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Efficient Space honours trailblazing Australian imprint Volition Records with Volition Cuts Vol. 1. Evolving from Andrew Penhallow’s time at GAP Records, which smuggled Cabaret Voltaire, The Fall and the Factory catalogue into the region, Volition shifted focus to homegrown talent over imported sounds. Echoing its precursor’s blend of indie friction and electronic curiosity, the label wired itself into the pulse of club and rave culture, linking city scenes and amplifying them for the mainstream. With retina-scorching design, uncompromising packaging and top-tier remixes, Volition consistently bent the major label machine to its will.

No Volition retrospective would be complete without Sisters Underground’s intergenerational anthem ‘In the Neighbourhood’. Otara teenagers Brenda Makamoeafi and Hassanah Iroegbu brought their Pasifika perspective to Proud (An Urban-Pacific Streetsoul Compilation), a commercial success that platformed NZ rap and R&B with a clarity that outshone its overseas counterparts. The quiet architect of Volition’s sound, producer prodigy Robert Racic flipped the classic as a hip-house dub before his untimely passing in 1996.

Its A-side companion comes from Brisbane synth-pop unit Boxcar, who signed to Volition after frontman Dave Smith handed a cassette to Tom Ellard of Severed Heads during a school newspaper interview. That unlikely handoff led to their 1990 debut Vertigo. Here, their ritual-laced, body-jacking industrial is retooled by Miami freestyle maverick Tony Garcia.

Further cherry-picking from the VOLT vaults, Sexing The Cherry unleash a bleep-addled meltdown from Brisbane’s Edwin Morrow and Cherryn Lomas. ‘This Is A Dream’ was recorded exclusively for High (A Dance Compilation), the first all-Australian V/A to top the ARIA charts, propelling the local movement into national consciousness.

Closing the sampler, Sydney’s Single Gun Theory joined Volition as they moved from post-punk abstraction and electronic collage toward downtempo, sample-based mysticism. Their 1994 ambient-pop reverie ‘Fall’ is reimagined by Stuart Crichton and Apollo 440’s Norman Fisher-Jones as full-throttle Goa trance, a final surge that channels the label’s relentless push into new terrain.

Volition Cuts Vol. 1 is dedicated to the loving memory of Volition’s visionary founder Andrew Penhallow, and key contributors Robert Racic and Edwin Morrow.1

Veteran Japanese electronic music producer, AKIO NAGASE, a leading player in the Kansai underground music scene since the late 1990s teams up with Yukino Inamine, a gifted and young female singer from Okinawa who magically mixes traditional Ryukyu (Okinawa) folk songs with her sanshin (Okinawan Shamisen) playing into the modern age, to create this wonderful collaborative album, Yugafu ai KAJI. This album is set to be released on GLOCAL RECORDS, a record store/ record label run by Genta Minowa, an ex-staff at the record store, Disc Shop Zero in Shimokitazawa, Tokyo and who still continues to introduce a great selection of dubby, club music from his HQ in Harajuku.

AKIO NAGASE regularly organised parties at his own venue, as well as ran a record store of the same name while actively being part of the Kansai scene at legendary clubs such as Tsuru no Ma, Sound Channel, etc., the best of what was offered in the Kansai underground dance scene in the 2000s.

As an artist, he released his own productions out of labels such as Sound Channel and RUDIMENTS run by Minowa. His album, Make Dub was released in 2003 out of the label, Sound Channel featured an innovative, techno meets dancehall track, Dance Hall King which connected techno, acid house with reggae and dub. This album is an undiscovered gem whose sound still emulates freshness and originality today (my wish is for it to be reissued on vinyl!) After a brief hiatus of releasing music, he released the EP, Delusion out of Chillmountain Records, a label run by his friend, Ground in 2018 and at his own leisurely pace, he has been slowly but surely releasing material that oozes originality, expressed through a robust acid sound and a variety of elements such as afro and Ryukyu folk music that is then incorporated into the medium of dub. Recently, he has also started to gain international attention by releasing original material and remixes out of labels such as the UK label, Emotional Especial, etc.

For this album, NAGASE teams up with Yukino Inamine who brings her own distinctive singing and sanshin playing magic into this collaboration and they fuse electronic music sounds with Ryukyu folk songs to create this wonderfully imaginative album that has no precedence or equal. Apart from the song, Ishikawa Koiuta, all other songs are covers of Ryukyu folk standards that were handpicked by NAGASE from the repertoire of songs that Inamine regularly performs live. They met up when NAGASE was commissioned to remix one of her original compositions, Miyagi Kaigan that was released in 2023 and that evolved into a collaboration with a concept that mixed Inamine singing Ryukyu folk standards with a backing tracks produced by NAGASE. Whenever she went to the the Kansai area, she would work on the basic track material created by NAGASE at the dub master of Osaka, Soulfire’s studio, HAV who would then additionally edit her takes to create the finishing tracks.

This album, Yugafu ai KAJI opens with Shirahamabushi, a track that slowly builds with an interesting mix of slow acid techno and sanshin and then moves onto the easy-going electro dub of Tinsagu nu hana (it is actually a cover of the track of the same title that first appeared in the label sampler, Comuni ó n Especial that was released on Emotional Especial. NAGASE initially wanted to feature Inamine on vocals for this track but due to scheduling issues, it did not happen but with good fortune, the new version of this track is now included in this album). A side closes with the optimistic Balearic sounds of Tsuki nu Kaisha that converges immaculately with slow-mo steppers. It is also worth noting that the person who introduced NAGASE to Inamine was the Okinawa dub master, HARIKUYAMAKU. They met at a concert held by both him & Yukino Inamine hosted by BUN BUN THE MC at the venue, RAGGA CHANNEL. From this encounter, this album came into fruition and they also asked HARIKUYAMAKU to produce an earthy, traditional rootsy, dub version of Tsuki nu Kaisha that is included as the 3rd track on the B Side.

Ashimizubushi, the track that magically blends old school Chicago house ala TRAX with Ryukyu folk music starts off the B side and it carries on to an uplifting track with a Skaouse (ska + house) feel, Hounen Ondo. Inserted after HARIKUYAMAKU’s dub of Tsuki nu Kaisha, this album closes out with the song, ‘Ishikawa Koi Uta’, the only song written by Inamine who said that she wrote it after falling in love with chill-out music. It is an ambient dub track with a collage like flavour, reminiscent of early The Orb (remixed by Mad Professor) and the latter half of the track finishes off with a message presented by Masao Itokazu (her uncle) who received tutelage from the prior owner of her sanshin that Inamine plays, Moritomo Inamine (her grandfather).

Incidentally, the album title, YUGAFU ai Kaji is derived from an auspicious word from Okinawa, Yugafu which means fruitful year, happiness, prosperity and ai (indigo) is a word that Yukino found inspiration few years ago (she wears a Okinawan indigo clothing called kinonuno in the front cover of this album).

The unique indigo colouring produced by nature overlaps with the unique charm of the human personality, and she wanted to present that current along with the music so the name was integrated to ‘indigo wind’, and the two were connected to form the album title, ‘YUGAFU ai Kaji’.

The photo of the front cover was taken by a young, Uchinaanunishie—- (meaning a boy from Okinawa) 17 year old photographer named Ratio and the designer of this album is Anmonaito who is a childhood friend of Inamine who also did the artwork for her album, Miyagi Kaigan. And the mastering and cutting of this album was done by Rei Taguchi.

The cosmology existing in Yukino Inamine’s singing is fully amplified by AKIO NAGASE’s spacey, abundant with many ideas, dance machine beat~ambient music and all of these elements are organically linked by the adhesive effect of dub.

The duality of love and pain runs right through the centre of this compelling and highly personal debut LP from Sasha Pervukhin, DJ/producer from Zolochiv, Ukraine, currently based in Paris. 



Over years releasing on his own Laconica label (as Alex Pervukhin) and more recently working at Carpet & Snares record shop in Lisbon, Sasha has honed in on a highly evocative, widescreen sound that draws deftly from his influences in classic tech house, breakbeat and hip hop. Now, on this new Carpet sublabel Nataraja — created for obscure, dark and experimental club sounds, downtempo, ambient and beyond — Sasha delivers four upfront and compulsive dancefloor tracks paired with four noirish vignettes, recounting a heart-on-sleeve sonic narrative about human contradictions: swagger and vulnerability, hubris and heartbreak.

Planet Harvest is not just a vinyl—it’s an encrypted artifact from the outer fringes of the galaxy. Limited to 200 vinyl only copies, this analog drop is both a musical release and an in-game item from the Kizi 404 universe, our post-apocalyptic, sci-fi infused, sonic rebellion.

Each track on the record is a fragment of the original soundtrack to our retro video game Planet Harvest, a terraforming simulator and galactic resistance adventure. The game puts players aboard the DIY spaceship Kizi 404 as they navigate hostile planets, fight off Darth Bezos’ neoliberal fleet, and gather rare materials to power an interstellar radar built to chase the elusive Signal—a frequency that might just save humanity.

A mix of old and new jams by the legendary Beyond a Void

German duo FJAAK remain one of techno's most distinct and uncompromising acts. Their new four-track EP is a raw, intense journey that feels more like a series of live jams than polished studio tracks. This release, FJAAK012, fully embraces their signature analogue sound, delivering four powerful tracks designed to own both big and underground stages and the most demanding dancefloors on the globe. The EP opens with 'Inside Out', a stripped-back groove loaded with industrial energy. It blends breakbeats, jungle influences and hardcore licks, fusing genres and eras while keeping that unmistakable FJAAK intensity front and centre. Next, 'Rekorder' delivers intricate beats with a raw, live-jam energy, dropping rigid sequencing for pure groove. Its coarse percussion and shifting melodic layers create a dynamic flow packed with attitude and character. Flip the record and 'Don't Give A F' steps up the pace with racy rolling grooves and relentless drive. The track's multi-genre beats and piercing analogue tones build a warehouse-ready sound that commands attention. Closing the EP, 'Leave A Message' is a special, one-of-a-kind slice of groove-heavy individuality, standing out with its truly unique sound. It combines hard-hitting rhythms with raw, textured layers and sharp transitions that keep you moving from start to finish. Based in Berlin, Felix Wagner and Aaron Robig have crafted their sound since childhood, pushing boundaries since the late 2000s. Known for their rebellious spirit and hardware-only live shows, they've revitalised the club scene with electrifying performances and DJ sets. In 2024, their genre-defying album FJAAK THE SYSTEM merged UK breakbeat, techno, d'n'b, jungle and more, featuring collaborations with Modeselektor, Skee Mask, Red Eye and Spandau20 co-founder J.Manuel. It marked a bold new chapter for the duo. Now, in 2025, FJAAK build on that momentum with fresh music, global tours, and expanding label rosters. They continue to challenge club music norms and maintain their place at the forefront of electronic music innovation.

Spiritual Rhythms by Mix’Elle, the fourth release on Portuguese label angel, is particularly special for a couple of reasons: it’s the artist’s first record (a true triumph at that) plus she is a resident at the night series that originated the label itself. It’s truly an all-connected type of affair. This EP taps, in a personal and intentional way, into the very foundations of jungle and drum n bass, taking us on a soulful ride permeated by Mix’Elle’s influences while incorporating her artistic vision, one that was shaped through hours behind the decks in underground drum n bass parties for well over a decade.

The record opens with title track ‘Spiritual Rhythms’, a 174 bpm mantra-like roller clocking in at 6 minutes with the textured pads and the realness you could expect from a Rufige Kru classic. A fat sub underpins it, urgent spoken words remind us what we’re here for: ‘it comes from the drum. and the drum is something spiritual’ as congas play briskly into the groove.

Things slow down significantly for the second track, ‘Angel nights drop tha bass’ - a signature floaty pad and a drum break maintain a steady continuum. A hopeful chord progression is offset by the sharpness of the drums, the bass gluing it all together with the help of an archetypal stretched vocal. Everything is in its right place - a genre veteran is very clearly at work.

‘Touring’ features a mischievous low end, as if a jazzy double bass were played by a dub experimentalist. The funkiness is infectious, with off-tempo string stabs and a mutating filtered breakbeat that feels alive - a vocal pad chants throughout, adding a layer of wide-eyed enchantment.

Percussion never falls short in this record, and the closing track begins with nothing but a shaker, toms and congas - evolving to an elegant, dreamlike yet crisp piece, led by a prominent bassline, its washes and wobbles re-arranging our chakras. Spiritual Rhythms indeed.

angel is a label run out of Lisbon by Violet. A sister label to naive, angel tries to portray the party series of the same name - a bass-led, smoke-drenched celebration where the main room is dedicated to dnb and the second explores adjacent stylistic fringes like dubstep, trip hop, dub or jazz.

Drawn from years of early-hour sets and the quiet intimacy of the booth before the room fills, Gimme The Sun marks the debut EP of Al-Veez (real name Alvise Marino). A seasoned guitarist raised in Italy with musical roots in funk, boogie, and blues, Marino’s release is a sonic travelogue of his formative years as a selector in a city, NYC, that quietly became home. The prominent guitar captures both the ache of departure and the bright, restless hope of return.


With a wistful blend of beachy, meandering textures, lush synth layers, and a hypnotic pulse, the EP lands in time for another steamy summer in the city—sure to strike a chord with longtime NYC house heads, whether they be behind the booth or lost in the crowd. Arranged in close collaboration with TSoNYC label boss Danilo Braca (also on mixing and mastering duties), theshimmering title track reads like a Dear John letter to New York. Tender, honest, and full of gratitude, it’s the kind of farewell only a true love could inspire—one that dances forward even as it looks back.

As the record warms up, “F Train Boogie” evokes snapshots of bright midsummer mornings gazing out a scratch-blurred train car window at the glistening city, while the track that follows, “Sneaky”, sizzles with cosmic allure—an intoxicating blend of luminous synths, tightly interlaced rhythms, and a commanding kick drum that locks the listener into an entrancing groove from the very first bar. “Underwater”, the fourth and final track, shares some of the same allure and mystery, but features a playful optimism, encouraging the listener to lean into curiosity of what the next chapter, night, or DJ set will hold. 


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.

Rising electronic star Yet More returns with a two-track EP via HABITAT that masterfully fuses the essence of house music's golden era with contemporary innovation. Building on his breakout hit "Erotic Trip," the Parisian producer with Levantine and Persian roots delivers a sonic journey where classic house foundations—violin stabs, staccato piano—intertwine with bass-driven textures and Loleatta Holloway's soul-stirring vocals. "Just Wanna" unfolds with deliberate tension while "Ladies Man" delivers raw emotional power, striking a perfect balance between nostalgia and forward-thinking production that speaks to both seasoned house connoisseurs and new-generation clubgoers.

5th installment of the Xuntanza series of Fanzine Records.

a new gathering of 5 electro wizards as Plant43, Umwelt, Robert Cosmic, BombyxBlow and the Slit Observers.

Italy’s Tuccillo is back on Kaoz Theory this July with his ‘First Summer’ EP, once again showcasing his widely lovely interpretation of stripped-down, groove-led house. Making his start in the 90’s and still as relevant as ever, Tuccillo, has become highly sought after both for his records and as a DJ, his name is synonymous with gritty, groovy and dance floor focused jams which have found a home on many reputed imprints such as Visionquest, 20/20 Vision, Free-range, his own House Of Tucci and of course Kerri Chandler’s Kaoz Theory where he returns here. Tuccillo also operates as one half of the Doublet duo alongside Holic Trax boss Tomoki Tamura amongst many other sonic side ventures. Opening is title-track ‘First Summer’, perfectly setting the tone with Tuccillo’s distinctive style which utilises, fluttering stab sequences, bouncy bass tones, choppy vocal cuts and a bulbous bass groove atop a raw, reduced rhythm. ‘One More’ follows next and leans heavily into dub house realms with gritty, echoing dub chords, ethereal pad textures and murky bass swells delicately ebbing and flowing around a saturated swinging drum groove. ‘People For The People’ follows next and lays down organic percussion with filtered funklicks, a snaking bass line and jazzy keys before ‘Gotta Be Free’ concludes the release, heading back to a more stripped-back aesthetic courtesy of twitchy acid-tinged bass hits, fluttering synth melodies, crisp drums and an amalgamation of processed vocal chants throughout.

With a steely sound matching fathoms-deep echo chambers with metallic textures and precision drums, Sciama arrives on Samurai Music to press into the inspiring hinterland between techno and drum & bass.

Sciama is the production alias for Michael Watters, a producer who since 2019 has carved out a formidable reputation across a stellar run of releases on ASC's Auxiliary label. While his music references UK bass, transcendental techno and industrial, the end result is a taut, focused journey through fractured, weighty rhythms and vast, ranging atmospherics tilted towards the darkness.
Between Veils is testament to Watters' refined production, steeped in intensely detailed and layered sound design in constant fluid motion, whether locked to the grid or shifting across the surface of the track like grayscale snow drifts. Noise becomes a subtle tool in his hands, capable of delicacy as much as abrasion, and discord evokes a haunting beauty if you listen past the clangorous overtones he elicits from his pads.

For all the writhing, artful sonics, there is still ample weight in the Sciama sound to hold court over a sound system. 'Figures In Mist' rests on a constant half time cycle underpinned by monolithic bass pulses and 'Ghost Trail' finds deadly energy in the faintest flicker of double-time hats above the slow march of a 4/4 kick clocking around 85BPM. Restraint is paramount, even in the fuller rhythm section that drives 'Anima Trace', creating tension through what isn't sequenced as much as what is. 'Veil Of Mirrors' has an especially punchy kick propelling the cavernous echos and ripples that shape out yet another vivid soundscape, but at all times Watters keeps a tight grip on his arrangement to keep the energy simmering just below boiling point.
Moving well beyond the boundaries of any specific genre, Between Veils winds upas a strong, independent statement on the meeting point between broad influences and clear intentions - a formidable addition to Samurai Music's explorations beyond drum & bass and Sciama's steadily evolving, singular style.

Kaba & Hyas continue their musical exploration at the crossroads of Rap and House by announcing their 3rd opus “Wooferz Only”, a 7-track EP to be released in early February on H3 Records and Entreprise.

The two comparses establish their club music more than ever, reviving sensations of hectic nights from Detroit to Manchester, and hammering home the markers of the style they've made their own. Like a block party MC, Kaba chants incisive, edgy lyrics, set to the energetic rhythms of Hyas, obviously at the center of the game.

Solid on their feet, Kaba & Hyas have not hesitated to step out of their comfort zone, exploring new styles (Juke, Baltimore...), collaborating with a jazz pianist on a couple of tracks, or hosting their first French featuring with thaHomey on the track “Magic Stick”.

After a spring/summer tour packed with dates including Nuits Sonores, Macki Music Festival and Ed Banger Party, the duo followed up their winter season with appearances at the MaMa Festival and the Transmusicales de Rennes. In peak time, we'll have the chance to see them perform “Wooferz Only” at La Maroquinerie for their first headline show on April 10, 2025.

A name that breathes, a voice that whispers and howls in soliloquy. Collecting the echoes that follow—field recordings from Colombia, murmured poems, the spectral songs of birds—she stitches together a sonic diary, an audible thread between past and present.



Like the shifting landscapes of Colombian magical realism, she bends nature as memory bends truth. From this alchemy arises Un Pensiero Intrusivo: seven folk incantations, captured live in Cagliari, Italy.


A new genre, steeped in something unnameable—a haunted flamenco, spectral invocations, a piano unmoored from time.



The air thickens, the horizon tilts. A slow descent into vertical tropics, where distant sensibilities collapse into a single, hypnotic pulse.

Of course! Here's a version with simpler vocabulary while keeping the meaning clear and strong:



First released in 2023, this album made a big impact in the music world. Now, the deluxe edition makes it even more powerful.


This new version includes many exciting guest artists like Durand Bernarr, Samm Henshaw, Danielle Ponder, and Luedji Luna, along with the original collaborators Jamila Woods, KIRBY, Leven Kali, and Aaron Taylor. Adi mixes strong vocals, great production, and amazing bass playing, telling personal stories and touching on important topics.


With over 80 million streams, Lotus Glow made Adi the 8th most-listened-to French female artist in the world on Spotify, with 4 million monthly listeners. The album was praised by big names like Vogue, Afropunk, Wonderland, and Rolling Stone, who all highlighted her special voice and talent.

'Epiphany' is an album by composer and arranger Vince Mendoza, released in 1999, it is appearing here on vinyl for the first time and features the London Symphony Orchestra and seven jazz soloists, including John Abercrombie, Michael Brecker, Peter Erskine, and Kenny Wheeler. The album consists of eight original compositions by Mendoza, ranging from the lyrical "Impromptu" to the rhythmic "Barcelona". The music is a blend of classical and post-bop, with influences from show tunes and Spanish folk music. Mendoza's orchestrations are subtle and evocative, creating a rich and varied sonic palette. The soloists interact with the orchestra in different ways, by blending in, contrasting, and often improvising over the written parts. This prefund musical journey is a testament to Mendoza's creativity and versatility as a composer and a conductor.

With the Behind You EP, Preesh presents a refined selection of deep, percussive cuts that speak in low tones and slow burns. Carefully restrained and rhythmically precise, each piece explores subtle tension, layered textures, and a sense of space that invites the listener in rather than pushing out.

This is club music with patience—crafted for moments of transition, introspection, and understated intensity. Stripped to the essentials, yet rich in detail, the EP finds its strength in what it holds back.

Raw, reduced, and purposefully precise – a signature Abartik release.

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.

In 2018, Glonti started collecting LPs of Soviet-era Georgian composers at Tbilisi’s “Dry Bridge” flea market.The records mostly consisted of classical and chamber music released on Melodiya, the singular, state owned record label of the USSR. It was through this process that the idea of Recollection was born, as Glonti aimed to create an album that would utilize samples from his growing collection.


Recollection III-IV marks the second in a planned series of 7” releases, each built from Glonti’s expanding archive of Soviet-era recordings. The artwork by Dmytro Nikolaienko (Day Night) once again reflects the utilitarian aesthetic of Soviet-era record design.

I think "Divide & Conquer" is so far the only tune on Future Retro London that I've signed after hearing it on social media. Friske posted a clip on his Instagram profile of a tune he was working on at the time and I instantly messaged him asking about the tune and what the plans were for it. He was making it with his own label, Requisite Music, in mind but thankfully was willing to let me have it for my label when it was done. The tune blew my mind when I first heard it, and I knew that it was something that I needed to release. I've been a big fan of Friske's music for years so it's great to finally have him on the label, alongside a remix done by Gremlinz & Rumbleton.

Around the same time as that, IJO messaged me on SoundCloud with a bunch of unsigned material, after I'd earlier expressed interest in having his music on the label. Of the tracks he sent me, two called "Glitter" & "Mark 11" caught my interest but out of curiosity, I asked him if he could combine the drums from "Glitter" with the melodies & sounds from "Mark 11" which he did and it sounded fantastic. I wanted to get someone to remix the tune and when I asked IJO's opinion on who he wants to remix it, he suggested Artificial Red, who I already had music coming on the label from, so it made sense to ask him, he was up for it and he's done a cracking version of "Mark 11".

Big thanks to Friske & IJO for their original tunes, to Gremlinz, Rumbleton & Artificial Red for their work on their remixes and to social media for actually being something useful!

2025 Repress

Conundrum Records delves into the depths of techno with a riveting release from Hitam, the Dutch producer who's renowned for his immersive soundscapes, stimulating textures and dynamic low-end. The "Subterranean EP" is a compelling journey through shadowy, bass-driven terrain, meticulously designed for powerful club systems. Despite the variety in tempo, the EP's relentless energy and thunderous low-end form a cohesive thread throughout.

The EP kicks off with "Nagini", where minimalist, driving drum patterns intertwine with glitchy synths and eerie atmospheres, setting the stage for what's to come.
"Hoia Baciu" intensifies the experience, maintaining a dark, brooding energy that envelops the listener in its foreboding vibe. "Kaelago" shifts gears slightly, slowing the tempo but upping the complexity with intricate sound design and broken beat transitions that showcase Hitam's deft production skills.

Adding to the EP's allure, renowned techno artist Rene Wise contributes a hypnotic, tribal-infused remix of "Kaelago," layering new depths onto the original and enhancing its already potent impact. For those seeking an even more intense experience, Hitam's alternative version of "Kaelago" serves as a digital bonus, pushing the boundaries of auditory immersion.

"Subterranean" is a masterclass in crafting dark, cerebral techno, with Hitam firmly establishing himself as a force to be reckoned with in the genre. This EP is not just a collection of tracks but an exploration of mood and atmosphere, making it an essential listen for those who appreciate techno's deeper, more introspective side.

As rRoxymore, Hermione Frank has been exploring the outer edges of the dance floor and producing music that goes beyond traditional genre boundaries for more than a decade. In that time she has covered plenty of ground from caustic and abrasive techno to long-form and immersive grooves, always with a focus on contrasting tempo, texture and tone. On previous albums she intertwined the electronic and the acoustic with elements of psychedelia and jazz. With Juggling Dualities, Frank takes a sideways look at New Age and Wellness culture.

Writing the album came about after many months of being unable to create during a complicated personal time which left her lacking inspiration, feeling creatively stuck yet emotionally uprooted. What helped was distance - taking time and space to disconnect from the struggle. That brought a different rhythm to life and a fresh perspective that allowed exploration without any expectations. A six-week surge of intense creativity followed in which the majority of the album was written. As she explains, "The record represents a journey of reconnection that conveys an underlying message of hope and healing at its core. I think it is my most honest
work to date."

Initially conceived as a New Age project but with a signature personal twist and some subtle humour, there is a familiarity to Juggling Dualities. It is warm and comforting with a sound palette that is refined but familiar - there are soothing signifiers and organic designs that nod to the motifs of New Age but passed through a more contemporary lens.

Juggling Dualities is an invitation to reconnect with yourself. It's music that encourages you to take a pause, be in the moment and reflect on the fact that no matter what challenges come your way, they shall eventually pass.

Black Box Records is back.
The label's sixth release is a five-track vinyl VA, a real coup de theatre. They've called upon a strong selection of artists behind the EP's artistic direction, including Ortella , V.I.C.A.R.I. , Nicola Brusegan & Phill Prince with a super Remix by Chklte and the label's founder, Vito Fattore.

Black Box Records has proven once again that they are a company that produces classy, ​​mature and dancefloor-ready house tracks, with many more to come this year.

For its third installment, NEUMA presents As Above, So Below—a collaborative
release by Matteo Manfellotti and Jorge Gamarra. On the A-side, Waveratio’s
Distorted Analytics and Heart of Darkness set the tone with a fusion of techno,
electro, and trance-infused energy. The B-side features both producers working
together under their new project, Former Being, delivering tracks that maintain
the same intensity while shifting toward a more EBM-influenced sound, marked
by evolving structures and a mysterious atmospheres.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Four exceptional remixes and edits, brilliantly fashioned by the enigmatic Italian collective, DMND Soundsystem.

ESSENTIAL ITEM
LIMITED EDITION
NO RE-PRESS

DMND EDITS - Support
- Ben Sims "Congrat guys, great EP, especially Bad Rouge"
- Daniel Wang "Toasted Jam is so groovy! A perfect 108 bpm boogie, with interesting sound effects, old school clarinet riffs and a great bassline. I'm going to play it out!"
- Sam Ruffillo "Bomb! Bad Rouge & Silvio Hot my favorites"
- Marcel Vogel "Very cool!"
- DJ Ralf "I really like all 4 tracks"
- Dirty Channels "Bomb guys ! send it!"
- Elado "Sounds dope! Silvio hot my favorite!"
- Matteo Diop "I love it, This is absolutely my vibe!"
- Laura Meester "Nice work! love the bad rouge one definitely my favorite!"
- Greg Gauthier "Very very cool!"

Loose Joints – Tell You (Today): A Rediscovered Classic Reimagined

Loose Joints was the disco brainchild of Arthur Russell - a visionary composer and producer who helped shape the sound of New York’s underground club scene. Unlike many of his contemporaries who chased polished perfection, Russell embraced rawness and spontaneity. A classically trained musician, he mastered the art of crafting “perfect imperfections,” infusing disco with a punk attitude and an intellectual edge.

“Tell You (Today)” emerged from the same legendary Blank Tape Studio sessions that gave birth to the cult favorite “Is It All Over My Face.” Like its predecessor, it features a cast of handpicked studio luminaries and disco outliers, all guided by Russell’s distinct vision. But while the DNA is similar, this track veers more toward leftfield pop, buoyed by Russell’s unmistakable vocals.

On the A-side, DFP presents a masterfully updated take on Larry Levan’s original remix. Blending unreleased outtakes with refined sonic upgrades, this “Special Version” stays true to the source material - making only the most delicate adjustments to optimize it for today’s dance floors.

The B-side is a gem in its own right. It features the elusive New Shoes Mix with Parts I & II edited here for seamless, continuous play. Long shrouded in confusion due to misprints and misattributions - from the 1983 release to various reissues - while labeled as New Shoes it has in most iterations been a variation of the Larry Levan mix.

Now, for the first time, DFP Vaults is proud to present the New Shoes Mix in its full, 15 minutes, intended glory - finally giving this lost version the recognition it deserves.

Just_Me kicks off the vinyl arm of his new imprint Interkom—a label built to reflect his evolving sound and vision with full creative freedom.
The debut EP features three original tracks, backed by a standout remix from Berlin-based Harry Wills, fresh off a string of sought-after releases.
Each cut has been tried and tested on dancefloors worldwide, laying a strong foundation for the label’s sonic identity.

A new album, a new era for Adam Beyer and his music. The revered Swedish producer, DJ, and label head of Drumcode and Truesoul has consistently pushed the boundaries of techno in his own 30+ years of releases, while his imprints have launched many new artists and boosted the clout of major stars.

‘Explorer Vol. 1’ see's Adam Beyer showcasing his inspiration from his whole past creative journey whilst continuing to explore different sounds and new genres. It reflects permutations of Adam’s headspace and who he is, celebrating his personal interests and influences including in sci-fi, both musically and visually. A new age for Adam Beyer, after a prolific slew of superb EPs, singles and collabs which have spanned 20 years since his last LP.

Following their mesmerizing debut Tradition, CHO CO PA CO CHO CO QUIN QUIN return with Correspondances—a 7-inch release that drifts effortlessly between organic textures and delicate electronic landscapes. Expanding on their signature blend of dreamy synth work and nylon-stringed warmth, the trio refines their approach with a more mature, immersive sound that feels both nostalgic and forward-thinking.

The A-side, “Adan no Umibe” (Adan’s Seashore), opens with a soft, relaxed vocal delivery reminiscent of Haruomi Hosono’s solo work, floating over a gentle groove of nylon guitars and spacious synths. It captures the essence of a quiet shore, where melodies ebb and flow like waves against the sand, infused with the scent of Okinawa.

The title track, “Correspondances,” embraces an airy, ambient minimalism. Whispered vocals glide over sparse beats, floating basslines, and interwoven birdsong—blurring the lines between nature and sound.

Closing the record, “Koe o Kikasete” (Hear Me Your Voice) introduces a subtle rhythmic pulse, with its soft vocal refrain weaving through a beautiful chord progression, layered with nylon guitar and delicate electronic textures. The birdsong theme resurfaces here, echoing the lyrics and enhancing the immersive, weightless atmosphere.

While rooted in the warmth of vintage Japanese pop experimentalism, Correspondances carries CHO CO PA CO CHO CO QUIN QUIN’s sound into new, refined territory.

This is a record of quiet yet deeply expressive beauty—an invitation to pause, listen, and drift.

The third album by Lucca Leeloo titled “SAKAMOTO” features a unique blend of futuristic and retro-inspired music, drawing heavily from synth-pop and Italo disco influences. Thematically, “SAKAMOTO” explores the concept of searching and navigating life’s challenges, with a particular emphasis on personal growth and self-discovery.

The album was produced in collaboration with Italoconnection, known for their expertise in electronic and Italo-disco music, adding a retro yet futuristic vibe to the work.

Steve Redhead returns to Mutual Rytm with second searing EP, 'Cosmic Alchemy'.

Belgium pioneer Steve Redhead is the founder of Reda Recordings and has spent his life immersed in techno. His potent take on the genre has appeared on labels like MB Elektronics, Zync, and Primate and has helped define the sound of the underground within his home country over the last 25 years. Returning to SHDW's Mutual Rytm imprint following his well-received 'Eastbook Isle' EP last year, he's back to impress again as he uncovers six new productions with his latest EP, 'Cosmic Alchemy'.

He shows his class from the off here with opener 'Sincfala', bringing the heat with banging drums and rusty percussive loops. Yelping vocals add raved-up intensity, while 'Rapidshare' is energetic and loopy with funky drum patterns and loose-limbed percussive madness. The fantastic 'Ad Valvas' is another straight-up linear banger with tightly woven drums, percussion and lithe synth lines that take you to the heart of the dance floor and 'Nusakan' is a muscular wall of drums and toms with urgent synth stabs powering it forwards with great intensity. 'Asmodeus'
brings a more zoned-out feel with soulful pads and subtle vocals layered over the elastic drums and bass, before digital bonus 'Voice Incident' delivers another perfectly textural techno workout with melancholic motifs and surging synths that bring warm rushes of emotion to the grooves.

Lars Bartkuhn returns to Rush Hour with “See The Light”, as deep and complex as we have come to expect but as always his ever-present hunt for new inspiration and unique approaches is clearly evident across all 3 mixes of this beautifully deep yet pulsating track!

Originally written as a final foray into house music for the legendary Needs co-founder, this production aimed to “push boundaries within the world of electronic dance music, integrate fresh new elements, bring new compositional perspectives to the listener and to create overall rewarding experiences.”

It’s a deeply personal track, best summarised by the incredible piano solo in the Full Experience Mix. In Lars’ own words, “I am ten million light years away from being a good pianist, but for some reason I NEED to play those kind of things…even if they are raw, primitive and incomplete and lack parameters like elegance, fluidity and wisdom - I need to express myself in that very moment in this exact way.” It’s these unrestrained moments of brilliance that create rich palettes of sound with deep textures, organic rhythms and joyful melodies that keep your ear constantly engaged.

The Full Experience Mix is a near-13 minute trip through lush vocals, complex percussion, deep chords and raw piano solos that guides the listener through the changing motions of “See The Light”. Backed by two dub mixes, Inner Experience hones in on the keys and synths - truly elevating those striking notes. Opening with atmospheric percussion, the Dub Reprise settles into a chugging rhythm that brings the drums to the forefront.

“When a musician/composer really goes ‘all in’ there is almost nothing impossible. If you really pour out your heart and give all the sweat and tears you have you create a kind of zone where everything fits together in mysterious ways.” - Lars Bartkuhn

For this new full-length output, Gil.Barte delivers on Teenage Menopause an 8 tracks LP full of formal strength and psychedelic grandeur. Unlike the vast near-death explorations or trancey adventures he developped on various labels such as Neubau, Big Science Records, Homemade Soundsystem or his own imprint Meth'O'Tapes, the meaningfully-named « Claviceps Purpurea » is a botanist guide to the valleys of the mind.
From the eponym opening to the ending echo, each entry is a glance at magical universal exotica. With an intense emphasis on rhythm, standing quite apart from his former releases, Gil.Barte draws the bouncing steps of a whirlwind dance rooted in western witchcraft.
Raging pieces of club-destroying material (for those who dare) meet sketches of electronic fever-dreams. A full circle that is meant to run on and on, breaking the veil of daylight consciousness.

Nach THE THE’s Album und der ausverkauften Tour letztes Jahr geht es dieses Jahr weiter mit Daten in Hamburg, Berlin, Wien etc. und im Herbst kommt noch die Dokumentation über Matt Johnson namens „The Intertia Variations“.

Um die Wartezeit zu verkürzen haben wir vorab noch ein streng limitierte Vinyl- und CD Single mit dem Song „Slow Emotion Replayed“. Hierbei handelt es sich um eine Neuinterpretation des 1993 auf dem Album DUSK erschienenen Tracks „Slow Emotion Replay“, welcher einer der großen Hits von THE THE ist.

Als B-Side ist der ebenfalls unveröffentlichte Instrumental-Song „Crow Commotion Displayed“ enthalten.

Die CD-Single enthält überdies 4 zusätzliche Titel, die ursprünglich als B-Seiten auf den 7"-Vinyl-Singles von THE THE zwischen 2020 und 2024 veröffentlicht wurden: ‘When Is The Heart Of Waiting’, ‘Mycelium Muse’, ‘Frozen Clouds’, ‘Velvet Muscle Scream’.

Richard Rozen - Dialogue for Desires (w/ Tommy Vicari Jnr Remix)
Following the inaugural BF00, Based Faith continues its journey into the religion of the dancefloor
with BF01, Dialogue for Desires, a four-track exploration of energy, groove, and emotion from Richard Rozen, featuring a remix from Tommy Vicari Jnr.
On the A-side, Dialogue with You in My Dreams is an electrifying cut, driven by classic house stabs, rolling vocal chops, and a relentless 909 groove, blending playful energy with forward momentum. Tommy Vicari Jnr strips it back for a transformative, hypnotic remix, carefully deconstructing the original before building into an explosive moment sure to please the discerning dancefloor.
The B-side intensifies with We Are Our Desires, a serious workout drenched in tension and groove, subtly asking: "Is this forever?" Closing out, That Time pulls things inward, offering a deep, minimalistic journey through layered textures, introspective movement - and of course - plenty of cowbell.
This release is a Vinyl only, limited pressing, and there will be no repress-for the believers.

Robot Says E is a meticulously assembled four-track compilation that connects the tactile groove of dub tech house with the lucid propulsion of contemporary techno. The release is divided over two contrasting but complementary sides, presenting an impressive palette for those who move purposefully and listen intently. Side A kicks off in an immersive warm atmosphere; A1. Tvardovsky – Eleven and A2. Spectral Model – Plasma both deliver deep low-end foundations, atmospheric dub textures, and clean dancefloor-ready production quality. The sound is fluid, minimalist, and very physical; perfectly complimentary to subtle intensity and groove-based hypnosis.



On the flip, the energy shifts. B1. Rene Lorenzo – Reflections and B2. Kirill Matveev – Code Redeemed push off in much faster, gliding, terrain – where flow and high-speed rhythms embrace their high velocity, and deep repetition creates a trance-like state. This is techno that feels both expressive and “summer-in-the-city” active and is meant to enhance your sensory plates and keep you energized. Easily executed, future forward designed and mood-blissfully transformative, WRSE1 VA –What Robot Says E is not just a VA, it's a sonically-derived blueprint for refined dance music going forward.

Berlin techno talent Regent returns to Mutual Rytm with second 12" release, 'Delta Hyve' - a five-track package lined with peak-time heat.

Regent is an ever-growing voice in the global techno conversation. His tracks have found their way into high-profile sets worldwide and are renowned for their impressive blend of the past and the present. Versatile but always designed for maximum impact, delivering an impressively crafted sound made for powerful systems, this new outing offers a wealth of different moods and grooves for various parts of the night. Returning to SHDW's Mutual Rytm imprint following 2023's successful 'Coral Knife' EP, he unveils a fresh selection of cuts that emphasise his emergence with 'Delta Hyve'.

The title cut 'Delta Hyve' opens up with devastating low ends and busy synths that scurry about the mix to bring dynamism to the rooted drums, while 'Ophaal' delivers thumping kicks and coarse, textured hits scrape and scratch, while supersized hi-hats bring the intensity to all new levels. 'Hygea Core' brings the pressure with hunched-over drum patterns and a sense of urgency in the bass, while creepy pads create an unsettling atmosphere. 'New Narrative' powers on like a train with high-speed rhythms and metallic percussive surfaces, all sweeping you off your feet, before 'Ree 54' switches things up with bright synth flashes and more extraverted grooves that hark back to the machine soul of early Detroit techno.

The first digital bonus, 'Presence', is intense and tinged with the grit of a warehouse and menacing vocals, while 'Rheplica' delivers unrelenting loopy drum funk with shattered glass melodies to close the show.