original.
Black and House Music fan Munir Nadir rounds off the EP with a personal rendition playing squelchy keyboard arpeggios and hard slapping synth stabs, bringing a musical live-session feel to his contribution.
Promising/Youngster returns to Analogical Force with Navaras EP, a four-track release showcasing the Spanish artist's refined approach to emotive, club-focused electronica. Drawing from idm, electro, braindance and distorted sound design, the EP balances depth and intensity with sonic precision, blurring the lines between styles in a way that has become a defining trait of his sound. Crunchy basslines, weighty low-end and dreamy pads intertwine with analog and digital textures, resulting in a set of timeless tracks full of power and subtle beauty. Navaras EP feels equally at home on late-night systems and in focused listening settings. The promise has matured into presence.
Franky Wah returns to Crosstown Rebels and reunites with Kuuda on ‘Light Years’.
Dropping on 13th February 2026, the two-tracker sees the acclaimed UK producer continue his collaborative journey alongside the impressive Brighton-based collective for both his and their second appearance on Damian Lazarus’ revered imprint.
Having made a splash with his impactful label debut last summer, Franky Wah returns to Damian Lazarus’ Crosstown Rebels imprint with ‘Light Years’, a two-track EP that explores emotion and movement with measured confidence. The release sees the Yorkshire-born producer further embed himself within the Crosstown universe, delivering a project built on patience, progression, and feeling, where every moment earns its weight.
The EP opens with the title track, a wide-screen, hypnotic solo burner that balances uplifting melodic energy with weighty, driving grooves. Built for long moments on the floor, the track unfolds, allowing atmosphere and tension to do the heavy lifting while maintaining a clear sense of momentum throughout. On the flip, Franky reunites with longtime collaborators, producer-songwriter-vocalist trio Kuuda, for their second outing alongside him on Crosstown Rebels with ‘House In My Veins’. Continuing a partnership rooted in shared musical language and emotional depth, the Brighton-based trio is central to the track, bringing drive, earworm vocals, and a distinctive identity, woven seamlessly throughout Franky’s cinematic production - grounding expansive moments with human connection.
Following heavy support from Pete Tong on his Crosstown Rebels debut, and a recent invitation to host Tong’s flagship BBC R1 show at the start of 2026, Franky continues to assert himself as an artist equally at home in club culture’s most intimate spaces and its widest-reaching platforms. Meanwhile, Kuuda continue their impressive start to 2026, hot on the heels of their recent collaboration with Hot Since 82 on Bedrock. This latest partnership delivers a focused yet expressive statement, music designed to breathe, to move, and to resonate long after the lights come up.
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.
Bézier ripples their way back to Dark Entries with Decompose, an LP of doomed spa music. Multi-instrumentalist Robert Yang has made numerous appearances on Dark Entries for more than a decade, with releases spanning the stylistic gamut from hi-NRG disco floor-fillers to lush ambient epics. Decompose, Bézier’s second LP, is perhaps his most introspective work yet. It is an album almost ten years in the making, a deep investigation of life, loss, and the struggle of knowing oneself. If one were to pull a tarot deck for this album it would be the Nine of Swords. The album honors the lives of the fallen victims of Pulse Nightclub. It honors lives lost or suffering through the ongoing genocide in Gaza. The title track takes the form of a Buddhist chant, a brooding synth-driven meditation that scales steadily until breaking into John Carpenter-esque arpeggios halfway through. Tracks like “Egg,” “Marionette,” and “A Fading Citadel Atop Black Sand Bluffs” build on this soundworld, one in which intricate melodies and cavernous reverb induce in the listener feelings of both claustrophobia and free-fall. The album’s dancefloor-leaning moments, like “Codebreaking” and “Split a Path Towards the Thicket” are spartan, tunnel-vision techno tracks speeding towards ego-death. Decompose chronicles Yang’s journey to find peace with himself, as a gay Asian American. During this process, they learned to “repot” long-lost parts of their identity so they could grow forth in wholesome fashion. The sleeve for Decompose was designed by Eloise Shir-Juen Leigh, and features a photograph by Frankie Casillo of Robert laying on a bed of rocks in savasana pose, resembling an ascetic, evocative of the monastic vibes of the record.
The first chapter of a new series exploring identity, temporality and the many dialects of contemporary techno. Four tracks, four distinct approaches, yet bound by a shared pursuit of tension, texture and transcendence.
Chronicles Diary introduces its identity with WAYF VOL1, the first entry in a series asking when, not where, this music belongs. The answer comes in four club pieces that favour impact over ornament, tracing tension, texture and a sense of forward movement.
Boyd Schidt & Uvall's "Bullet Train" is tensile 4/4, serrated hats and a tunnelling bassline pulling the room into a tight zone. Commissar Lag's "Battle Rites" ups the pressure, all offline bass and percussive rhythm. MMSS pares things back on "Aion_01," a looping, hypnotic figure that blurs time without dropping energy. Time Traveller (UK) closes with "Stud," glitched and driving, a roughcast groove that breathes between the hits. Four perspectives, one intent: functional, underground Techno that works.
BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.
DJ Support: David Morales, Dimitri From Paris, Tedd Patterson, Dj Spen, Terry Hunter, Hector Romero, Dr Packer, Da Lukas, Sebb Junior, Jo Paciello, Shabi and many others.
The friendship between Sarah Jane Morris and Mario Biondi is the basis of this collaboration, born from the desire to pay homage to Roberta Flack. The idea, proposed by Sarah Jane, to reinterpret "Back Together Again" was born a few months before the death of the famous American singer. The original song, published in 1980 on the album "Roberta Flack Featuring Donny Hathaway", included the posthumous participation of Donny Hathaway, who died in 1979. Mario Biondi enthusiastically welcomed the proposal, and considering that the original song had a strong dance component, entrusted the production to Micky More & Andy Tee, one of the most important Soulful Disco House production teams on the contemporary world scene. The duo of DJs and producers from Ancona Italy have been at the top of the charts of digital dance stores for years. The package includes a fantastic DUB version of Jazz-N-Groove, Courtesy Of Brian Tappert & Marc Pomery, The legendary American Dance producers Duo. A MUST HAVE.
After years of refining his sound, Decoder presents "Prakasa", an album that explores the emotional and expressive side of his soundscape. Its subtle shifts and surprising moments create space for the listener to get lost, to imagine, and to find something unexpected in every track.
The album takes its name from the Sanskrit word meaning "light" and "manifestation," a concept reflected clearly in the cover artwork and central to Decoder's vision. Planet X is honored to release such a powerful yet delicate album-one that feels equally at home in intimate listening settings as it does in clubs and festivals worldwide.
STRIKER TRAXX proudly presents its very first release — STX101: BALLAN “Chantal Grooves EP”.
Born as the new sub-label of SUPREME STRIKER, itself a direct emanation of the Skylax Records universe, STRIKER TRAXX sets the tone for a new era: raw, uncompromising, and forward-thinking. As always, the visual identity is entrusted to the legendary H5’s exclusive artwork (Daft Punk, Air, Logorama), delivering a striking design that transforms each copy into a true collector’s object.
For this inaugural strike, we welcome Asaf Ballan, aka BALLAN, an artist emerging with force from the vibrant beatscape of contemporary electronic music. With Chantal Grooves EP, he delivers a 12-inch packed with five club-weapons that dive deep into the essence of house and tech house, reshaping them with his own relentless, pumpy twist.
The trip opens with “How Should I Start”, a perfect ignition, teasing anticipation while locking you instantly on the groove. “Goddamnit (Club Tool)” follows as a pure machine workout, echoing Kerri Chandler’s house foundations while pushing them into today’s territory. “Members Only Club” exudes exclusive sophistication, a secret-weapon built for late-night dancefloors. On the flip, “Keep the Frequency Clear” hypnotizes with razor-sharp frequencies, proof of BALLAN’s sonic craftsmanship, before “Futuro” launches us headfirst into tomorrow—where innovation collides with the Romanian sunrise aesthetic, infused with a heavier, raw energy.
Influenced by the minimal masters (Zip, Ricardo Villalobos, Raresh) yet unwilling to compromise on drive and power, BALLAN delivers here a record where every track stands as a killer. Chantal Grooves EP is both a homage to the roots of house and tech house, and a manifesto propelling the genre into its next evolution.
STRIKER TRAXX launches with a statement: this imprint is made for DJs and dancers who still believe in vinyl as a sacred object and in the dancefloor as a transformative space. With H5’s exclusive artwork (Daft Punk, Air, Logorama)and Skylax’s uncompromising vision, each release is conceived as a weapon for the underground, and a jewel for the true collectors.
Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’
“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.
We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.
We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.
I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.
The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025
Vinylneuauflage von Mobys Sampler "Early Underground" (1993), einer Zusammenstellung seiner Frühwerke unter zahlreichen zusätzlichen Pseudonymen wie Barracuda, Brainstorm, UHF oder Voodoo Child. Mit Ausnahme einer limitierten Vinylausgabe 2022 gab es diese Kollektion nur als CD, nie flächendeckend auf Vinyl. "Early Underground" enthält auch seinen Techno-Klassiker "Go" in der Original Version, laut Rolling Stone "einer der besten Tracks aller Zeiten". Moby hat die Techno/Electronic-Szene massgeblich beeinflusst, später den Popmarkt erobert und Acts wie David Bowie, Public Enemy, Ozzy Osbourne, die Beastie Boys und Daft Punk produziert und geremixt.
The overexcited young men at the Droid factory up the beats per minute and channel the spirit of other sensible chaps a la John Belushi, River Phoenix and John 'I chose the best exit' Entwhistle on our latest audio laboratory assault. Less terminal, with careful use, perhaps, than a fat fully loaded speedball, we hope man and beast find some musical justice or bemusement in the latest hoedown on offer. We have various takes at various tempos, so bar mitzvah's, weddings and indeed acid house events should be covered for those game enough to get on the Droid bucking bronco....
Andrew Weatherall never wakes up in the morning and decides to start a new album that day. Instead, recording music is a continuous process usually working with different collaborators and seeing where the muse takes him. Somewhere down the line the rewards of a collaboration will coalesce into a body of work between thirty minutes and an hour long and he will put a call into the Rotters' team to say he has a new release ready to go.
We were visiting the studio catching up on new tracks in various states of readiness when he offered up some remixes of tracks from his recent "Ruled by Passion…" he'd been sent by fellow musicians. Tim Fairplay, Andrew's partner in The Asphodells, Sean Johnston from A Love From Outer Space and Scott Fraser live and work in the area and all popped in at various points.
Andrew's black book reads like the who's who of contemporary music but rather than plunder it for remixers he'd let drop the idea of a remix with friends and neighbours. These plus a couple a swaps with musical friends who were new to the concept of remixing, gave Andrew an hour of music he thoroughly enjoyed listening to.
It goes without saying none of the tracks are duds but our ears always prick up when Justin Robertson's take on "Beglammered" ups the heart rate or Daniel Avery's own unscrewing of "… the Axis" ruffles the neck hairs. We've stopped arguing in the office about which is the best track. They all are.
Ideologic Organ freut sich, die brandneuen Aufnahmen von The Necks zu präsentieren, dem legendären australischen Trio, das sich durch die Umgehung musikalischer Klischees auszeichnet und gleichzeitig die Praktiken der Improvisation, des Jazz, des Post-Rock, des Ambient, des Minimal und der texturierten, ,klangbasierten" Musik erforscht und erweitert. Das neueste Werk dieses langjährigen Ensembles, Unfold, präsentiert sich als Doppel-LP mit vier seitenlangen Tracks. Das bewusste Fehlen von nummerierten Seiten gibt dem Hörer viel Raum, sich einzubringen, und lässt ihn seinen eigenen Weg durch die Klanglandschaft finden. Die kürzere Länge des Vinylformats ist für die Mitglieder des Ensembles kein Hindernis, sondern bietet ihnen einen kompakteren Horizont zum Nachdenken, in dem die zurückgelegte Strecke auf unmittelbarere und dynamischere texturale Aspekte neu ausgerichtet wird. Die Unmittelbarkeit von ,Rise" bestätigt diesen neuen Weg, während die traurigen Töne von Lloyd Swantons Bass um Chris Abrahams' kristallklares Klaviermotiv wirbeln und Tony Bucks Percussion den Prozess in erleuchtende Free-Jazz-Gefilde lenkt. ,Blue Mountain" bahnt sich einen Weg durch das klangliche Unterholz, wobei Soul-Orgel, rasselnde Percussion, Pfeifen und hüpfende Schallwellen um den Vordergrund wetteifern. ,Overheard" behält eine erhabene melancholische Aura, während Percussion und Keyboards sich gleichzeitig umarmen und auseinanderfallen, während ,Timepiece" als sanfte Geste weiterer Möglichkeiten dahinspringt. Wie genau The Necks ihre besondere Magie entfalten - so einfach es auch scheinen mag -, während sie sich immer weiterentwickeln, kann nur vermutet werden, aber ,Unfold" beweist einmal mehr, dass Regeln und Schulen gebrochen und zu Mustern und Rahmenwerken umgestaltet werden müssen, die sich von denen unterscheiden, die wir kennen.
Night Prologue POW001
Panthers on Wax kicks off its catalogue with Night Prologue, a VA that dives head-first into the night from the dark pulse of the club to its most intimate afterglow.
Bringing together four defining voices of the contemporary French underground, the release unfolds like a nocturnal tale in two acts.
Side A hits with two floor-focused weapons:
P.O ignites LA VOITURE DE LA POLICE, a raw mechanical surge « It doesn't matter who did it as long as it burns. »
N2O pushes deeper with DISTO PIA, where distortion fractures, breathes, and rebuilds « Darkness dances, the heart cracks, and the night puts its pieces back together. »
Side B shifts into emotional territory:
PAGENTY delivers LE VENT CHUCHOTE TON NOM, a nostalgic synth drift « The nights are endless oceans in which I search for you. »
LORYN wraps the record with GINI, a glowing synthwave shimmer « More than a soda, Gini holds a forever echo »
From new beat and electro to techno and synthwave, Night Prologue carves out the Panthers on Wax identity, nocturnal, hybrid, and driven by narrative.
Lovski, alias Igor Sekulović, is redefining the Balkan musical landscape. A master guitarist and erstwhile “Projekt Rakjia” band member, he forges an uncanny blend of traditional folk melodies with dance, electronic and rock energy.
His debut solo album, Discoteka Jugoslavija—produced in collaboration with Napoli’s producer Raffaele “Whodamanny” Arcella—ventures through Italo-disco pulses, reggae grooves and psychedelic swirls, all anchored by the call-and-response warmth of Balkan traditional instruments. Each track feels like a borderless road trip: hypnotic rhythm sections give way to soaring guitar solos that nod to ancestral folk tunes, while propulsive synth arpeggios push listeners into tomorrow’s club.
Lovski’s signature lies in his seamless genre alchemy. He honors regional roots without succumbing to nostalgia, instead reframing folk elements as raw material for global dancefloors. As a performer, his live shows pulse with communal ecstasy—drawing dancing crowds around campfires of light, smoke and bass.
In a scene ripe for innovation, Lovski stands out as both torchbearer and trailblazer—proof that the Balkans still have surprises to offer, and that the old and new can coexist in brilliant harmony.
After a short break, CEP Records is back and opens a new chapter with the X-Series. An imprint dedicated to raw club energy and oldschool-inspired sounds that redefine the label's identity. Leading the way is riko, the head of the label, with a four track release.
'Whoa 55' on A1 pulls you in with its striking vocal and weighty bassline, delivering a perfect balance of groove and drive. 'Le Bom Bom' follows with a deeper feel, clean drums and little sound bits that play nicely around the low end. On the B side, 'Drum God' goes all out and hits the hardest, made for late nights and busy rooms. Closing it off, 'Phrygian' opens things up again with a mix of catchy melodies and deep frequencies that stick with you.
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
Absolutely killer 11 track double pack of raw techno missiles from Bari, Italy's hero, DJ Plant Texture. Ultimate club gear that will do total damage anytime, anywhere. No nonsense, committed to the art of music..no false idol worship...just blistering cuts made to mix and send em' into a frenzy. Big tip!
To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.
This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.
SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.
‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.
SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.
The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.
‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.
A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).
Dutch electronic music trio, Noisia, have announced the release of their long awaited new album, 'Outer Edges' on their own label, Vision. The 18 track album is their first in six years, and the band's second in total.
With a peerless reputation and countless awards under their belts, Noisia have transcended their genre and grown into a phenomenon in their own right. Drum & Bass is at the core of Noisia's sound, but Nik, Martijn, and Thijs's visceral brand has always ventured further.
"It's called Outer Edges because it's us exploring the outer edges of what Noisia, the three of us together, is. It's about the idea that all the songs are little islands that we take to their individual edge... They're all like expeditions to far sides. That doesn't mean that it's everything; it's just that every song, if it goes in a certain direction, we've taken it all the way there. There's no real concessions, we haven't been super DJ- or radio-friendly at all and we've done no collaborations or hardly any vocals on the album." - Noisia
ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.
You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.
The new album by the collective that for
over 25 years has been among the most
representative names of the Italian dance
and electronic scene worldwide.
“BLOOOM”, this is the title of the new release,
will be available in all traditional stores and
on digital platforms starting January 16.
Set against the soundscapes that have become
the Planet Funk trademark, the lyrics by Dan
Black attempt to give voice to a fragile and
contradictory condition of our time: an
intensified sensitivity that, instead of
turning into openness and connection, often
becomes emotional overload. A generation
constantly overwhelmed by excessive stimuli,
relentless information, anxieties, and fears,
called upon to find its way in a world thaoffers neither pauses nor silence. In this paradox, sensitivity is no longer just a natural gift, but
a daily effort: staying open and receptive without being overwhelmed, trying to preserve a human and
vulnerable gaze in order, despite everything, to fully appreciate life and the present moment.
The single’s artwork—like that of the album—curated by Nationhood, visually conveys this tension: the
distant sirens of a city that amplifies feelings of disorientation and loneliness even when we are
surrounded by thousands of people.
“BLOOOM”, preceded by the single “FEEL EVERYTHING”, arrives at the end of an intense, creative year
full of music, which saw Alex Neri (DJ, keyboards, synthesizers), Marco Baroni (keyboards, piano,
programming), Dan Black (vocals and guitar), and Alex Uhlmann (vocals and guitar) engaged between
studio work, collaborations, and live performances in Italy and abroad. A journey that today
transforms into new energy, into an even more open vision oriented toward the future.
Exactly one year ago, PLANET FUNK released “Nights in White Satin”, a single that reached the top
positions of the radio charts and launched a season rich in concerts and DJ sets in Italy and around
the world. The subsequent “I Get a Rush”, the collaboration with Alfa and Manu Chao on the remix of
their hit “A me mi piace”, and the track “È Naturale” together with Francesca Michielin, confirmed
Planet Funk’s ability to renew themselves and engage with different musical worlds while always
remaining true to their own identity.
Throughout this journey, music has inevitably intertwined with life. The memory of Sergio Della Monica
and Domenico “Gigi” Canu, pillars and founding souls of the PLANET FUNK project, is a living part of
this new chapter. Their vision, creative spirit, and way of understanding music continue to be a
constant guide, a deep root from which new ideas and new directions can grow.
“BLOOOM” is also this: a personal and artistic blossoming that, starting from the legacy left by
Sergio and Gigi, transforms into a living process of growth, metamorphosis, and discovery. An album
that does not look back with nostalgia, but forward with awareness, momentum, and a desire for
renewal.
Founded in 1999, for over 25 years PLANET FUNK have represented one of the most important, solid, and
influential realities in the international electronic music scene. Born from the meeting of Souled
Out! (Domenico “GG” Canu and Sergio Della Monica) and Kamasutra (Marco Baroni and Alex Neri), and
following their debut with “Non Zero Sumness” in 2002 (a gold record and a turning point for the
band), PLANET FUNK have managed to reinvent themselves over time while maintaining a unique sonic
identity. This has led them to collaborate with internationally renowned artists, deliver iconic
performances around the world, create soundtracks and international advertising campaigns, and
continue to demonstrate constant creative vitality
CINTH’s new installment, Kinzua‘s 5-track EP Never Fret, Never Fail, presents a focused examination of UK-inflected memory, immersing the listener in dissolving traces of IDM, Breakbeat, Jungle and Trance. While the archival recollection of 90s Britain provides an almost hauntological emotional frame of reference, each track maintains its autonomy, allowing Kinzua’s particular approach to sonic and rhythmic detail to emerge clearly.
The meditative thread that marked their earlier releases runs through the EP once again, counterbalanced by a nearly industrial rhythmic energy, that keeps it suitable for the more attentive and considered dancefloors. Never Fret, Never Fail will be released on February 13th and includes a collaboration with Peryl. The release will be celebrated with an in-store session at Sound Metaphors on the same day.
nagoyaka na kaze / 和やかな風 (quiet wind): a collection of forward-thinking electronic experiments sourced from central Japan - co-curated by Nagoya artist abentis for Facta & K-LONE’s Wisdom Teeth imprint.
The project profiles a close-knit community of music makers operating in and around the Japanese city of Nagoya: one of the country’s most populous and industrial cities, but one all too often overlooked in terms of its cultural significance.
Curated in close collaboration with local scene organiser Yuya Abe - aka abentis - the record seeks to capture the creative energy of a community of artists making hard-to-define, future-facing electronic music away from the clamour of the bigger cities. “In Nagoya, there’s a strong culture of supporting artists. Even if you pursue music in your own way, as long as it’s good, you’re encouraged to keep doing what you want”, explains abentis. “Within that environment, my generation has been able to freely bring in elements we like from all kinds of genres, combine them in our own way, and express ourselves individually. If you go to Tokyo or Osaka, that kind of freedom isn’t something you can take for granted.” Spiritually, Nagoya fits the mould of cultural hotbeds like Bristol, Detroit or Melbourne, showing that some of the most innovative creative communities form away from the glare of the capital cities. Like Detroit, Nagoya is principally known for being a major auto manufacturing hub, famous for being the home of Toyota Motors - but behind the scenes, it is quietly harbouring one of Japan’s most vibrant and forward-thinking electronic music scenes. “In a good way, Nagoya is a bit removed from the cutting edge, so you find people making all kinds of music”, explains Karnage. “If you’re making music, you feel like part of the crew, and people of different ages mix together without much hierarchy.” The city’s music scene is characterised by a freedom to mix genres and an open-door approach to creatives of all disciplines. The artists featured come from a diverse set of backgrounds, ranging from hip-hop to noise music, but have found a common collective identity in their omnivorous approach to genre. As such, the record moves fluidly between shimmering ambient and new age (Am Shhara, DHYAN, daiki hayakawa), psychedelic minimal house (Methodd, abentis), abstract, low-slung downtempo (baptisma, Nasty Soupman) and spaceage steppas (Karnage). “I’d say the way ambient, new age and that kind of sound design are blending nicely with dance music feels somewhat new”, says baptisma, the crew’s eldest member and de-facto scene leader. Responsible for bringing artists like Basic Channel, Mala and Jan Jelinek to the city, baptisma has been crucial in establishing underground electronic music in Nagoya since the 90s, and now helps cultivate the next generation of local talent. “Artists and DJs are seamlessly mixing ambient and new age with techno, house and bass music. I think that’s a really interesting development.” nagoyaka na kaze has its roots in a one-off event held in October 2024 as part of the 10 Years of Wisdom Teeth Japan tour. Curated by abentis in collaboration with Facta & K-LONE, the showcase featured live sets from eight artists based in and around Nagoya at one of the city’s key dance music hubs, Club JB’s. Each of the artists features again here, on record, presenting an original commission produced especially for the project. The record’s art direction was led by Yudai Osawa - in-house designer for Kankyō Records, the much-loved Tokyo record shop run by H. Takahashi - and features original photos by Hayato Watanabe.
THE OPRHIC HYMNS is an ode to the mystical. A celebration of the languid. An exploration of the id. A journey into self. The project was written, performed, and produced by Ryan Grieve and Tom Kuntz over the course of a year in a secluded location, with a few visits from notable guest contributors such as Alex Kassian and Logan Hone to sprinkle in a little of their magic. Kuntz (aka Pinchy Don) is the Pinchy in PINCHY AND FRIENDS. Grieve is the man behind HOLE IN THE SKY RECORDS and projects such as Heart People, Canyons, and Absolute Unity. This is their first release as THE ORPHIC HYMNS.
Label welcomes Tunisian-based artist Ahmet Mecnun to the label for the first time with open arms and with sincere hope it is not the last due to high level admiration for his artistic output. Ahmet has crafted M.E.S.S.A with dark flavour oozing throughout the EP that has unified the audio trips together in a complete story. The remix duties of the A-side track have been taken by none other than Uruguayan mastermind Marcos Coya who has provided his take on this matter and has done it flawlessly so. The synergy between the two artists from different backgrounds and cultures but same ideology of music has resulted in M.E.S.S.A to take the shape it has now. The dark times are coming so it is best to go into the loop state of mind to avoid or to welcome psycho override depends on the mood and current feeling one might be going through.
Were FEX the Wildest & Weirdest German New Wave Band in 1984?
Few cult mysteries in modern music have captured the internet's imagination quite like "The Most Mysterious Song on the Internet." Eventually identified as "Subways of Your Mind" by the elusive German band FEX, the track became a viral sensation decades after its creation-and even made its way into a recent Hollywood blockbuster (Black Phone 2).
Now, two more lost FEX recordings have emerged from an old demo cassette: "Dead End" and "Sarah." And they're every bit as electrifying as the legend suggests.
On both songs, guitarist and main songwriter Ture Rückwardt joins forces on lead vocals with his former wife and musical partner Ilona Rückwardt, forming a vocal pairing that channels raw energy and eerie chemistry. What they deliver are two of the most urgent, adrenaline-fueled post-punk artifacts you're likely to hear this year-even if they were recorded more than forty years ago.
Opening with a sharp, melodic guitar solo, "Dead End" bursts forward with uptempo drive-catchy, fierce, and full of momentum. Apparently inspired by Orwell's 1984, its lyrics depict urban desolation-loneliness, homelessness, hopelessness-yet still shimmer with defiance in lines like, "Truth is amazing - hoping is like waiting."
The second track, "Sarah," dives even deeper into darkness. Mixing post-punk intensity with psychedelic textures, Rückwardt tells an imaginary story of a couple lost in drugs and spiraling through a bad trip, only to wake and realize that sobriety offers little comfort-the real world itself can be just as brutal and offers no easy escape.
Neither song makes the slightest concession to commercial trends. Instead, they feel utterly uncompromising-wild, strange, and defiantly timeless. In a world obsessed with polish and playlists, "Dead End" and "Sarah" sound like transmissions from a different planet.
Both tracks were originally recorded as demos in 1984 in the band's rehearsal room, with Hase engineering. The newly restored versions preserve the raw spirit of the original tapes while adding subtle layers to enhance their atmosphere without losing the authentic 1980s sound. FEX hint that the untouched demo versions might surface later, possibly on a second volume of their archival
Sublunar is proud to present Pareidolia IV, the fourth chapter of the saga written by its founder Sciahri.
With this new LP, the journey continues and reaches its most complete sonic expression to date a statement of evolution, depth and identity, featuring a special collaboration with Temudo.
The record opens with "Just 30 Seconds", driven by powerful low-end foundations balanced by warm, enveloping textures that immediately pull the listener in. "Groundbound" follows, deep and immersive, built around a memorable synth and arrangement designed to linger in the mind.
The voyage continues with "2014", a melodic and transportive track that drifts effortlessly into "Silent Embers", where raw power and mysticism merge into a uniquely intense atmosphere.
The second half opens with "Anime", propelled by a massive rumble beneath a delicate groove and finely crafted stabs. "Essenza" dives into darker, hypnotic territory, defining its own distinct mood and tension.
The only collaboration on the LP, "Encontro", sees Sciahri and Temudo blending their respective visions into something truly memorable, where both styles converge naturally and with purpose.
The journey closes with "Offset", a reflective and emotional piece that encapsulates a sense of travel and quiet melancholy a final moment designed to resonate long after the record ends.
In early 2025 Oakland-based Jerod S. Rivera released his second full length Dot-Dash, featuring a collaboration with CST co-founder Cat Lauigan and Jonathan James Carr. From the beginning we were mesmerized with the result, a perfect melding of Cat's processed spoken-word and Jerod's Buchla experimentations.
The thought of remixes presented immediately, the material extra ripe for interpolation. Enlisting friends from geographically and sonically disparate locations to present an ideal remix 12". Something for everyone, something for every setting, a tool with multiple functions...
The mysterious dub/techno/leftfield mastermind behind False Aralia dives further into territory explored on iri.gram, uptempo and dancefloor-ready in a more maximal Perlon-ish way while still embracing a half-time dub feel. Philipp Otterbach (Music from Memory, Offen, RIO) goes deeper into the guitar zone he’s been exploring, channeling Earth 2, Boris, and the like for some heavy drone. Oakland duo DJ ML and Wonja adopt their Motoko & Myers moniker (Future Times, Soda Gong), zeroing in on some choice vocal snippets that mesh perfectly with a live drum break and bassline for a Seefeel-esque version that could have come from a 90’s UK studio. Finally, Slowfoam embraces the more experimental elements of the original with a remix that starts sparse and minimal but builds into a glitchy rhythmic climax.
The 12” includes a 2-sided riso insert and a download code with access to an additional remix by close collaborator Jon Carr that twists the vocals into a throbbing industrial caucaphony.
Prolific powers in rave and counterculture, Luca Lozano and Mr. Ho debut on Phantasy with the deliciously gnarly ‘WREKONS’ EP. Already locked in close collaboration at their own Klasse Wrecks label, this temporary migration to Erol Alkan's peerless London imprint with four outsider-electro variations that sit comfortably amongst the more bombastic moments in Phantasy's history.
‘Reach Out and Touch’ sets the tone, bursting sound systems wide open with an introduction that takes Lozano and Ho out of the basement and into the widest festival fields, overdriven with sheer energy and a flawless arrangement that sets up all manner of musical twists until the final chord. ‘Psycho Rasp’ expands from a simple cowbell beat to a circuit-frying melody, a machine rush that isn’t afraid to strip back to bare essentials for a devilishly simple, extremely effective breakdown.
On the flip, ‘WREKONS' pushes things further still, particularly on the lubricious ‘Grease Beat’, an unrelenting symphony of rubber-faced bass, crashing cymbals and demented drums, ideally composed to pair daring DJs with submissive dancers. ‘Tin Can Hustler’ closes off the EP with the duo’s leftfield take on jackin’ house, its dense groove bubbling up from underneath the strangest analogue signals.
The title and sleeve artwork for 'WREKONS' makes reference to the PERKONS HD01, a drum machine made by Latvian wizards Erica Synths, and one that was used heavily throughout the two-day session in which these tracks were recorded
We’re proud to present the first-ever official reissue of Rold Lebo - "Dansez Otiere" — a folk-jazz treasure from 1986, originally released in the Republic of Congo on vinyl and cassette (self-released on small quantities). This vinyl gem revives the energy and elegance of a rare record, now brought back into the light — a timeless work, finally restored to its full glory.
This album alternates between the call to celebrate the ancestral homeland and cultural identity and poignant ballads about love, exile and homesickness. It is a work that is both intimate and cosmic. Finally restored to its full glory, it returns on vinyl for the first time since its initial release.
This is an essential restoration — a sophisticated synthesis of Congolese Folk-Jazz, subtle soul, and deeply introspective rhythms. Recorded in the 80s, the album channels a timeless spirit, exploring multilingual themes of ancestral identity, the melancholy of exile and the delicate games of love.
Rold Lebo’s music is a profound emotional capsule — once overlooked, now revived for a new generation of listeners eager to explore the sophisticated sounds and resonant stories of the Republic of Congo.
The mysterious artist behind the alias Your Ex returns after a self-released EP in 2025 and a deep house killer 7-inch on Scruniversal Records in 2023. Now joining Vibes And Pepper Records, Your Ex opens 2026 with a five-track EP that channels a European twist on Chicago deep house—warm basslines, soulful chords, and hypnotic percussion layered with emotional depth and a timeless groove. Drawing inspiration from Jazz, Funk, Fusion, Library Music, Dub, and “out there” Electronic sounds, Your Exalso draws deeply from the foundational vibrations of Chicago and Detroit. These influences flow through every track—lush harmonies, intricate rhythms, and raw analog textures that bridge eras and styles. Staying true to an elusive identity, Your Ex lets the music speak: smoky late-night grooves, dusty hardware tones, and an undeniable sense of movement that nods to the roots while pushing forward. With Vibes And Pepper, the artist continues to blur the line between mystery and motion—a perfect start to the new year for those who still believe in the deep.
From Germany to Montreal, a cross-continental dialogue takes form as Oovation and Jares unite for The Shift, a sweeping coalition of emotion and rhythm marking both artists’ debut on W. Anchored in cinematic depth and driven by kinetic pulse, The Shift stands as a powerful first statement, further expanded through stunning reinterpretations by Coeus, ACNØR, and Turker.
The original take of “The Shift” finds Oovation & Jares constructing a restrained groove before thumping kicks and meandering blips send us off on a highly narcotic affair. With the foundations in place, a swaying bassline takes control of the piece, infusing it with an irresistible sense of movement. As we venture deeper inside the rabbit hole, a lush arpeggio rummages across the piece, taking us closer to an airy break where echoes osurrender to a new directive.
For the first reimagining, Coeus drives “The Shift” into more dangerous, sensual territory. Built on a thunderous rhythmic foundation, the Serbian producer laces the mix with ghostly vocal traces and a relentless synthetic tension. The result feels cinematic in scope: an after-hours odyssey pulsing with urgency and redemption, where desire and danger move in lockstep.
Next, ACNØR transforms The Shift into a perpetual motion device where tension breathes and recedes like a living organism, shimmering under dim light. Reflective and transportive, this version feels like moving through mirrored corridors. Each twist refracts a new emotion, a new identity, culminating in a tantalizing entropy.
Finally, Turker closes the circle with a radiant reconstruction that leans toward transcendence. Textured percussion, raspy stabs, and a gleaming lead line spiral upward, pushing “The Shift” toward a horizon bathed in gold as vocal phrases drift in and out of focus, painting the mirage in full technicolor for a finale that feels both cathartic and luminous.
