Search:inner state

The real Holy Grail here is Lovebyte (Original Mix). Have a read of the Discogs thread that inspired this project below, the Artist had to remake the track as the Original Mix was long since lost. The result sounds authentic to the original that was only ever broadcast on Kiss FM by Colin Favor.

Repress

Late afternoon, the brightness of the sun got me distracted from work, while I'm staring out the window into the mountains. Come on now, focus...only 2 hours remaining before the weekend kicks in. I'm excited, the annual party in the mountains is as crazy as the location itself... and sweet jesus on a motorbike the line up for this event is beyond...

Guys, see ya later. I'm off to dance.

X Sandra.

Blazej Malinowski - Nocturnal Shadows 

 You are never truly awake. You are never fully asleep. The mind, tangled and tireless, pulls you toward the dark. But the chain reaction stirs - a restless echo, thought after thought, unraveling stillness. Sleep falters. Unease breathes. Dream if you must. But sleep - Sleep well. 
The second release in the Inner Tension Extra series, Nocturnal Shadows, is a collection of ambient and experimental works by Blazej Malinowski. Created as a deeply personal exploration of atmosphere, emotion and inner states, the album moves away from the dancefloor into more abstract and immersive territories. Nocturnal Shadows marks another side of Malinowski’s musical language - slower, darker and more introspective, where texture, space and silence become as important as the sound itself. Artist: Blazej Malinowski Title: Nocturnal Shadows Label: Inner Tension Catalogue: InnT_Extra 002 Format: Double 12" Vinyl + Digital Genre: Electronic Style: Ambient, Experimental Inner Tension, 2026 W&P by Blazej Malinowski Mastered at Artefacts Mastering, 
 Copyright Control ©Inner Tension 2025 Cover Photo: Cosmodernism Worldwide distribution by Triple Vision

Music From Memory presents ‘Miraggi’, the debut release by Argento, a new project conceived by composer and producer David August. Written between Berlin and the Tuscan coast, the record unfolds as an imagined soundtrack to the Mediterranean, shaped by memory, longing and a profound connection to landscape.

The earliest sketches emerged during extended periods spent along Italy’s Tyrrhenian coast, where the shifting light, vegetation and ever-changing presence of the sea became lasting creative impulses. At the same time, an immersion in Italian library music of the 1970s and ‘80s quietly informed the project’s tonal language, while traces of jazz fusion and Balearic ambience surfaced not as direct references but as distant echoes.

Built around a dialogue between synthesizers, electronics, acoustic percussion and environmental recordings, ‘Miraggi’ balances rhythmic movement with spacious, cinematic composition. During the recording process, August was joined by drummer and percussionist Lorenzo Setti, whose performances and co-writing became an integral part of the album’s evolving rhythmic language. Across extended improvisations and recording sessions, August and Setti gradually shaped a musical language that feels both deeply personal and quietly transportive, allowing atmosphere and place to become as important as melody or rhythm.

The title ‘Miraggi’ (‘Mirages’) emerged organically, evoking a longing for something that remains just out of reach — something that cannot fully be grasped or lived. It suggests a suspended state between perception and imagination, akin to a hallucination or a dream. In this sense, ‘Miraggi’ reflects the project’s inner narrative: an imagined soundtrack shaped by desire, memory and the spiritual abundance of the Mediterranean Sea.

‘Miraggi’ will be released on vinyl and digitally via Music From Memory on September 10th 2026.

Forty years of cassette releases, pressed for the first time on vinyl

First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic
living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013)

The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles.

That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls.

None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread.

He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could.

Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion.

The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.”

The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports.

In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home.

In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further.

It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now.

I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature.

Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream.

It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering.

Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument.

'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river.

More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes.

Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."

Produced by Andrzej Dudek-Dürer

Mastered by Ruud Lekx

Liner Notes written by Mathias Chaboteaux

Pictures by Andrzej Dudek-Dürer

Artwork by Wojciech Gawronski

Executive Producer: Mathias Chaboteaux

℗© 2026 Huveshta Rituals Records. All rights reserved. HR006

2026 Repress
Rights: World excluding FR & UK

Packaging: 2 x Gold-On-Clear Splatter Vinyl, 5mm spine sleeve, 2 x printer inner sleeve, marketing sticker

SHORT BIOG & KEY POINTS
" Goldie's 1995 debut Timeless is often described as one of the greatest dance music albums of all time. As one of the founders of Metalheadz, one of the most influential drum and bass labels, Goldie helped shape the sound of a generation, and a genre that has spanned over 3 decades.
" "Listening to Timeless is like taking an adventure. If the limits of music are the limits of society, then Timeless is going to create new worlds. It's a record that travels from darkness to light across electronic oceans, across streetsoul, ambience and jazz."

" London Records celebrate 30 years of Timeless with limited edition vinyl formats, re-imagining the original white sleeve and putting the album on double vinyl for the first time since '96, with new liner notes from Tim Carr. Remastered audio.

A quiet intensity permeates Chantal Michelle’s music, like a veiled flame. Even at its most spare and delicate, an undulating tension unsettles the ear through wavering microtonal interference and uncanny spatial juxtaposition. She takes seriously the mandate of the composer to foster new relationships between various types of sounds, bringing together disparate field recordings, instrumental stems, and the sounds of circuitry in unheard configurations. Resolution is elusive, in its place a sense of oblong cyclicality and prickly uncertainty. When the veil is pulled back, we find more depth, more complexity, and more mystery.

Unit of Heart, Michelle’s second album of 2026, presents two interrelated pieces that highlight diverging compositional modes. Here she brings in two key collaborators: Patrick Shiroishi, who contributes flutes and saxophones throughout, and poet Funto Omojola, whose words and voice bookend the title composition. Both compositions unfold gradually, but where the album’s a-side “Sudden Oceans” presents a minimal tonal palette focused entirely on the subtle grain of wind instruments, “Unit of Heart” proceeds linearly, moving through passages of synthesizer, environmental recordings, and full-cheeked wails of saxophone. Both encourage a state of focused listening as the scope of the music deepens and widens.

“Sudden Oceans” allows the listener to hover in rippling currents of air, breath overlapping breath in a shimmering patchwork. All flutes and saxophones on the piece are played by Shiroishi, which are molded by Michelle into a pattern that resembles the flow of tidal waters, surging and receding moment to moment as the tonal density increases. Expansive and recursive, it reflects both the restorative awe and eerie disquiet of encountering the sublime. The first and last sounds we hear are the gentle rush of unmediated breath as Shiroishi connects and disconnects from his flute.

Michelle’s skill at presenting the familiar as preternatural comes to the fore on “Unit of Heart, ” one of her most ambitious works. Omojola’s voice begins with a melody that could be a lullaby, but as it’s bounced around the stereo field it takes on a haunted quality. Their poem, reprinted on the LP’s inner sleeve, hints at a similar type of transformation: “I mean this is where our mouth turns saliva into spears only a throat can recognize. ” Pads of downy synthesizer billow and are subsumed by a discordant ringing. The climactic section features atonal electronics and field recordings, first of water and then the evening call of insects, processed in such a way to transform them into pulsating bursts of noise. What we think we know about the world, what is elemental, can change with even the slightest adjustment of the lens.

Sean Thompson hat mehr als ein Jahrzehnt damit verbracht, sich zu einem der vielseitigsten Gitarristen in Nashville zu entwickeln. Derzeit ist er als Gitarrist für Margo Price auf Tour, und sein flinkes, lyrisches Spiel hat Bands unter der Leitung von Erin Rae sowie einer ganzen Reihe von Größen der ,Music City" geprägt. Außerdem ist er neben Rich Ruth und Spencer Cullum ein Drittel des kosmischen Trios Shrunken Elvis, dessen gefeiertes, selbstbetiteltes Debütalbum 2025 bei Western Vinyl erschien. Mit ,Inner Principles", seinem ersten rein instrumentalen Album, bündelt Thompson all diese Instinkte zu etwas, das sich wie ein echtes neues Kapitel anfühlt. Es ist ein Jazz-Fusion-Album im reichhaltigsten Sinne des Wortes: virtuos, aber schnörkellos, experimentierfreudig und stilistisch von einem Titel zum nächsten unruhig. Die acht Stücke bewegen sich mühelos zwischen ECM-artiger Weite im Geiste von John Abercrombie, rauchigem Akustik-Picking, lockeren Late-Night-Boogies und eleganten Post-Rock-Abenteuern, mit Synthesizern, die hin und wieder in Richtung Jan-Hammer-Territorium blitzen. Man könnte meinen, ein Großteil dieser Musik stamme aus dem Jahr 1978 oder 1983, und genau diese Zeitlosigkeit ist der springende Punkt. Thompson spielt ein rasantes Spiel namens ,Finde den Einfluss" und zieht dann weiter, ohne sich jemals lange genug an einem Ort niederzulassen, um wie eine Hommage zu klingen. Im Kern ist das Album ein Trio aus Thompson, Eric Slick am Schlagzeug und Alec Newman am Bass, ergänzt durch eine Handvoll bewährter Mitstreiter: Jake Davis, der produzierte, als Tontechniker fungierte, abmischte und Synthesizer beisteuerte; sein ,Shrunken Elvis"-Bandkollege Rich Ruth an der Gitarre; sowie Jo Schornikow am Keyboard. Dieses Zusammenspiel des Ensembles ist das Herzstück der Platte, und trotz aller technischen Meisterschaft ruht sich ,Inner Principles" nie auf seinem Können aus. Jeder Track strahlt echtes Gefühl aus, vom weitläufigen, treibenden ,Underwater Way" bis zum zarten ,Waltz For Mama". Thompson hat ,Inner Principles" digital in Eigenregie veröffentlicht und das Material live beim BigEars-Festival vorgestellt. Western Vinyl presst es nun zum ersten Mal auf Vinyl und verschafft damit einem der stillen, aber unverzichtbaren Musiker Nashvilles sein bisher umfassendstes Statement.

EVPHORIA is not just a record. It’s a trigger.
140 BPM of tension, ascent and release — engineered to push the dancefloor into collective hypnosis.

Balancing power house propulsion, techno pulse and large-scale emotional lift, the track transforms a strangely familiar sensation into something raw, direct and uncompromising. No nostalgia — only forward motion. A rise that refuses to come down.

The original version unfolds as a sustained euphoric surge: driving percussion, insistent hooks and controlled repetition built for peak-time unity.
The edit version distills that energy into a tighter DJ weapon — immediate, sharp, floor-focused.

On the B-side, Inflammable Noise appears in its instrumental form — pure club mechanics, no vocals, no distraction. A stripped version that amplifies tension and turns the track into a true dancefloor weapon. Already tested in demanding environments, it notably detonated a peak-time moment when Chloé Caillet played it at Berghain — a point where the room tipped over.

EVPHORIA moves freely across scenes — from house floors pushing tempo to techno basements and high-intensity dance spaces — built for DJs chasing the rupture point.

Pressed in a strict limited edition.
Vinyl only — no digital release.

Created under the EVPHORIA imprint by Hardrock Striker — dancefloor architect and driving force behind the Skylax universe — this release stands as a physical, autonomous club statement.
Sleeve artwork by H5 (Daft Punk, Air, Étienne de Crécy, Logorama, Kanye West / Adidas), reinforcing EVPHORIA as both a sonic and visual manifesto.

EVPHORIA doesn’t ask permission.
EVPHORIA triggers.
A record for the moment the room tips over.

Strong international support from Richie Hawtin, Arnaud Rebotini (Black Strobe), Kristian Beyer (Âme / Innervisions), Dax J, Ilario Alicante, Chris Fortier, Michel Gaubert, DJ Mag, KEXP Seattle, Byte FM, Tsugi, Waveform Transmitter and many more.

Outstanding reactions included: "This is just perfect... one of the best things I've heard in recent weeks. Supported!" (Club Furies), "Great release! Adding to Waveform Recommended." (Ste Knight), "Excellent work here! Will play on my show." (Fly Radio 104 FM), "Great – will play." (Radio Reverb), "Energetic and ethereal club energy." (CJSW Canada)

Welcome back, hope you've had a good trip so far. While we're digging global tunes, let's not forget what's cooking in our own yards. No less then a new dub don has risen from the wastelands of bratwursts, nutcrackers and garden gnomes: Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solarpowered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!
Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.
Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.
Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Antuni (translated from Armenian as “homeless”), Margenrot’s third album, was created over five years. It is a personal statement about fragility, vulnerability, and the search for grounding in a world where conflict has become part of everyday life. Antuni is a genre of gusan song (gusans were Armenian folk singers and rhapsodes) – a story told by a homeless, eternal wanderer, exiled and deprived of homeland.

The album’s title also refers to the melancholic ballad Antuni (“The Song of the Wanderer”) by the Armenian composer, folklorist, and monk Komitas. This work was dedicated to the victims of the Armenian Genocide of 1915. Lusia’s new album is about national identity and inner wandering – between contempo- rary wars and deeply personal, existential experiences. She asks an urgent, personal question: “What is my home, and where is it?”

The album weaves together traditional Armenian chants and chorales with electronic music and field recordings. Breakbeat is layered with conversations between Lucy’s relatives about the fading village of Naokhrebi (an Armenian village in Georgia), while samples of Komitas’ liturgy, recorded in a Catholic church, contrast with fractured rhythms.

Returning from an 18-month hiatus, Companion resurfaces with its long-awaited ninth offering – a six-track EP that beautifully distills the label’s devotion to patient tempos and deep immersive moods. The Garden is the result of a remote, cross-border dialogue between London and Belfast: a project born from a seasonal fatigue with the dancefloor and a collective turn towards our most inner states of being. The debut collaboration between Serenity Complex (Wigs) and Aika Mal, the EP is a meticulously detailed exercise in restraint, trading industrial harshness for a lush, subterranean hush.

The production breathes with a tactile, low-slung urgency: gritty, compressed drums and haphazardly recorded beatboxed percussion captured on a patio beneath the Devon sun provide a raw counterpoint to the EP’s cinematic sweep. Steered by narcotic basslines imbued with the brooding, early DNA of Massive Attack, these undulating pulses coil around the listener with a subtle, magnetic pull. They create a state of suspended momentum where tension never fully resolves and instead becomes the point of return. Aika Mal’s voice acts as a spectral anchor – mellifluous and transfixing as it moves in and out of each carefully curated element.

Drawing from the gossamer, reverb-drenched landscapes of Love Spiral Downwards and the gothic opulence of The Golden Palominos, the tracks lean into a slow, deliberate pace. Dub-influenced low end and trip-hop structures form the backbone, while fractured, gritty breakbeats bring a sharper edge. The release traces low-lit excursions into limerence, thriving in the heavy humidity of the afternoon just as easily as in the blue light of the pre-dawn or the apricity of first light.

The Garden celebrates togetherness by blurring two distinct artistic outlines into a single, prismatic whole. It is an invitation to submerge – a descent into the overgrowth.

The 41st release on TECHNO Records marks a defining milestone: the first full- scale solo record by the label’s founder, Nastia, in her music career. It opens up a new depth of detail within the character and identity of both the artist and the catalogue.

Rather than making a loud statement, Nastia focuses on a restrained and functional approach to techno, shaped through subtle shifts in tension, texture, and rhythm. The tracks move with intention, avoiding obvious peaks in favour of gradual development and controlled energy—a familiar methodology and a direct analogy to the evolution of the label itself. Crafted with dancefloor energy in mind but not bound by it, the release offers a fresh perspective on the author’s persona, stripping away excess and overexplanation. It leaves ample room for the listener’s imagination and a versatile, expert application within a DJ set.

The trajectory of ascents and shifting attention in an artist’s career is the only honest path, providing material for reflection and the anchoring of values. This depth of experience cannot be replicated by overnight success or short-lived peaks—only decades of exploration, trial, and error can forge a work built to endure. Studio work becomes a new instrument for Nastia to build value capital, while her debut solo EP stands as an artefact marking a historic point for the author and the label.

TECH041

A1 “Indoctrinated” — a masterclass in rhythmic interplay used as a narrative device. It functions as a sonic manifesto: universally accessible yet distinctly individual. A process-driven track, its strength lies in its ability to repeatedly shift the listener’s focus. It serves as an ideal transitional tool, offering a calculated awakening from a hypnotic state.

A2 “Ignorance Is Keelleeng” — a structured dancefloor powerhouse built on a precise understanding of peak-time energy. Functioning as a set-defining anchor, it allows the DJ to pivot the mix in any direction without losing momentum. A true catalyst track that opens up new sonic horizons.

B1 “True Majority” — the most forward-thinking cut on the record, providing a definitive blueprint for the hypnotic techno sound of summer 2026. It presents a multi-layered, all-encompassing sonic tapestry that interacts with the listener while maintaining a strictly restrained narrative. A motif-driven track that subtly exposes an underlying tension.

B2 “Additive Integration” — best conceptualised within an extended set where the goal is to gradually establish the atmosphere and dictate the rules of the journey. A track built on anticipation, it conserves energy and conceals its inner mechanics until the final acts. It compels the listener to decode its sonic language for full comprehension.

New Jon Savage Compilation release alert! Jon Savage's SF Sike 1966-72 (Double Vinyl) Limited Edition. Heavyweight Luxury Gauge Sleeve-Stock & Inners.

The real sound of San Francisco 1966-72." It was the new gold rush, but with drugs, music and freedom the goal. " (Jon Savage -The Guardian August 2012)

A limited edition double vinyl 18 track album celebrating the great pop music and idealism of that time & featuring Moby Grape, Skip Spence, Ron Nagle, Country Joe & The Fish & much more

Full contextual & track-by-track sleeve notes by Jon Savage. Ephemera & archive material from the period.

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

On 27 March, fabric Originals presents Shō, a five track EP of introspective, transcendent electronics from Japanese techno icon DJ Nobu. Inspired by the Buddhist Brahmavihāras - joy, compassion, loving-kindness and equanimity - Shō unfolds as a meditative, emotional journey rooted in Nobu’s experiences of Tokyo, mindfulness and inner clarity. From kinetic renewal to serene minimalism, the EP channels presence, acceptance and the simple truth that breathing itself is living.

Each track on ‘Shō’ marks a step in an emotional and spiritual journey, channelling the foundational virtues of the Brahmavihāras, which are the four ‘Sublime States’ of Buddhist practice: ‘Muditā’ (joy), ‘Karuṇā’ (compassion), ‘Mettā’ (loving-kindness), and ‘Upekkhā’ (equanimity). Together these principles form a path towards an open, boundless heart, which is mirrored in the EP’s unfolding sonic narrative.

“In recent years I became overly sensitive to my surroundings and society, finding myself strongly affected by every daily occurrence. It was during this time that I discovered meditation. And beyond that lay Buddhism. Through this, my sensibilities became able to express themselves more naturally. I decided to portray my feelings, and the scenery in Tokyo, conveying what I was experiencing in real-time, as music.

The EP title ‘Shō’ denotes views, thoughts, and actions aligned with Buddhist truth, and encapsulates my striving for presence, clarity, and acceptance. It also represents the conscious, mindful understanding that simply breathing is living.” DJ Nobu

4LP vinyl boxset - pressed on opaque red, green, blue and yellow vinyl housed in printed inner sleeves with disco holes within a hardbound book jacket. The back cover is a Ludo board and the package contains Ludo game pieces, dice and instructions on how to play.

The Best of the Black President is the 13 track guide to Fela Kuti’s massive and manifold creative career. Fela was a musician, arranger, producer, political radical, outlaw and the originator of Afrobeat. This is the first time the complete compilation is available on vinyl. It is a 4 LP set, with updated cover art in a hardbound book jacket and printed inner sleeves. The individual LPs are pressed on red (sides A/B), green (sides C/D), blue (sides E/F) and yellow (sides G/H) vinyl. This edition features a Ludo game board as the back cover and comes with a perforated set of game pieces, dice, and instructions on how to play. Limited edition of 3000 for the world.



The release of this special edition coincides with the 12 episode podcast on the life and legacy of Fela, Fela Kuti: Fear No Man, produced by the Obamas and hosted by Jad Abumrad (Radiolab, Dolly Parton’s America). The series features dozens of interviews including Burna Boy, Paul McCartney, Questlove, Ayo Edebiri, David Byrne, Santigold, and President Obama himself. It was initially released on Audible on 9/15/25 and had a wide release across all podcast platforms on 10/15/25

- 2026 repress / hot foil printed sleeve -

Limited Edition: Box with holographic hot foil logo print and five printed inner sleeves - No Repress

SHDW's label, Mutual Rytm hits a notable milestone at the start of 2024 as it turns two years old and hits its 20th release. To mark the occasion, the carefully curated compilation 'Federation Of Rytm III' arrives on February 2nd with a 30-track 5 x 12" boxset vinyl release and a further 6 digital bonus tracks.

Mutual Rytm is synonymous with serious, no-frills techno. It is a go-to for the world's most influential DJs and a home to some of the scene's most innovative producers. Over the last two years, it has explored several shades of sound, always with high-quality production and forward-thinking styles. A fine balance has always been struck between new and emerging talents and established names with plenty more to say, and that is the case on this collection which features the legendary likes of Blawan, Gary Beck, Colin Benders, The Advent and Dax J next to ANNE, Alarico, JakoJako, Chlar, LDS and many more.

Founder SHDW says, "I've poured my heart into curating a compilation of 36 tracks, a reflection of my deepest musical passions. The lineup is stacked with incredible artists, and it captures the label's essence - a fusion of artists spanning generations, united by a shared spirit and aesthetic, creating a seamless 'mutual rhythm'."

Although all 36 tracks stand alone as high-grade and club-ready dynamite, they also collectively form a versatile listening experience thanks to how they've been carefully assembled into a perfectly sequenced journey.

Each one dives into a different nuance within the world of techno and there is a range of moods from dark and driving to more energising and uplifting. The collection not only shows how far Mutual Rytm has come in a short space of time but also that it remains in a constant state of evolution and has a bright future ahead in 2024 and beyond.

SHDW's vision at Mutual Rytm was always to present a cohesive yet varied musical experience, and Federation Of Rytm III does exactly that.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

2026 Repress

French talent Hyden makes label debut on Mutual Rytm with conceptual new techno EP, 'To Whom It May Concern'. Hyden is a potent force in the French underground, creating powerful techno with dense percussion, immersive grooves and subtle nods to classic influences - all through his own unique lens. Having delivered standout releases in recent years, here he offers up sounds "anchored in psychoanalysis, time, and emotional residue" as he makes his mark on SHDW's Mutual Rytm imprint, delivering influences of dream logic and surrealism as the palette moves between brutality and introspection. "It's hypnotic music for moments of rupture where something breaks or breaks through". Opener 'Manifest Content' is inspired by Freudian theory and explores the surface illusions of thought and dream. It's about the dissonance between what we perceive and the deeper meaning that slips away beneath and is a deep and dubby techno track with flashes of unsettling melody. 'Bruises' is emotional trauma made sonic. This piece delves into invisible scars and traumas, residues of past conflict or intimacy - it's slow-burning, heavy and raw. 'Jikan' is a meditation built on time and its erosion. Inspired by the Japanese concept of impermanence, it reflects fleeting moments, decay and the tension between stillness and motion with jacked up but warm drums and turbulent bass. Next, 'Free Will' is born from inner conflict and plays with deterministic rhythms and evolving layers, questioning whether we are truly in control or just passengers in a prewritten sequence. The vocal mentions, "creatures, you're out of time" to bring darkness to the intense but sleek rhythms. The streamlined physicality of 'Swarm' channels the primal force of collective movement and is a nod to the loss of individuality in group behaviour. In addition, the package is loaded with digital bonus cuts. 'Yumehara' is a dive into surreal dream-states and evokes subconscious landscapes where logic dissolves and emotion reigns, while 'Lu Bu' is brutal and warlike and named after the legendary Chinese general that captures impulsive violence, betrayal and reckless glory with relentless energy and rhythm. Lastly, 'Neon Pale' is a synthetic dreamscape about fading beauty under artificial light - a melancholy ode to cities at night and the loss of warmth in modern life.

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.

With Stronger, her third EP, Mira Ló continues her rapid ascent within the French electronic scene. A cathartic project born from a period of personal upheaval, this EP is both a cry of resilience and a celebration of club culture as a space for healing. The Paris-based queer producer and DJ turns pain into creative force, and the dancefloor into refuge, release, and rebirth. Across four emotionally charged tracks, Stronger traces the contours of a club where one rises through the energy of the beat, the warmth of a caring community, and the affirmation of self through sound and movement. “This EP is my response to a very dark period in my life. I chose to turn pain into strength, to stand back up through music, and to reconnect with joy, intensity, and the collective. Each track follows a movement, of a body rising, a heart beating stronger, a soul regaining its light. Stronger is also a tribute to those who carried me when I could no longer stand on my own. It's proof that even in chaos, we can rebuild together.” Mira Ló The first chapter of this inner journey, “Riser” is a house track filled with enveloping melodies, ethereal pads, and organic chords that create a suspended sonic space. Its steady pulse and warm basslines evoke a rising from within. “I wanted this track to feel like a build-up, like breathing again. It's about that moment when you feel you're ready to rise once more, even after a fall, like a gentle but powerful wave,” says Mira Ló. With its R&B textures, pop-infused touches, and radiant production, “Brighter” glows with warmth. It captures the return of inner clarity, the rediscovery of joy and ease. Made to bring people together, it’s Instagram | Youtube | TikTok | SoundCloudboth immediate and heartfelt. “It’s a song about shining again, after the dark. I wanted something full of light and simplicity, a track that speaks to the heart and makes you want to dance without thinking.” A personal and introspective nod to the French Touch, “Higher” is driven by filtered basslines and hypnotic grooves. It channels a sense of euphoria that builds gradually, almost meditatively, like a joyful vertigo. “This track is about finding euphoria again, that moment when music lifts you beyond yourself. I grew up with the French Touch, and this is my way of coming back to it with my own voice.” Closing the journey, “Louder” is the most assertive track on the EP. Inspired by the UK bassline and garage scene, it bursts with percussive, punchy energy. This is where everything comes into full light, bold, unapologetic, and free. “I wrote Louder as a statement: I’m here, I exist, and I won’t stay silent anymore. It’s about partying as self-affirmation, as a joyful, powerful scream of identity. Meant to be played loud. Very loud.” Mira Ló, born Ana Lopez, is a queer producer and DJ based in Paris. Drawing from the full spectrum of club music, her sets and productions blend melancholic emotion with a unique, high-energy, euphoric touch - inspired by artists like Disclosure, salute, and Sammy Virji. From her early days playing in Parisian bars and intimate clubs, she quickly rose to the lineups of top French venues and festivals such as Peacock Society, Marvellous Island, and Lollapalooza - extending her reach across Europe and even to Chicago. She’s carved out a strong place for herself within the new wave of the French electronic scene, leaving a lasting impression with every appearance. In 2023, she released her debut EP Memories and was featured in Apple Music’s “Women In Electronic” series. That same year, she became a resident at Sacré in Paris, before unveiling her second EP Tribute To Chicago in 2024. She returns in 2025 with her third release, Stronger - once again proving she’s one of the most promising artists shaping the future of electronic music.

On her fourth full-length album as Shedir, Sardinian sound artist Martina Betti offers a profound meditation on what it means to be human on the threshold of uncertainty.

We Are All Strangers is a series of ambient tapes-tries shaped by duality and introspection, where sound becomes a space to explore the tension between identity and ambiguity, presence and disappearance, connection and solitude. Inspired by the idea that we are all strangers, however, first and foremost to ourselves, Betti crafts seven fluid, slow-burn compositions that inhabit a sociological liminal zone—what she comments as an “inner elsewhere.”

These aren’t songs in the traditional sense, but evolving sonic environments that feel like emotional states made audible. Environmental textures, submerged electronics, and deep low-end pulses coalesce into a dreamlike architecture of sound: immersive, fragile, and quietly transformative.

Rather than offering answers or closure, the album invites us to live in radical openness—to stop trying to define everything we see and feel, and instead bathe in what remains unnamed. In this sense, We Are All Strangers is an invitation: to sit with uncertainty, to embrace the unfinished, and to find resonance even in our collective disconnection.

For listeners drawn to the introspective frequencies of Rafael Anton Irisarri, Félicia Atkinson, or Lawrence English, Betti’s music offers a similarly haunting and immersive experience—one where strangeness is not a flaw, but a starting point. In her hands, ambient music becomes a kind of reflective shelter: a place to brush against each other in the dark and begin to learn, as she puts it, “the difficult art of closeness.”

12” vinyl, full sleeve artwork with Mordançage front cover artwork by artist Jo Torres, design & centre labels by Ciaran birch. Limited run of 300.

“Singing Vessels” draws inspiration from the sonorities and aesthetics of Amazonian medicine ceremonies and traditional Andean music. At its heart is a collection of clay whistles from ancient South America, whose timbres conjure the vibrant soundworld of the Andes. The piece also incorporates shamanic instruments from the Amazon, such as the shacapa — a bundle of dry leaves whose rustling produces a deep, soothing texture with remarkable sensory resonance.

Interwoven with generative electronics, live looping and synthesisers, these organic timbres create evolving psychoacoustic spaces where the mystery of nature meets inner realms of perception and consciousness. The piece unfolds as a ceremonial passage through a shamanic ritual: beginning in a dense jungle of sounding entities, rising into moments of cathartic purging, dissolving into states of blessing and communion, and finally returning to the here and now with renewed awareness.

Nervio Cosmico is an electroacoustic experimental duo based in Bristol, formed by Chilean composer Daniel Linker and Italian sound artist Matteo Amadio. Blending acoustic instruments from ancient South American shamanic traditions with live looping, generative sound design, and live electronics, they craft sonic journeys that explore perception, consciousness, and a spiritual connection with nature.

Otto Taimela returns with his second album for London ambient free divers SWIMS, following 2024's celebrated "Inner Beauty".

"Uncommon & Fragile" departs from Otto's meadowed, ivory-centric introspections, reaching further into binaural sound design, trance pointillism, and groundswells of angular percussion. This is less a club record, more something to soothe post-rave tinnitus on the bus home.

For fans of Lorenzo Senni, Lusine ICL, Huerco S., Shinichi Atobe...

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

Schadenheimer fled Syria for Europe in 2016, eventually finding refuge in Germany. While working through personal challenges, they began exploring new wave, electronica and the raw aesthetics of post-punk, all of which shaped the sound and feel of this release.

Their first single, "Der Lärm in meinem Kopf / Selbstliebe ist egal" reflects a state of inner unrest. Drawing from experiences of war, migration and personal struggle, Schadenheimer shares a direct and honest take on what it means to live with constant noise/war within.

This release comes from something deeply personal but speaks to a broader experience. While rooted in the trauma of displacement and emotional conflict, the songs touch on something many can relate to. They explore self-doubt, emotional numbness and the quiet pull of self-sabotage.

According to Schadenheimer, despite the weight of these themes - there was always a sense that something within could carry them forward. That feeling doesn’t remove the struggle, but it helps to keep moving.

"Der Lärm in meinem Kopf / Selbstliebe ist egal" will be released on 18.07.2025 on 7" vinyl and digital via the Leipzig imprint, R.A.N.D. Muzik Recordings.

Plying refracted rhythms with an exacting poise, Aerae arrives on Samurai Music with a fully formed sound that plumbs the depths between techno immersion and D&B beat science.

An accomplished, palpable tension runs throughout Nefanda, Aerae's second solo release. Following up on the meditative pulse of her debut album on Annulled Music last year, the Paris-based artist digs deeper into ominous atmospheres filled with evocative reverb decays and taut, dynamic drum work - tools she wields to Redner tracks with specific meaning, coded by the Latin framing that runs through all aspects of her musical output. Contemplating the ancient language as an inescapable part of her European roots, on Nefanda Aerae ruminates on external trials and inner impulses, and conjures a jaw-clenching soundtrack to match.

'Mons' (translation: 'Mountain') speaks to challenges, strength and spiritual ascent, marked out by an urgent thrum of conga slaps and a 4/4 kick around the 170 BPM mark that finds power in minimalism even at the relatively high tempo.
The title track opts for a more broken framework, pivoting pointed percussion around a deft sub pulse while turning up the intensity with an exacting poise.

'Nefanda' translates as 'unspeakable,' or 'too horrific to name,' and the fraught, synthetic wraiths contorting through the track convey the dread the title implies.
'Fovea' (translation: 'pit') burrows deeper into spatial design with a looming low end rumble and subliminal sound sculpture, shaping out a dark, introspective chasm tipped towards disassociation. It's a powerful statement in any setting, but the all-consuming bass feels especially crafted for full, physical sound system immersion.

'Phrenesis' (translation: 'frenzy') rounds the EP out in fierce form, building up a high-pressure arrangement from ambient beginnings with ruthless control. There's a sense of duality in motion between half-time and double-time rhythmic elements, every incremental shift adding to the intensity of the track with the elegant, impactful touch that has fast become Aerae's calling card.

Finding her own language within the dialogue between techno, D&B and dark ambient, Aerae's music makes a vivid impression thanks to the ideas and intention that drive her in the studio. Nefanda confirms her status as a leading light in deep, psychedelic dance music, making something extremely personal that also reaches out beyond notions of the self like all the best transcendental music.

Balmat 17 marks both a return and a new frontier. It is the second album on the label from Patricia Wolf, whose 2022 album See-Through is one of the most beloved in Balmat’s catalog; it also marks the first time that Wolf has turned her hand to a film soundtrack. The results are every bit as magical as fans of the Portland, Oregon, composer’s music might expect.

Hrafnamynd—Icelandic for “raven film”—is a new feature-length documentary by experimental filmmaker Edward Pack Davee. Shot on a mix of film and digital formats, and incorporating his father’s Ektachrome slides from the 1970s, the autobiographical film works on multiple levels at once: a reminiscence of his childhood in Iceland, an exploration of landscape and folklore, and a documentary study of the island nation’s ravens—including a talking raven named Krummi.

Wolf is the perfect artist to score such an unusual film. Mixing ambient music and field recording—including extensive experience documenting bird song—Wolf brings an unusually empathic perspective to her music. In the context of Hrafnamynd, her airy melodies, pensive atmospheres, and vivid textures intuitively complement the film’s grainy film stock and blown-out colors. Friends for years, the two artists further bonded when Wolf asked Pack to film music videos for her songs “Woodland Encounter” (from See-Through) and “The Culmination Of” (from I'll Look For You In Others). Pack used Wolf’s previously recorded music as placeholders as he began assembling a rough cut of the film, which made her a natural choice to help him complete his idiosyncratic vision with an all-new, bespoke score.

But Wolf’s soundtrack also indisputably stands alone as a full-length album. Largely created using the UDO Super 6 synthesizer, it features a carefully distilled palette of warm, string-like pads and darkly glistening mallets, rounded out with the very occasional introduction of nylon string guitar. Musically and stylistically, the album’s 11 tracks represent both a continuation of the ruminative sound of See-Through and also an extension into new expressive modes. Few musicians, ambient or otherwise, are as skilled at balancing melody with atmosphere, or at finding ways to eke fresh at finding ways to eke fresh, surprising sounds out of an intentionally reduced toolkit. Meditative, immersive, and emotionally generous Wolf’s Hrafnamynd soundtrack evokes a range of ambient classics from decades past while confidently marking out its own verdant patch of ground.


Artist’s Statement:
Edward and I have been friends for years, but we really started to get to know one another better after I hired him to make music videos for my songs “Woodland Encounter” and “The Culmination Of.” For those projects we got to spend a lot of time hiking in various locations around the Pacific Northwest with his camera, very nice lenses, and tripod. Keeping quiet, hidden, and vigilant we searched for wildlife, good light on the trees, meadows, lakes, rivers, and skies. Edward was already an appreciator of my music and I was already in awe of his filmmaking talents so it felt like a great fit. Although we work in different areas of art our styles compliment one another. We both tend toward slow and careful pacing, with a focus on emotion and introspective reflections on life and the landscapes around us. For this reason, Iknew that I could trust Edward to create videos for my music. We saw so many beautiful and unexpected things on our filming days, but I was moved to tears once I saw how magnificent and poetic it all was. His video work from the cinematography, to the editing, and color correction helped bring my inner vision to life.

A few months after that, Edward surprised me with an invitation to work on the soundtrack for his new film, Hrafnamynd. I enthusiastically said yes. I had always wanted to work on a film, and I knew that his filmmaking style would be inspiring to write music for. I had recently acquired an UDO Super 6 synthesizer but hadn't used it much. I decided that this would be the synth that I'd use for the film. It has the ability to sound very modern, but can also sound so warm and fuzzy, like a synth from the 1970s. It turned out to be the perfect instrument for this project as the film itself straddles time from the ’70s to today.

When Edward sent me the rough cut of the film, he used placeholder music to help give me an idea of the emotion and energy that he was hoping to achieve for each scene. For many of the scenes, Edward used music from my albums as temporary tracks. This told me that he trusted my work and style and therefore I should just trust my intuition with how to proceed. I wanted to make sure that everything that I made was a direct reflection of what was happening on screen, a mirror of its emotion and energy so people could really lock into the film psychologically. This process took my composing to unexpected places—like being led by a strange cat or a raven that seemed to have something to show me. I found that the approach made the music so much more dynamic than my usual style. I really enjoyed being influenced by the action and dialog on the screen. Thankfully, Edward was very happy with the work. I made sure to handle this project with the utmost care because this is about his life and his family, and an exploration of the experiences that made him an artist and filmmaker. While watching the film many times over, I found myself thinking about my own family and my early memories with them and how the place where I grew up has influenced who I have become. I found that his film invites the viewer to reflect on their own lives in a similar way. I hope that this music and film can guide others to contemplate on the history of their beingness and the people and places that shaped them.

Another aspect to this project is the splendor and wonder of Iceland itself. I had the opportunity to visit Iceland for the first time in 2023. I got to play a show there for the Extreme Chill Festival and met many friendly and brilliant Icelanders. I also got to collect field recordings that I used in the film. It's a fascinating place and culture that easily captures the hearts and imaginations of anyone who visits. Whether you spend your time in the city immersed in its impressive arts scene, or venture out into the wilderness to behold its wondrous landscape, it will leave a lasting impression. The soundtrack is also a love letter to Iceland itself.

Two IDM icons, Roel Funcken and exm come together on Science Cult for an LP that is nothing short of alchemy. Flyphel feels like a living, breathing entity — an intricate fusion of sound that shifts between the mechanical and the organic. Each track unfolds like a story told in textures and tones, with Funcken’s razor-sharp precision meeting exm’s ethereal abstractions. You're not just invite you to listen, you're pulled into its world, where every detail reveals something new on repeat visits. This stunning release arrives as a 2x12" LP encased in a beautifully printed outer jacket with matching inner sleeves featuring paintings by Roel Funcken, making this as much a visual statement as an auditory one. With their combined expertise in sound design and their shared commitment to pushing boundaries, Roel Funcken and exm have created something that feels both timeless and ahead of its time.

Celebrating 40th anniversary of Yves Deruyter's musical career with this 10 x 12" Vinyl Box Set. Including tracks from F.U.S.E. vs LFO, Tronikhouse, Robert Armani, L.S.G., Edge Of Motion, Plastikman, The Prodigy, Ecstasy Club, and the master himselfYves Deruyter.



Yves Deruyter - 40 Years at the Pinnacle of the Night

Forty years. A rollercoaster of a musical career, meandering through five decades, leaving timeless marks on the collective dancefloor memory. Yves Deruyter is the exception that proves the rule. An icon behind the decks, celebrated far beyond national borders for his legendary sets, impeccable musical choices, and the anthems released under his name. The result of collective effort, where Yves, with his vision and unique touch, consistently left his mark-transforming good tracks into inescapable bombs that still resonate through time.

If you've spent forty years living to the pulse of music, the night is in your DNA. Yves Deruyter, a DJ to the core-the real deal. The man who bent the night to his will, dragging weekend vibes into the workweek like a warrior, a true master behind the turntables who made his people dance. His beats: the oxygen that generations lived on.

Yves sharpened his musical weapons in the early '90s within the iconic afterparty scene of Barocci and The Globe-places that became sanctuaries in Belgium's endless night. Here, die-hard dancefloor warriors, cutting-edge music lovers, and night owls from the four corners of the globe gathered. They willingly followed Yves' masterful mixing and his razor-sharp set construction. Clubs with a more conventional timeframe were the next step, with the iconic Cherrymoon as his home base for years-alongside endless guest DJ spots and global gigs. From there, the underground pulsed through Yves' hands and crates, reaching ever-larger crowds-without ever compromising for commercial or crossover sounds. Yves stayed true to his choices, lifting his audience to euphoric heights like a craftsman, armed with his hits, hidden gems, and freshly unearthed nuggets.

From the pounding energy of Rave City to the flippy, epic flashes of Calling Earth-tracks that not only captured the spirit of the times but conquered dancefloors worldwide. This isn't just music; it's a time capsule-a connection between generations and a reminder of the energy from a golden era.

With musical partners like Roel Butzen, Frederico Santini, M.I.K.E. Push, and more recently, Insider, Yves forged a sound that etched its place into rave and dance history. From The Rebel to The House of House, parts of Yves' musical taste have become immortal pillars of dance music heritage. In the early rave days, he topped Belgium's DJ rankings year after year, elevating every club he played to the highest echelons of popularity. The same held true for the records where his name appeared like a badge of honor.

From The Globe to the globe itself-it seemed almost written in the stars. Yves, thestar DJ, became one of the instigators of the electronic music storm that put Belgium on the global map-a storm that never subsided. Festivals like Love Parade, Mayday, I Love Techno, Nature One, and Tomorrowland saw Yves as a trusted force, effortlessly commanding crowds and turning dancefloors inside out. Forty years later, that storm still ignites partygoers, vibrates through dancefloors, and keeps entire generations moving.

Even today, Yves still holds a steady residency with Yves Deruyter and Friends at Club Moustache, where his concept always sells out. Here, both fresh talent and seasoned DJs deliver a killer blend of modern electronic dance music and timeless classics, creating an atmosphere that hooks the crowd every single time.

Because partying doesn't need an excuse. But forty years? That deserves the spotlight-not as a mere milestone, but as a showcase of timelessness. Music mutates, reinvents itself for new generations, yet retains the same impact as that very first time. Yves proves that forty is just a number, and relevance isn't about trends-it's about vision, energy, and an unmistakable touch. His sets? Indestructible. His sound? A heartbeat echoing through time.

And Yves? He doesn't live in the past. Today, Yves distills those four decades into a compilation capturing the essence of his career. Belgian beats, interpreted and refined into a sound that powered raves around the world. Ten vinyls featuring not just a fiercely curated selection that contextualizes the magic of his early days, but also new versions of three unbeatable anthems-potent hits designed to turn dancefloors upside down in wonder, without losing a shred of their soul. Yves remains a beacon in the night, a searchlight for that one perfect beat-always relevant, always chasing that magical moment.

Yves Deruyter-a name spoken in the same breath as the greats of the scene. A ten-vinyl compilation is more than a celebration; it's a well-earned trophy. As unique, indestructible, and uncompromising as the man himself.

‘Subtle Bodies’ is the new album by US-based sound artist and composer Francis Morning, released on Ltd. cassette via Lo Recordings, which contemplates the concept of the non-physical, energetic layers of a person that exist alongside the physical body. Being the next installment of Lo Recordings' ongoing SPACIOUSNESS series, the album features 15 tracks that embrace the theme through hints of electric piano melodies buried under layers of tape hiss, meandering sine wave bass notes, and expansive ambient textures.

The compositions on ‘Subtle Bodies’ are meditations on impermanence, imperfection, and the natural process of decay, approached without judgment. They arise from moments of introspection, often inspired by the contemplation of inner channels, energies, mindfulness, breath, and other Tibetan Buddhist practices. Deliberately recorded using minimal equipment, each piece explores and pushes against the thresholds in an attempt to strike a balance of texture and noise. About Francis Morning:

Francis Morning is a US-based sound artist, musician, and composer known for crafting gently textured sonic environments using a simplified palette of musical hardware, including analog tapes and cassettes, field recordings, synths, pedals, pianos, and acoustic and electric guitars. His work embraces imperfection, human quality and touch, and the transient nature of life. The music began to take shape as simple, personal daybreak rituals with no audience or expectations. Each piece was recorded live in single takes, with the original elements eventually discarded or recorded over, as a statement and exercise in impermanence and letting go.

After his collab track with Elias. on Various Artists - Part Two, Kaan Pirecioglu is back on Primordial State with a hypnotic, timeless techno EP.

Ruby Red - Transparent - Galaxy effect vinyl in dub style jacket (jacket sleeve with center hole cut out so label of LP shows through) a black paper inner sleeve and poly bag.

PART ONE’ METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”


At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.
Woven together from home studio recordings that span two decades, this latest outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted through three separate strata. As with April’s “Part One” and the forthcoming “Part Three”, “Part Two”, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track, “The Hag Of Beara Vs The Poet”’s languid, tribal groove expands into a chromatic wash, like an endless drip of oil spreading out under a midsummer haze.
A filtering of the alpha-state travelogues of its predecessor, “Part Two” reaches even deeper into primal yet pristine states. It journeys from the undulating drone and slow-thawing wonder of “The Falconer”, as if the Myst soundtrack were being broadcast from outer space, through “Damascus”’s perpetual-motion, dreamtime bazaar and “Vapour Phase”s seismograph frequencies measuring supernatural tremors to “The Unjust Incarceration”s distorted bagpipes, sounding a noise-frayed lament
If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

David Byrne & Fatboy Slim’s acclaimed 2010 album Here Lies Love receives its first-ever vinyl release to coincide with a new production opening on Broadway this summer. Here Lies Love is a double-disc song cycle – improbably poignant, decidedly surreal, surprisingly thought provoking – about the rise and fall of the Philippines' notorious Imelda Marcos. It was conceived by David Byrne; composed by Byrne and DJ/recording artist Fatboy Slim, AKA Norman Cook; and performed by a dream cast drawn from the worlds of indie rock, alt country, R&B and pop. Byrne's taste in collaborators is as imaginative as it is impeccable, including Cyndi Lauper (who recounts, to lighthearted disco beats, Imelda's courtship with Ferdinand Marcos), Steve Earle (as the power-hungry Ferdinand), Dap-Kings vocalist Sharon Jones (recalling Imelda's introduction into New York society) and Natalie Merchant (as spurned Imelda confidante Estrella, anticipating the onset of martial law). Along with vocals turns from such stars as Tori Amos and the B-52's Kate Pierson, Byrne works with rising indie rockers St. Vincent and My Brightest Diamond; New York chanteuses Nellie McKay and Martha Wainwright; and dance-music divas Róisín Murphy and Santigold. Byrne himself appears as the voice of imperialistic America on ‘American Troglodyte’, a send-up that wouldn't have seemed out of places in Talking Heads' True Stories.



Byrne originally envisioned this as a musical theatre piece, to be mounted in disco and nightclub settings, reflecting the globe-trotting Marcos' taste for such velvet-roped spots as Studio 54 and Regine's. In 2006, he performed work-in-progress versions to enthusiastic audiences at New York City's Carnegie Hall and the Adelaide Festival in Australia. While plans for a US theatrical production continued to evolve, he delivered this unique recording. The award-winning theatrical production eventually premiered at The Public Theater in New York in 2013, travelled to London’s National Theater for a sold-out run (2014–15), and was remounted at the Seattle Repertory Theater (2017).



Here Lies Love has an effervescent disco feel, redolent of Fatboy Slim's own dance-floor anthems, with warm undercurrents of the Latin rhythms that have percolated through Byrne's recent solo work. The sunny arrangements act in counterpoint to the reality of the Marcos' increasingly repressive regime, reflecting the imagined inner life of the glamour-obsessed Imelda. Explains Byrne, "For me, the darker side of the excesses are, for the most part, a matter of record. A lot of the audience is going to come with that knowledge already. What's more of a challenge is to get inside the head of the person who was behind all of that, and understand what made them tick." Byrne offers no judgment and avoids the obvious – there is no mention of Imelda's infamous shoe collection.



Many of Byrne's lyrics are, astonishingly enough, constructed from actual Imelda quotes, including the project's title, the words that Imelda, now returned to the Philippines from US-assisted exile in Hawaii, would like to have inscribed on her gravestone. In addition to his new liner note, Byrne illustrates the story with archival photos. In a detailed preface, he reveals what drew him to this subject and the bumpy route he took to launch the project and, ultimately, record this album. The booklet is indeed a page-turner, just as Here Lies Love is a wonderfully old-school album that rewards start-to-finish listening. Once again, Byrne – beloved as musician, thinker and bicyclist-about-town – reveals the breadth and singularity of his vision.



The new production of Here Lies Love will premiere at the Broadway Theatre in New York City. Performances begin June 17, ahead of an official opening night on July 20. Tony Award winner Alex Timbers (direction) and Olivier Award nominee Annie-B Parson (choreography) reunite with Byrne (concept, music, and lyrics) and Fatboy Slim (music) to bring Here Lies Love to Broadway, continuing a ten-plus year collaboration on the project. Tom Gandey and J Pardo contribute additional music. Here Lies Love is produced on Broadway by Hal Luftig, Patrick Catullo, Diana DiMenna for Plate Spinner Productions, Clint Ramos, and Jose Antonio Vargas. The staging at the Broadway Theatre will transform the venue’s traditional proscenium floor space into a dance club environment, where audiences will stand and move with the actors. A wide variety of standing and seating options will be available throughout the theatre’s reconstructed space. The producers of Here Lies Love said, “As a team of binational American producers – Filipinos among us – we are thrilled to bring Here Lies Love to Broadway! We welcome everyone to experience this singularly exuberant piece of theatre. The history of the Philippines is inseparable from the history of the United States, and as both evolve, we cannot think of a more appropriate time to stage this show. See you on the dance floor!”



David Byrne’s recent works include the launch of Reasons to be Cheerful, an online magazine focused on solutions-oriented stories about problems being solved all over the world (2019); Joan of Arc: Into the Fire, a theatrical exploration of the historical heroine that premiered at the Public Theater in New York (2017); The Institute Presents: NEUROSOCIETY, a series of interactive environments created in conjunction with PACE Arts + Technology that question human perception and bias (2016); Contemporary Color, an event inspired by the American folk tradition of color guard and performed at Brooklyn’s Barclays Center and Toronto’s Air Canada Centre (2015); Here Lies Love; Love This Giant, a studio album and worldwide tour created with St. Vincent (2012); and How Music Works, a book about the history, experience, and social aspects of music (2012).



Byrne curated Southbank Centre’s annual Meltdown festival in London in 2015. A co-founder of the group Talking Heads (1976–88), he has released eight studio albums as a solo artist and worked on multiple other projects, including collaborations with Brian Eno, Twyla Tharp, Robert Wilson, and Jonathan Demme, among others. He also founded the highly respected record label Luaka Bop. Recognition of Byrne’s various works include Obies, Drama Desk, Lortel, and Evening Standard awards for Here Lies Love; an Oscar, Grammy, and Golden Globe for the soundtrack to Bernardo Bertolucci’s The Last Emperor; and induction into the Rock and Roll Hall of Fame with Talking Heads. Byrne’s work as a visual artist has been published and exhibited since his college days, including photography, filmmaking, and writing. He lives in New York City. In addition to 2019’s cast album for American Utopia on Broadway, Nonesuch has released eight other David Byrne records since 2003, including 2018’s American Utopia studio album and two versions of his musical Here Lies Love.



















q C6. Please Don't feat. Santi White Santigold

Inner Zone’s latest project marks the launch of their brand new eponymous label - the first EP in what’s set to be a run of self-released work. Kicking things off in style, Neurolink arrives with supercharged energy thanks to sizzling breaks, wonky rave chords and blissed-out vocal samples. Next up, My Mind is a winding journey through signal-firing, synapse-stimulating percussion - this time the breaks are faster, more vortex-like. Fragmented vocals and a nostalgia-tinged melody combine to create the gloomy euphoria of the third track, Dark Night. The Final track, Crystal Cut, is spell-casting - a heady potion of ethereal chimes, paired with a delicate melody, guides us into a state of hypnosis. Inner Zone’s latest release offers a contemporary re-imagining of the much-loved sound of breaksy, rave-hued, 90s dance floors.

After a long hiatus, Rotate is back for its 8th release. "Inner Space EP" by the duo Abé & Lowris as Labello is a three-track 12-inch with a strong focus on psychedelic sounds, warped vocals, hypnotic synths and finely-tuned drum programming.

Like yin and yang, both tracks on the A-side of the EP display exquisitely opposed tones crafted for distinct dancefloor moments. The bright, funky and appropriately named 'Goodtimes' stands very different from the dark, cinematic and thrilling 'Invisible Red'. Still, ensembled, they serve as a statement on the raw potential of sonic hypnotization, where shuffling grooves, wacky melodies and cinematic atmospheres work together to set the dancer's minds into a seemingly perpetual state of flow. B-side's extended cut 'Pkaila' is one of the deepest arrangements here, reminiscent of the golden age of techno minimalism where dancefloors needed little more than a rolling groove, shuffling drums and impeccable sound design slapping from its sound systems.

Bandcamp buyers also get "FCT", an exclusive downloadable bonus 18-minute jam that further showcases Labello's explorational side, rounding off "Inner Space" in a delightfully varied manner.