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Sigma proudly present DAY ONE - their highly anticipated fourth studio album and their first as independent artists. 2025 has seen Sigma embark on a bold new chapter in their career, starting their own label and embracing the freedom to create on their own terms. With the duo now fully independent, they are taking back control and taking it back to DAY ONE, making the music they love.

DAY ONE embodies this ethos and is inspired by their love of the underground. The gritty jungle beats and anthemic soundscapes of early rave culture that form the foundation of their artistry can all be heard in these 12 songs. From hard-hitting tracks like Chargie and Soundboy, to dancefloor weapons like Magnetic and Outtaspace, all the way through to the orchestral Back To Life, Sigma demonstrates an impressive diversity and quality that showcases their exceptional production skills and studio craft.

DAY ONE is more than an album; it’s a celebration of the duo’s journey and the people who have supported them from the start. Featuring collaborations with legends like Dizzee Rascal and rising stars such as Julia Church, the record balances nostalgia with forward-thinking innovation. “Being independent has brought us back to what it’s all about—making music for the love of it,” the duo says.

Anfang 2021 standen die Bandmitglieder von Lankum hoch über Dublin, den Winden der irischen Ostküste zugewandt, mit einem wundervollen Blick auf die Stadt, in der sie über 10 Jahre lang gemeinsam Musik gemacht hatten und dennoch spürten sie ein Gefühl der Unverbundenheit. Sie hatten die Stadt noch nie aus diesem Blickwinkel betrachtet, da sie immer fest in ihr verwurzelt waren und die Schönheit von Dublin immer aus dem Blickwinkel ihres Alltags sahen. Der kleine Perspektivwechsel half der Band bei den Aufnahmen in den Hellfire-Studios, wo sie nach der langen Stille der Pandemie begierig mit den Aufnahmen zu ihrem vierten Studioalbum "False Lankum" begannen. Wer jemals bei einem Lankum-Gig war, kennt die Energie, die diese Band erzeugen kann. Der unverwechselbare Drone-Sound, der sich durch ihre Arbeit zieht, wie bei ihren bekanntesten Stücken "The Wild Rover" (von "The Livelong Day", 2019) und "What Will We Do When We Have No Money" ("Between the Earth and Sky", 2017) hat die Kraft, einem den Boden unter den Füssen wegzuziehen und erzeugt dabei einen einmaligen Klang. "The Livelong Day" war das Album, mit dem Lankum aus der Schublade der "irisch traditionellen" oder "Folk"-Musik herausbrachen. Es ebnete ihnen den Weg zu medialem wie kommerziellem Erfolg, der ihnen 2019 den RTE Choice Music Prize einbrachte und dazu führte, dass sich ihre Shows in der traditionsreichen Konzerthalle Vicar Street in Dublin in nur 20 Minuten ausverkauften. Die neue Musik bringt auch neue Stimmen und so ist es das erste Mal, dass Cormac Dermody einen kompletten Song auf einem Lankum-Album singt. In Kombination mit seiner besonderen Tonlage erzeugt er eine poetische Kraft, die den Sound von Lankum bereichert. Mit "False Lankum" bewegt sich die Bands ins Unbekannte, ein Album getrieben von der wilden und oftmals seltsamen Schönheit des Schmerzes und der Freude, von Himmel und Hölle. Es ist gleichermaßen ein Album der Widersprüche und des Einklangs und sicherlich eine der spannendsten Produktionen, die in letzter Zeit aus Irland kamen. Nur wer mutig wagt, wird Herzen gewinnen - "False Lankum" ist der Schlüssel dazu.

Not to sound like a broken record, but it truly has been quite the year for Keinemusik, hasn’t it? After playing their biggest New York headline show to date in a densely packed Flushing Meadows Corona Park, the next single from the crew drops just in time to keep that unforgettable magic around for a little longer. „See You Again“ features Dutch-Iranian songstress and avantgarde icon, Sevdaliza, who imbues the track with its unmistakably emotive depth. Lyrics anchored on yearning and hope lend themselves to a likeminded production that merges warmth and introspection, making for elegant peaktime energy. For Sevdaliza, this comes on the heels of the announcement of her highly anticipated forthcoming album Heroina, due later this year, which is a sonic exploration of feminine power, cultural identity, and spiritual survival. „See You Again“ has been a staple ID at Keinemusik shows since its debut play at Coachella, and is out to see you again and again and again on your nearest dancefloor.

With their musical roots deeply immersed in the fertile soil of Afro-American music, the Buttshakers have found a new direction for their nostalgia-heavy soul music. With Lessons In Love, their third album on Underdog Records, their early heartaches and furies have faded in favor of a more composed harmony – a sound enveloped in love and soaked in the blues. Guided by their singer Ciara Thompson, the Buttshakers have taken a more intimate path, whose compass, in the chaos of emotions and the modern world, points only in one direction: the light.



Seen from the sky, the view appears limitless. Accentuated by the sun, the ochre and sandy hues of the open road only reinforce this feeling of immensity. The sky stretches and the green stands out in striking contrast. In lighter tones, a road is drawn -- without bends or contours. This is the worn and weary road of soul music, which The Buttshakers explore on each album in new and unique ways. Soul music – a rare place to find a French band.

Vast, the musical direction could have taken them to lighter pastures. Yet the Buttshakers chose to evolve in a different way; to take a heavier load. Two paths – one sparked by social unrest, the other purely sentimental, Lessons In Love explores the deep roots of soul music, in the steps of Curtis Mayfield or Al Green. It is here that the heart and mind cross paths, merge, and become one. A weary road -- that brings together the agitation of a world where good intentions never rise above the level of digital outrage, and a faith in love which, however it manifests and expresses itself, remains the only truth that never loses its power.



Less rage and more compassion, it is through the haunting words and now tempered inflection of Ciara Thompson's voice, which opens to distinct emotions and perspectives, that the listener is guided. With its gaze fixed on the horizon, the acoustic guitar of Gotta Believe invites us on an intimate stroll through the open plains, while Dream On carries us away with a clavinet riff and a possessed saxophone; reconnecting the electric heat and neurosis of a city full of dreams. The senses are moved by the conjuring potion of the guitar which distills throughout Troubled Waters; the body is brought back into a visceral dance by the keys and brass section that are put to the test by Sure As Sin and its irrepressible rhythm. Passing through clouds of dust and sand has left a bluesy imprint on their groove: the miles travelled became hundreds, then thousands.



All of this leaves the listener bewitched by the halo of resilience that now surrounds Ciara's performance, as the ten tracks let the light fade. But certainly not hope in a better day. Like the sunflower that always lifts its head towards the sun’s rays, the Buttshakers continue to resource their sounds in the deep roots of soul music. Into the rich layers of African-American music of the 60s and 70s, The Buttshakers capture the spirit as much as the musical aesthetics of the epoch. A sound that reaches into the meanderings of the soul, bringing light to dark places and hope for all. A sound for the most parched of hearts, living in a damaged world, Lessons In Love confirms that even the tiniest beam of light can illuminate one’s path.

I've always admired DJ Rush for one simple reason: he brings the Funk to Techno like no one else. His tracks are instantly recognizable. The Major’s off-grid grooves are wild, unique and downright irresistible. You just have to move when they hit. That's why I'm beyond proud and excited to present my own take on DJ Rush’s classic "Get On Up”. It’s a track that captures everything I love about his sound. Even more special: For the first time in 20 years we're also releasing the original (remastered) version by means of a strictly limited 12” picture disc. Thomas Schumacher.

Following the release of Haunted House Party, Bradley Thomas Turner was contacted by the Cryptozoological Society of New York City to create music for their museum’s holiday exhibitions. As enigmatic as they are controversial, the secretive society gave the composer free rein to create music that celebrated their profane (and, according to their critics, pseudoscientific) explorations of the darker side of yuletide folklore. The endeavour was denounced by religious groups, the scientific community and even parts of the cryptozoological community as “blasphemous,” “irresponsible”, and “a dangerous topic to make light of” respectively. Not much is known about the pandemonium that broke out on the night of the opening reception, but one journalist (who has been granted anonymity by request) infiltrated the event and captured the recordings that follow. Death cult ritual? Mishandling of cursed artifacts? Elaborate practical joke? Publicity stunt? No one can (or will) say for sure as no person in attendance has been willing to speak on record. Therefore, we present these recordings so the general public can decide for themselves.

Meet Dr. Brown, a world-renowned astrophysicist who arrives with a ten-pound bag of gummy bears and a DVD box set of a reality show about competitive dog grooming. Before she loses herself in the flamboyant world of puffed poodles and outrageous hairdos, she organizes the gummies by color...

Judge White, on the other hand, unboxes a newly released LEGO set. But he isn't building a replica of the Supreme Court; he is constructing a bright pink, glitter-covered unicorn palace.

Opera singer Miss Black... growls along at the top of her lungs to Chesney Hawkes' "The One and Only", standing on a chair in a red-and-white striped bikini, using nunchucks as a microphone.

And finally, Mister Red, the MIT professor, known for his ironclad logic and severe demeanor, brings a collection of classic comic books. He isn't interested in modern, gritty superhero stories. His joy comes from the simplistic, colorful tales of superheroes with outlandish names like bqdp and ridiculous powers like the ability to selectively negate gravity for objects weighing exactly 13.37 kilograms (but only when standing in moonlight).

They are all members of a club where the rules are simple: no judgment, no professionalism, and no apologies. They understand that the most infamous guilty pleasures aren't those that are truly bad, but those that remind us that we are all, at our core, just human - finding joy in the simplest, most wonderful things, no matter how silly they may seem.

pdqb and DMX Krew gift you with six minutes of pure, unadulterated pleasure. You'll feel like you're locked inside an 80s mall with your best friend, free to do whatever you want. And you'll never want to leave.

a A1 James Russo (2)– Winged, Written-By Dialogue – Quentin Tarantino


d A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 Jamie Foxx And Christoph Waltz– "In That Case Django, After You...", Written-By [Dialogue] – Quentin Tarantino

[f] A6 Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 Samuel L. Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T. Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 Samuel L. Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 Samuel L. Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 Annibale E I Cantori Moderni*– Trinity: Titoli, Composed By – Franco Micalizzi, L. Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

[a] A1 | James Russo (2)– Winged, Written-By [Dialogue] – Quentin Tarantino


[d] A4 | Jamie Foxx And Christoph Waltz– "In That Case Django, After You ..", Written-By [Dialogue] – Quentin Tarantino

[f] A6 | Anthony Hamilton & Elayna Boynton– Freedom, Acoustic Guitar – Elayna Boynton, Co-producer – Daniel Beard, Mixed By, Mastered By – Daniel Beard, Duane Allen (2), Piano, Electric Piano [Wurlitzer], Bass, Electric Guitar, Acoustic Guitar, Programmed By, Percussion – Kelvin Wootenm, Producer – Kelvin Wooten, Recorded By – Daniel Beard, Kelvin Wooten, Vocals, Backing Vocals – Anthony Hamilton, Elayna Boynton, Written-By – Anthony Hamilton, Elayna Boynton, Kelvin Wooten
[g] B7 | Don Johnson And Christoph Waltz– Five-Thousand-Dollar Nigga's And Gummy-Mouth Bitches, Written-By [Dialogue] – Quentin Tarantino

[i] B9 | Don Straud– Sneaky Schultz And The Demise Of Sharp, Written-By [Dialogue] – Quentin Tarantino


[l] B12 | Rick Ross With Walton Goggins And Jamie Foxx– 100 Black Coffins, Engineer [Recording Engineer] – Isaiah Pryor, Phillip "Logann" Scott III*, Guitar – Charlie Burrel*, Lyrics By – Jamie Foxx, Rick Ross, Mixed By – Jaycen Joshua, Mixed By [Assisted] – Trehy Harris, Music By – Jamie Foxx, Producer – Ainz "Brainz" Dimilo*, Jamie Foxx
[m] Recorded | By [Rick Ross's Vocals] – John Rivers*, Written-By [Dialogue] – Quentin Tarantino

[o] C14 | Samuel L Jackson, Leonardo DiCaprio And Christoph Waltz– Hildi's Hot Box, Written-By [Dialogue] – Quentin Tarantino


[r] C17 | James Brown And 2Pac With James Russo (2), Christoph Waltz And Jamie Foxx– Unchained (The Payback / Untouchable), Mixed By [The Payback], Edited By [The Payback] – Claudio Cueni, Voice [As Ace Speck] – James Remar, Written-By [Dialogue] – Quentin Tarantino, Written-By [The Payback] – Fred Wesley, James Brown, John Starks*, Written-By [Untouchable (Swizz Beatz Remix)] – Anthony Henderson, Bruce Washington, Kasseem Dean*, Tupac Amaru Shakur*, Yafeu Fula, D18 John Legend– Who Did That To You?, Performer [Sample] – The Mighty Hannibal, Producer – Paul Epworth, Written-By – James T Shaw (The Mighty Hannibal)*, John Stephens (3), Paul Epworth
[s] D19 | Brother Dege– Too Old To Die Young, Lyrics By, Music By – Dege Legg, Mastered By – Bruce Barielle, Mixed By – Dege Legg, Primo (9), Tony Daigle, Producer – Dege Legg, Primo (9), Tony Daigle, Recorded By – Dege Legg, Vocals, Resonator Guitar [Slide/Dobro], Body Percussion [Stomps], Handclaps [Claps] – Dege Legg
[t] D20 | Samuel L Jackson And Jamie Foxx– Stephen The Poker Player, Written-By [Dialogue] – Quentin Tarantino

[v] D22 | Samuel L Jackson And Jamie Foxx– Six Shots Two Guns, Written-By [Dialogue] – Quentin Tarantino
[w] D23 | Annibale E I Cantori Moderni*– Trinity Titoli, Composed By – Franco Micalizzi, L Stott*, Conductor [Orchestra Directed By] – M° Gianfranco Plenizio*

The latest boy band in town, POP VAMPIRES COLOGNE, opens the party with the enigmatic ‘Karianne’. SUPERPITCHER knows how to make a grand appearance, accompanied by high-calibre guests. His electro-pop treat ‘Pandora’s Box’ features Hot Chip’s ALEXIS TAYLOR​ on vocals.​ JÜRGEN PAAPE isn’t coming alone either, but with newcomer HELLA in tow. ‘Grace (A Tale)‘ once again shows our resident hit maker at his best. JÖRG BURGER also has a table companion, the extremely talented Irene Kalisvaart, and remixes himself on top of that. REINHARD VOIGT points out that money never sleeps and proceeds according to the motto: ’​Zahl an einem anderen Tag (Pay another day​)’. Our Brazilian whirlwind GUI BORATTO returns after a long absence with the banger ‘Panorama X-Press’. After careful consideration, ROBAG WRUHME has named his new track ‘Total’ and sings in the chorus with his family for the first time. WASSERMANN contributes an ultra-fat remix of Mayer’s ‘Brainwave Technology’, while MICHAEL MAYER himself marvels at the rare ‘Erdbeermond’. HARDT ANTOINE’s ‘Let Me Go’ really gets the party going again before WASSERMANN orders a large taxi and skips out on the bill.

See you again next year!

TOTAL 25… Schon wieder ein Jubiläum in einem an Jubiläen ohnehin nicht armen Jahr. Zum 25. mal versammelt sich die Kompakt Familie zum alljährlichen Stelldichein. Ohren angelegt, los geht’s!
Die neueste Boygroup in town, POP VAMPIRES COLOGNE eröffnet die Party mit dem enigmatischen ‘Karianne’. SUPERPITCHER weiss, wie man einen großen Auftritt hinlegt, und zwar in hochkarätiger Begleitung. Sein Elektropop-Leckerbissen ’Pandora’s Box’ featured Hot Chip’s ALEXIS TAYLOR an den Vocals. Auch JÜRGEN PAAPE kommt nicht allein, sondern mit der Neukommerin HELLA im Schlepptau. ‘Grace (A Tale)’ zeigt unseren Haus- und Hitlieferanten mal wieder in Bestform. JÖRG BURGER hat ebenfalls eine Tischdame im Gepäck, die überaus talentierte Irene Kalisvaart, und remixed sich obendrein selbst. REINHARD VOIGT gibt zu Bedenken, dass Geld niemals schläft und verfährt nach dem Motto: ‘Zahl an einem anderen Tag’. Unser brasilianischer Wirbelwind GUI BORATTO meldet sich nach längerer Abstinenz mit dem Banger ‘Panorama X-Press’ zurück. ROBAG WRUHME hat seinen neuen Track nach reiflicher Überlegung ‘Total’ genannt und singt darauf erstmals selbst im Chor mit seiner Familie. Der WASSERMANN steuert einen ultrafetten Remix von Mayers ‘Brainwave Technology’ bei, während MICHAEL MAYER selbst den seltenen ‘Erdbeermond’ bestaunt. HARDT ANTOINE’s ‘Let Me Go’ bringt die Party nochmal so richtig in Schwung, bevor der WASSERMANN ein Großraumtaxi bestellt und die Zeche prellt.

Wir sehen uns wieder im nächsten Jahr!

Frankey & Sandrino come back to Rekids with the ‘Please’ EP, landing 10th October 2025 alongside a remix from Echonomist.

They follow their 2022 ‘Brainscan’ EP on Radio Slave’s label, as well as a remix for Denney in 2023. With an irresistible bassline, smooth melody, and a nostalgia-fuelled vocal, ‘Please’ is the kind of track you hear as you walk into a busy tent at a festival, hands in the air, energy abundant. Frankey & Sandrino are masters at crafting emotional dancefloor bangers, going a little deeper on the progressive ‘Genie’, building up to busy stabs and mind-melting, futuristic sound design. Completing the EP, the pair call in Greek DJ and producer Echonomist to remix ‘Please’. The Innervisions and Exit Strategy artist strips the original back, transforming it into a dark, hypnotic groover built for smoke-lit dance floors.

Frankey & Sandrino are a German duo that has been shaping dance floors since 2009 with their distinct, trend-defying sound. With releases on Kompakt, Diynamic, and their own Sum Over Histories, and regular appearances at clubs like fabric and Stereo, they now return to Rekids with the ‘Please’ EP.Founded in 2006, Radio Slave’s Rekids has since launched the Techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as the sole A&R, Rekids has been instrumental in developing emerging artists and remains a trusted home for House and adjacent sounds, recently featuring names such as Harry Romero, Tal Fussman, Tiger Striipes, William Kiss, Oliver Dollar, The Hacker, and more.

Eric Broucek war der Ur-Ingenieur der fruchtbarsten Ära der DFA Studios, etwa von 2003 bis 2008 (niemand weiß genau, wie es damals war, da alles im Nebel des Chaos verloren gegangen ist). Er hatte seine Hand im Spiel bei allen Remixen, LPs und Dance-12s. Er war fast jeden Tag in diesem überladenen Equipment-Keller, nahm auf, mixte und bemühte sich, Tim und mir nicht die Augen zu verdrehen. Und irgendwo in diesem Nebel veröffentlichte er still und leise drei limitierte 12-Inch-Veröffentlichungen auf seinem eigenen Label Stickydisc Recordings - zwei unter dem Namen Babytalk und eine als Watussi zusammen mit einem weiteren DFA-Stammgast, Morgan Wiley. Damals wollte Eric seine Musik nicht auf DFA veröffentlichen. Er wollte seine eigene Identität entwickeln, was ihm auch gelang, indem er Musik herausbrachte, die mit ihrer einzigartigen schrägen, umgekehrten und zurückhaltenden Kraft vom DFA-Pfad abwich. Seine Musik ist so anders als alles andere aus dieser Zeit, so einzigartig, dass sie immer noch völlig zeitlos klingt. Vor ein paar Jahren begann ich wieder, die Tracks aufzulegen, und sah, wie die Welt immer noch von dem überrascht war, was Eric geschaffen hatte, und so entstand die Idee zu dieser Compilation. Also, Eric, am Ende haben wir deine Platten doch veröffentlicht. Wir lieben dich, Mann. - James Murphy

Next up on Bosconi, the ever-persistent Italian outpost helmed by DJ sorcerer Fabio della Torre, comes a bold new chapter from label mainstay Lapucci—a familiar name to heads who remember his trippy debut Levitated Sensor Detector (LSD).

With Level of Control, the Florence-based Burbi Dub dubplate conjurer delivers a four-track EP that travels across moody electronics, psychedelic grooves, and off-world rhythms.

Kicking off the A-side is “Radio Controller”, a dark and melodic new beat jam with deep ‘80s roots—think obscure synths, rolling drum-machine funk, and a haunting vocoder line that crackles like forgotten transmissions.
Next up, “Einstein”. This one’s a jacking electro-techno burner, all drive and tension—built for those peak-time moments where things feel like they could go off the rails. There’s a cinematic sense of anticipation here, a nod to the cosmic weight of relativity and dancefloor gravity.

Flip to the B-side for “Level of Reality”—a trance-soaked electro weapon, laced with a screaming guitar-like lead and a soaring, emotional melody. It’s peak-time power with sunrise sensitivity—equal parts rave and revelation.
Closing things out is “Irabijanti”, a stripped-back, hypnotic afterhours tool with a fresh, effortless groove. Subtle nods to Middle Eastern scales and rhythms give it a dreamlike, drifting feel—like getting lost in the dunes of some alien desert.

Another must-have from the Bosconi mothership—Lapucci pilots us further out, not with a bang but with a slow magnetic pull into somewhere weird, warm, and wired.

DJ Sakee’s debut solo 12″ EP “Gravitate” for Dance Data captures the energy that defines what people have come to expect from a DJ SAKEE all vinyl set. The title track is built around an infectious sample that demands your attention, embodying the irresistible pull of his live sets—once you’re drawn in, there’s no turning back.

Raised in the center of the Inland Empire in Southern California, Alek Tzul (aka DJ SAKEE) is one of the several DJs contributing to the vinyl-only act currently in Los Angeles. Known for initially playing DIY warehouse parties, and a few cities outside of California, anyone who has witnessed a performance knows he has a driving passion for his craft on turntables and within his music production.

His debut solo 12″ EP “Gravitate” for Dance Data captures the energy that defines what people have come to expect from a DJ SAKEE performance. The title track is built around an infectious sample that demands your attention, embodying the irresistible pull of his live sets—once you’re drawn in, there’s no turning back.

Hard Times and DJ Spen go back decades. The Baltimore house veteran has long been a fixture at the label’s parties, on the remixes, and now under his Muthafunkaz alias he cements the bond with a set that’s as much a time capsule as it is a renewal. The Muthafunking Hard Times EP revisits a clutch of Spen’s early-to-mid-2000s jams that, till now, have never been committed to wax. True to form, Spen hasn’t simply dusted them off: he’s remastered, refreshed, and imbued them with a 2025 gleam, bridging past and present in one irresistible sweep.

The A-side opens with the Funkee Kole Cappin’ Mix of 2008’s “(You Make Me Say) Woah!”, a gospel-fired stormer whose call-and-response vocals climb skyward while a cheeky Fab Four nod keeps things buoyant. “Holy Ghost” follows in its Holy Spirit incarnation, wringing church-floor catharsis from tribal percussion and sanctified chants - a blast of kinetic, almost Faya Combo-like fervor.

Flip the record and you’re hit with the swing and strut of 2010’s “Gotta Hold On Me,” Spen’s Vocal Mix turning horns and jazzy drums into a pure adrenaline surge. The closer, “Doin’ The Best I Can,” is a tonal shift: harmonica and guitar sketches circling loose-limbed beats, equal parts after-hours reverie and Sunday-morning balm.

Too vibrant, too joyous, too Spen not to press - The Muthafunking Hard Times EP isn’t just archival housekeeping. It’s an affirmation of what house music does best: uplift, electrify, and remind you that, even decades on, the spirit still moves.

Silence In The Secret Garden is an intensly personal and spiritual journey into the heart & soul of black music.From the reckless dark minimalism of the title track Silence In The Secret Garden to the irresistible funk of Yesterday’s Party… this classicalbum has continued to surprise and inspire.
Smokey 2LP with limited edition Obi Stip to celebrate the 35-year anniversary

Keep off the Traxx are travelling at 33rpm and running on time. Baker Lou and Jubi Leigh have climbed aboard the express train and they’re not slowing down. You better mind the gap as these conductors won’t be hanging around.

Opening the debut EP is ‘Slow Down’, a high-energy A1 packed with euphoric synths, catchy vocals, and an acid line that pays homage to the golden era of early progressive house. Next up, ‘Mind the Gap’ delivers an irresistible fusion of raw, gritty house and classic UK garage, complete with chopped vocals and synth hooks that stick in your head long after its over.

‘Brain Dance’ brings a bouncy groove and a fresh return to acid, weaving melodic progressions that keep the energy flowing. Closing out the record is ‘That Noise’, a contemporary psychedelic progressive journey, layered with lush strings and immersive textures.

GP04 is brought to you by DJ Ali, the Lebanese-Australian artist based in Melbourne. In this EP, Ali explores the realms of percussive Techno, showcasing his distinctive use of melodies, vocals, and irresistible rhythms. Transformation EP is a collection of tracks where the perception of time is manipulated and stretched into a parallel realm. Come on board & enjoy the journey!

This transcontinental techno VA gathers five forward-thinking artists from across the globe.

Icelandic techno forward Exos opens the release with "Tunis" - a no-compromise, fast-paced track that pulses with distant echoes of African tunes. This piece that moves you forward, propels through time and textures.

Hailing from Paraguay, Victoria Mussi brings "Imaginary Rush", a track that shifts the grid: behind the steady four-to-the-floor pulse hides a maze of unexpected sound accents. This is techno that demands both dancing and deep listening.

Latvian producer Ksenia Kamikaza follows with "34 hours of C" - a cinematic narrative shaped by futuristic sound design. Taking you to the sci-fi movie scene with echoing synths - it's a sonic adventure drifting across an obscure dancefloor.

Chilean artist Andrea Riffo offers "Fissure State", a fragile yet deeply intentional track that blends minimal structure with immersive depth. Thoughtful and hypnotic, it carries a subtle intensity that fits perfectly into both opening and prime time sets.

Catalan non-binary artist Basso Mata closes the record with "Open Close" - a departure from strict techno into mid-90s-influenced electro. Combining distorted guitar-like basslines with synthetic groove, it's both unexpected and irresistibly danceable.

Together, these five pieces form a cohesive yet diverse vision of modern techno - experimental, emotional, and deeply rooted in each artist's local context. This record is built for DJs who play with narrative, contrast, and surprise. A secret weapon for those who mix stories, not just beats.

Thompson Sound and Dubquake Records team up to offer O.B.F-style versions of iconic roots & rub-a-dub tracks from Linval Thompson's label. Gems from the 70s and 80s that’ve been reworked by Rico O.B.F using original recordings. Each release comes with a reinterpretation of the original vocal, dubs, and a mix with our dearly missed Nazamba pon the version!

After 'Curfew', 'Sweet Sensimilia' and 'Evening Love', here's 'Guide & Protect', the very last scorcher in this series: a reimagined version of Michael Prophet's 'Guide And Protect You', taken from his iconic self-titled album.

Special guest Mark Iration jumps on his own cut, 'Protection'. Prophet and Mark trade verses as if side by side, capturing their connection. A celebration of Prophet’s legacy. Protection brings together reggae’s past and future.

On 'Raw Born Reggae', Nazamba flows with absolute groove. It's a preview of his highly anticipated posthumous album, 'A Message from Zion', set to release in November.

Next up on Mesh is Throwing Snow’s ‘Jackals’, a five-track EP drawing on echoes of UK subcultures.
Written in Ireland late last year with the London 2010s in mind, ‘Jackals’ is Throwing Snow’s love letter to his time spent there, tapping into a detailed web of sounds and styles through a personal lens, but skillfully produced to resonate with many. Locating memories in a transient city that is constantly reconfiguring itself, each track is an attempt at honouring fragments of recent, but seemingly distant, musical history. Taking us from DMZ at Brixton Mass to FWD at Plastic People, or Future Garage Fridays in Soho (IYKYK) to early days of NTS, the EP captures some of the fleeting moments that continue to play a significant part in the city’s sonic patchwork.

Production-wise, all the tracks share the same sounds twisted in different directions. The hats are vocoded with noise and random LFOs, and much like the chaos of London, every bounce has a unique pattern.

Opening track ‘Jackals’ walks the line between dub and UK bass, quickly overtaken by a wonky synth lead that spirals eternally upwards. ‘Ohnein’ jumps in with a massive pad swirling above a half-time step. In Throwing Snow’s own words, ‘I had to check with Martyn whether I'd ripped him off, turns out I hadn't, but it's a heavy head nod crossed with Un Vingt from my first 12"’. ‘A Cloud Mountain’ - a nod to the timeless James Holden remix of Nathan Fake’s ‘The Sky Was Pink’, leans into a maximalist progression of deep chords and fractured synths. ‘Forged’ steps into a weightier space with sparse drums driven forward by a deep cut of bass and twitchy echoes. Rounding things off, ‘Path Dependency’ speeds things up with touches of DnB in the drums, distant echoes in the forefront and the occasional sub wobble holding things together.