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Luca “DJ Rocca” Roccatagliati isn’t just a producer, he’s a shapeshifter of sound. Emerging from the late ’90s under the Maffia Soundsystem alias, he’s spent decades bending genres, dissolving boundaries, and reconfiguring the DNA of club music.

From cosmic disco to leftfield house, Rocca’s catalogue reads like a map of underground excellence. He’s collaborated with a roll call of innovators—Howie B, Dimitri From Paris, Daniele Baldelli, François K, Jazzanova, Zed Bias and many more. Crafting releases for some of the most respected imprints in the game: like Rekids, Toy Tonics, International Feel, Defected, Rush Hour, Hell Yeah, Rotters Golf Club among others.

His output is prolific, restless, constantly evolving.

Partnership is central to Rocca’s universe. With Dimitri From Paris, he co-created Erodiscotique, a sleek electro-disco project that fuses vintage sensuality with future-facing production. Alongside Daniele Baldelli, he’s explored deeper, more psychedelic terrain, delivering albums like Podalirius and Quagga—records that blur the line between Balearic mysticism and dancefloor propulsion.

His aliases Ajello, Supersonic Lovers, Crimea X are parallel auditory dimensions. Each one pushes a different facet of his sound, from Italo-tinged grooves to raw, analog-driven club cuts. As a remixer, Rocca has reworked everyone from Andrew Weatherall to Soul Clap, always imprinting his unmistakable signature.

To say we are excited about this new EP is kind of a massive understatement……

Having been huge fans for over two decades, when he reached out to us it was a bit of an eye rubbing and arm pinching moment.

We have been graced with a 3 track EP titled “Tonight is the Night”

A1. Sun Deck – A link-up with Athens mainstay Lex, drifting somewhere between yacht funk and late-night boogie. Sun-washed grooves, crisp synth leads, and just enough 80s energy to keep it moving without trying too hard.

B1. Italo Boogie Stomp – Does exactly what it says. Rolling Linn drums, sharp synth lines, and a nostalgic flute motif that nods to NYC’s street soul era without getting stuck in it.

B2. Ferroso – Picks up the pace slightly. Deep house drums meet a driving electro bassline, with arpeggiated synths and warm pads rounding it out—focused, functional, and built for the floor.

*repress*

The prolific Lord Of The Isles (aka Scotland's Neil McDonald) has had a string of stunning 12's over the past few years on labels such as Permanent Vacation, Unthank, Shevchenko, Mule and of course his four track 'Year Of The City EP' on Phonica, which was widely acclaimed upon its release in 2012.

This time LOTI presents two long-form tracks, each a mini-masterpiece in itself. The 10 minute plus 'Greane' bursts into life after an intro of kicks and white noise hi-hats. It continues to slowly build, with pitch-bent synth lines and a pulsing bass-line making way for a melacholic shift in mood. Truly original stuff!

On the flip, a swirl of synthetic strings introduces 'Gigha', in a manner that brings to mind Rhythm
Is Rhythm's legendary 'Kao-Tic Harmony', before the drums and infectious acid-line join in. Over the 8 minutes they continue to interweave and play off each other to dazzling effect.

Artwork by Jack Featherstone, the designer of a number of sleeves for Border Community (including the highly praised campaign behind James Holden's 'The Inheritors', its singles and live visuals), Electric Minds, Warm and of course, Phonica.

With his distinctive touch for melody and texture, "Thunder EP" opens a portal to a new world, both vibrant and underground. Split into two parts, the A-side burns with a groovy house and breakbeat energy, while the B-side shines with deep, progressive and electronic soundscapes.

With its powerful vocals reminiscent of Bicep and a melody that brings a breath of fresh air, the opening track of the EP "Thunder" has all the makings of a future anthem. It perfectly sets the tone with its raw breakbeat energy and rolling textures

Right after, the A2 "You've Got The Feeling" offers a subtle blend of softness and groove. True to Houseum’s deep and sunny DNA, the track revolves around an effective classic piano house hook and a captivating soul vocal that instantly sticks in your head.

Closing the A-side, "Space Jam" shifts into more atmospheric territories with floating vocals and airy synth pads, moving the dancefloor toward a deeper, more mental vibe.

On the flip side, the hypnotic bassline of the B1 "Bullet Train" sets the pace immediately. The track nods to 90s progressive house through its structure while offering distinctive deep tech and dub techno sounds.

Finally, "Haag" wraps up the record with a subtle blend of IDM, ambient, and dub techno, a sound aesthetic that might remind a certain In Limbo EP released on Houseum's sub-label, Ellipse Records. It acts as the perfect closing track, inviting the listener to wind down and float away after the intensity of the previous tracks.

Wilba rolls into Haŵs with 'Kombucha in the Club' - four chunky club cuts dipped in acid, prog and sleazy late-night pressure. Built with proper low-end heft and a wicked grin, this one doesn’t hang about.

A1 opener 'Wrong Turn' sets things in motion with pulsating proggy goodness, restless energy and the repeating call of “Destination” guiding the trip into the unknown. 'Polly’s Acid Kiss' follows with squelching 303 lines and a sci-fi-esque vocal, pushing deeper into tripped-out territory without losing its punch. On the flip, 'Sin City' leans fully into the sleaze - rolling tech house, smoky vocals, wailing sirens and enough attitude to carry the small hours. The EP rounds off with 'Rejigging the Jig', which wastes no time laying down the damage: fat drums, elastic basslines and enough swing to pull the room sideways.

Heavy grooves, crooked hooks and just the right amount of mischief. Kombucha never sounded so wrong.

Nite Hawk is a new name to us, but one we'll be keeping an ear on, just off the back of this new EP on York-based John Deevechis's The Owl label. The opener plays with a classic rhythm and serves it up with a bleeping synth sequence that will also be familiar, while the rickety drums unfold in off-grid patterns. It's a great start before 'Shake Ya Rump' brings machine-made disco with sugary synths and playful vocals over funky basslines, then 'Be Together' closes with another cold analogue groove that ramps up the pressure and is the sort of tasteful and timeless crowd pleaser you will be playing forever.

Proto Exotica notches its third release with The Infinite Hum EP , the debut project from Melbourne producer Mateo Torres Rodriguez under his new alias: Cerro.

Cerro is a personal and transportive collection of recordings owed to four months in Colombia, where Mateo returned to the neighbourhood he grew up in. On a table in his childhood home, he set up a modest travelling studio with a small collection of analogue hardware. At times, he'd pack individual pieces of
gear to travels within his travels, working without a fixed room or routine.

And so from a drum machine, a monophonic synth, a polyphonic synth, a laptop, and a pair of headphones (but no speakers) came five tracks of dub-inflected house and cosy Balearica.

The EP opens with 'The Bright Side' , dub bass, warm analogue pads, housey tempo. 'Unending Journey' slows things down, its deep low-end holding space beneath a synth that drifts in and
out.

'Power Of The Small' brings a dreamy house melody alongside a dubbed-out analogue lead, the filter opening and closing as the track breathes. On the B-side, Andras remixes 'The Bright Side' , keeping the bounce and weaving a jazzy lo-fi Rhodes solo through it. The EP closes with 'Indubitably' , dubbed-out vocal samples and floating pads settling into a downtempo Balearic lilt.

Common Language is a project of the Community Library label. We started it as a way to reconnect with the ideas that drove ComLib’s inaugural releases back in 2005, uncompromising and eclectic DJ 12’s. We’ll be focused on this imprint for a while, and near-term, putting the emphasis on releases by label cofounders and our closest friends.

On CLANG02, the Middlemarch 12” EP, Solenoid transmutes his signature buoyant syncopated acid, electro, and mutant techno into moodier, reverberant territory. If you previously knew Solenoid for his restless, sophisticated Braindance-adjacent stuff, this EP is totally consistent with his long discography. Here though, he gets into a dreamier, and also bassier zone that is equally rewarding either in the innerspace immersion of headphones or in the warmth of your favorite local underground club’s sound system--lots of detail and atmosphere to sink into.

“Middlemarch” is moody deep techno-- a clatter of distant percussion encircles eerie pads and an extra-bassy, double-filtered TB303 bassline. “Ways and Means” rotates perplexing polyrhythmic patterns driven by bright, elasticchords that keep it moving (reminding me of The Martian’s stuff on Red Planet a bit). “A Winter Walk” offers a skeletal, skittering rhythm that wouldn’t be out of place next to a Livity Sound track; and the closer, “Dvv Waltz” reserves a 3/4-time experiment for the bravest / most inquisitive DJs.

Edition of 300 vinyl copies includes special full- color insert
Mastered by Dietrich Schoenemann

About Solenoid
Solenoid is the primary musical vehicle of David Chandler, a lifer underground producer, musician, and visual artist. As a lone electronic voice in the wilderness of early-90s Portland (which was at the time a grunge-saturated third backwater) he started out releasing adventurous, now- unobtainium tapes on his DIY Pharmacy label. Solenoid then became known internationally at the turn of the millennium as one of Portland’s persistent ambassadors for underground crossover electro and techno, releasing on labels like Outward Music Company, Emanate, Orac, and many others (most recently, on the Paris label Partout). He’s a real legend honestly--doggedly clocking in almost 40 years of uncompromising experimentalism with a signature sound and vision running all the way through.
-- Paul Dickow (Strategy)

Seasun is a reminder that matter is only energy in disguise. It opens the sky and lets the sun fill your body with overwhelming joy. Endless Love follows without mercy: a relentless bassline shadowed by dub chords that builds tension that doesn't ask to be released. And then ATM – which sounds like the EKG of a robot alien race making first contact. And suddenly everyone on mother earth starts dancing. Music for DJs who know when the time is right and dancefloors who are ready to be taken over

A legend returns as the alias of scene stalwart DJ Levi and Curvature co-creator Ghosts of MIDI unleashes an EP of seismic tracks backed with remixes from ASC and Aural Imbalance. A1 - Iron Dinosaurs Opening a fine Curvature debut for the label’s very own Dan Azimuth, Iron Dinosaurs is an epic piece of atmospheric goodness introduced with a long, elegant intro of synths and luscious female vocals. Before long, classy, energetic metallic breaks kick in, set to an immensely memorable key melody and a room-filling bassline, creating a breathtakingly fluid and captivating piece. A2 - Iron Dinosaurs (ASC remix) Taking an incredibly evocative track and lacing it with sprinkles of ASC goodness to create a true gem is the order of the day here, as the heart of the original courses through an ominous intro, quickly beset by fine analogue amens that hit hard for the dancefloor, while allowing the soul of the piece to breathe, syncing in harmony with the distinctive vocal samples and swirling synthwork that colour the atmosphere so perfectly. B1 - Deadly Dimensions A DJ-friendly intro of hi hats gradually ushers in epic, bassy melodies gliding through serene vocals and airy pads, before the drop reveals exquisite breaks with just the slightest hint of an apache in there. Very danceable, the breaks are chopped and diced at will, driving a determined pace for another superbly epic, ethereal piece of atmospheric drum & bass from one of the OG’s of the scene. B2 - Deadly Dimensions (Aural Imbalance remix) The EP closes with a real treat - this is as close as an example you’ll hear to a match made in heaven as the eerily epic production of Ghosts of Midi collides with the inimitable ambient mastery of Aural Imbalance. Intersecting the thoughtful vibes of the original, this remix sees playful old school breaks jostle with swathes of fluid synthwork and delicate pads, creating a unified expression of atmospheric purity.

Originally released in 2006, John Acquaviva presents Swen Weber's ‘First Stroke’ returns on Secret Weapon Records with a
brand new remix from Luca Lozano. A defining Electro House record of its era, built around its instantly recognizable synth
theme, now gets a sharp 2026 update as Lozano moves the hook onto a break-driven groove, adding playful bass movement
and a futuristic vocal touch.
The remastered original is included on the flip, preserving one of the standout club records from the mid-2000s Electro House
boom.

2026 Repress
The dream team is back! Borrowed Identity and his boyhood friend Mechanical Soul Brother have been doing hot sessions in their studio and the output is the fantastic „Return to yourself EP“. All tunes have a classic yet modern house flair. The A-side is full of groovy rhythms, deeeeeep basslines, splendid vocals and subtle acid lines - „just be yourself“ might even slightly recall Larry Heard/Mr. White’s „the sun can’t compare“! The club friendly b-side offers two versions of „point of no return“. The 2 am version has those old schoolish drums and some blissful sounds and voices, just the way we love it, whereas the 6am version is the more straight forward, catchy early morning groover. What a return from Borrowed Identity & Mechanical Soul Brother! Watch out for the limited coloured vinyl edition!

Hard-hitting limited 7” floppy disk by West Coast beat maestro Mophono, mashing up two 8bit mini epics by disrupt and shooting them into outer space.

“Budokan Dub” is the instrumental cut of Roger Robinson’s “Bristol Crystal” from the Jahtarian Dubbers Vol. 6 compilation: a bass heavy mutation of Rob Hubbard’s 1989 fighting game soundtrack, re-worked by disrupt on a DIY commodore synth, with added extra rocket fuel by Mophono, cranking the psychedelics up to eleven.

Made with the same DIY synth, “Proper Tings version” on B is based on the original riddim track for Tikiman’s “Who Goes There”. Mophono now sent it through the cosmic slice machine, turning it into a deadly sound system rattler, designed to take the roof off at those very special moments.

Coming with the additional beat tool “Dub Form Creator” and a nice’n’gritty floppy disc sleeve this crucial little data package is not to be missed!

Following years of quietly refining her craft, Dilemma now returns with her debut album A River Without Banks, landing this August on Spearhead Records.

Known for her effortlessly deep and soulful approach to drum & bass, Dilemma has become a respected name among listeners who favour atmosphere, musicality and understated emotion over quick trends. A River Without Banks feels like the culmination of that journey, a rich and carefully crafted body of work that moves between warm liquid rollers, deeper late-night textures and moments of genuine introspection.

The album showcases Dilemma’s versatility without ever losing the unmistakable character that has made her music so recognisable. Tracks like “You Do It To Me” capture her signature laid-back soul, while collaborations including “Watch” with BCee and “Days To Come” featuring In:Most & Lauren Archer bring a cinematic and emotional depth to the project. Elsewhere, cuts like “Usurper” and “Vibe Check” reveal a heavier, more stripped-back edge while still remaining rooted firmly in groove and feeling.

Rather than chasing peak-time moments, A River Without Banks unfolds patiently and naturally, rewarding repeat listens and drawing inspiration from across the spectrum of soulful drum & bass culture. There’s a timeless quality to the album, music designed to stay with you long after the final track fades, whether heard in solitary moments or shared across packed rooms and late-night systems.

Released via BCee’s Spearhead Records, A River Without Banks continues the label’s long-standing tradition of championing thoughtful, emotionally rich drum & bass while further cementing Dilemma’s place as one of the scene’s most quietly consistent producers.

In the rapidly shifting tectonic plates of the global Afrobeats scene, few arrivals have been as seismic as that of Ahmed Ololade—better known to the world as Asake. With his breakout project Mr. Money With The Vibe, the artist didn’t merely debut; he effectively recalibrated the tempo of the Nigerian pop soundscape. The EP functions as a masterclass in synthesis, pulling from the ornate, percussive history of Fuji music and grafting it onto the driving, bass-heavy architectures of contemporary Amapiano. It is a calculated, deeply rhythmic hybridization that manages to feel both nostalgic and jarringly modern.

From a critical vantage point, Mr. Money With The Vibe is defined by its brevity and density. Asake treats each track as a focused vignette, utilizing a vocal delivery that oscillates between a melodic, almost liturgical chant and the staccato urgency of a Lagos street orator. The production—characterized by sharp, frenetic percussion and deceptively simple melodic loops—creates a high-intensity atmosphere that mirrors the relentless pace of urban life. He avoids the pitfall of bloated experimentation; instead, he doubles down on a "street-pop" ethos, prioritizing accessibility without sacrificing the complex rhythmic interplay that gives the genre its distinctive texture.

Ultimately, Mr. Money With The Vibe stands as a pivotal document of the current era, capturing the transition of Afrobeats from a regional powerhouse to a dominant global force. By blending the aspirational "hustle culture" narrative with an increasingly sophisticated sonic palette, Asake established a blueprint that has since influenced a new wave of artists. The project is a testament to the idea that authenticity, when paired with relentless precision, remains the most effective currency in contemporary music.

The wait is over! Superfett Supersound Selection is back and ready to unleash the next wave of club anthems with VOL. 6.
This explosive 4-track sampler is packed with massive bangers that are sure to ignite dance floors everywhere. Get ready for an unforgettable ride!


1. N-YOU-UP, John Bowtie (France) - DIS MTF
This dynamic duo brings their signature sound to the forefront, combining infectious beats with electrifying energy that sets the stage ablaze.
Known for his infectious grooves and captivating melodies, John Bowtie delivers a track that elevates the dance floor experience with every pulse of the beat.

3. Folkness (Poland)
The Polish superstar producer has crafted an undeniable anthem that showcases his mastery of house music. Expect driving rhythms and explosive drops that will keep you moving all night long.

4. Amedeo Picone (Italy)
A rising star in the scene with releases at Snatch, Jospeh Capriati´s Metamorfosi - Amedeo Picone brings a fresh perspective with his distinctive sound, expertly blending bass-heavy lines and infectious hooks that demand attention.

5. **KPD** (Spain)
KPD rounds out the lineup with a high-energy track that’s guaranteed to make an impact, blending elements of tech and house for an unforgettable dance floor experience.

Superfett Supersound Selection VOL. 6 is all about delivering no fillers, only bangers. Each track is carefully curated to ensure maximum dance floor damage, making this a must-have for DJs and partygoers alike.


Played and loved by Carl Cox, Adriatique, Jamie Jones, Riva Starr, Amine Edge, Steve Lawler, Nic Fanciulli, Chicks Luv Us and many more...

* From the Hydroponics’ Growing Room studio comes a dub remix of Yabby You / King Tubby’s `Beware’ / `God is Watching You’.

* While keeping faithful to the original, these cuts come with some dangerous sub-bass.

* Produced by Dougie Wardrop and originally released circa 1996, this reissue is backed with a previously unreleased dub mix.

Following the launch of the label late last year, Tripsitter Records returns with its second release, Social Memory Complex EP, a four-track Various Artists compilation that explores the evolving intersection of speed garage, warped low-end pressure, and contemporary tech house. Featuring contributions from Baumb, Marcos Coya, New Balaance, and Voosen, the EP captures a shared fascination with the resurgence of UK garage aesthetics while pushing the sound into new territory through modern club production and forward-thinking songwriting.

Across the release, listeners are met with rolling grooves, swung percussion, and a heavy emphasis on elastic warp basslines that nod to the roots of speed garage while embracing the power and functionality of modern tech house. Built equally for dark club rooms and open-air festival systems, each track offers a distinct perspective on the genre's current evolution. Baumb delivers a driving, high-energy cut that balances hypnotic rhythm with low-end intensity, while Marcos Coya leans into deeper club textures and precision-engineered groove work. Voosen rounds out the collection with a track that further reinforces the EP's dancefloor focus, combining punchy drums with unmistakable garage-inspired movement. Perhaps the most unexpected contribution comes from New Balaance, whose track ventures into synth-pop territory without abandoning the EP's core identity.

Melodic hooks, emotive synth work, and song-oriented structures are woven together with speed garage rhythms and bass design, creating a standout moment that broadens the compilation's sonic palette while remaining firmly connected to the release's underground roots. With Social Memory Complex EP, Trip Sitter Records continues to establish itself as a platform for artists exploring the spaces between genres—where UK garage heritage, tech house functionality, and contemporary electronic songwriting converge. As speed garage continues its resurgence across clubs and festival stages worldwide, Social Memory Complex EP arrives as a snapshot of a scene in motion: nostalgic without being retrospective, and innovative without losing sight of the dancefloor.

A vast pulse from a distant past gets lost in incantations from the future. Ascending divine harmonies are reminiscent of specters of forgotten dreams. Followed by a trance like state of mind all spirits are transferred to arcane items and form evocative rhythms for evocative rituals. New imprint by Rupert Marnie exploring the atmospheric and minimal sides of techno. The first release features two extended hypnotic cuts built from acid influenced basslines, ethereal pads and constantly shifting sound structures for late hour dancefloors. Both sides end in locked grooves to keep the beat going. All tracks written and produced by Matthias Schubert Additional Mixing Bendrik Grossterlinden Mastered by Isabel Schröer at Olo Mastering and cut at Scape Mastering Berlin Artwork by Martha Jokier

Limited to 200 copies.

Faith Beat’s 11th signal comes from Ploy with The 'Flirt' EP. A 5 track journey through the darker shades of house and touches of garage - his signature kick drums and bass lines move your body, while vocal samples pull at your heart and mind.

Faith Beat’s 14th signal comes from Ferrari - 4 tracks mixing peak time bass lines, late night vocals, and classic US house influences.

2026 Repress

Kampana’s essential 7” series continues with another unmissable EP, featuring mysterious jazz and soul groove-magician Vanilla. The UK producer brings his beat-making skills to the disco format with stunning results.

'Turn Me Loose' blends an early 80s jazz funk groove, vocal chops and modern synths, creating an infectious mid-tempo disco number.

'Into My Eyes' - remastered for 2021 - features a percussive slap bass, with catchy vocals and classic filters for another timeless, uplifting anthem.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.

Younger Than Me announces his debut full length "The Golden Age Of Love", to be released on 90's Wax this coming March 2024. The record is the perfect example of the breadth of his irrepressible and unique sound. Featuring collaborations with Massimiliano Pagliara, Brame & Hamo and Pablo Bozzi. The artist is an Italian native known for a modern interpretation of '90s club music' - a dynamic blend of Progressive House, Trance, EBM, Breakbeat, and Techno ideas. This first album is a love letter to a deep-rooted passion for the idiosyncrasies of rave culture and the crossover points with contemporary electronic music.

Younger Than Me, an artistic project by Francesco Mingrino that is steeped in the nostalgia of ‘90s rave, yet not at all trapped in that past. A project that has cemented a special place in the electronic music scene with a string of records on labels like Bordello A Parigi, Amsterdam-Utrecht based platform XXX, Rotterdam’s Bar and Jennifer Cardini’s Dischi Autunno. To this point Francesco has pushed his fun yet forceful sound, with many releases on his own 90's Wax, and collaborations with people like Skatebård, Francesco Farfa, Timothy Clerkin and Curses (as Y2C).

"The Golden Age Of Love" as a package is curated in Younger Than Me's characteristic style. Opening with "Long Life Death", a track that sets the stage with a cinematic soundscape in a classic Carpenter vibe. Picking up the tempo "Zarathustra Dance" takes you right into the golden age itself, its low slung beat and carefully sequenced lead line pushes an ever building tension designed to crack any dancefloor. The track with Massimiliano Pagliara, "Eternal Sunshine Of Solitary Mind", is one of the highlights, perfectly building around a catchy lead with tight arpeggio and sequenced acid. Leading us into the 2nd half of the record "Sadness Is The Only Way To Happiness" is a proto-trance beast, inspired by that period in the early 90s when Trance was less bright lights and big stages and more dark rooms and smoke filled spaces, an ever building progressive run of haunting vocals, rave stabs and rolling bass.

Whilst YTM is at home presenting dancefloor focussed material, we see him explore the other side too, with "Memory Is A Clock" like the earlier "Vortix", he ditches the 4x4 for breakbeat territory. Whilst the bass keeps the solid metronome you would expect, "Memory Is A Clock" is a track that takes a few moments, contemplative melody and trademark arpeggios take the lead. When it comes to the other collaborations on the record, the appearance of Brame And Hamo on "Raver's Heart Is A Mess" sees them lean into the Progressive nature both artists love so much. Then Pablo Bozzi lends his own unique outlook to "We Don't Know The Way, We Just Stay" in one of the standout tracks, epitomising Younger Than Me’s ability to create profound experiences.

The album concludes with "Music Will Never Stop, Heartbeat Will Never Fade, Party Will Never End", less of a title and more of a personal philosophy – the perpetual essence of rave culture and its timeless impact on music. A rhythmic belter, juxtaposed with incendiary synth-lines and staple catchy sequence work, finishing the record with one of the true highpoints. In addition the release also features four digital bonus tracks, including "The Other Face Of Loneliness" and a Prog Dance Reshape of one of the records more eclectic cuts "Zarathustra Dance" all offering an extended exploration into the creative landscape YTM inhabits.

"The Golden Age Of Love" is a debut album that ticks all the boxes; it's a celebration of a bygone era through the lens of the contemporary. Younger Than Me stands as a testament to the enduring spirit and evolving nature of the music that began in the ‘90s rave scene, with an LP that pushes Love, Progression and Fun to the forefront.

‘The Sci-Fi Era’ marks the launch of Utopiality, the new forward-looking project from Berlin-based DJ and producer Rickie. A space where rhythm and texture converge into immersive, ever evolving forms.

On the A-side, ‘Galactica Expedition’ cuts through with aggressive basslines layered against
delicate pads, setting things in motion. ‘Imagination’ follows, diving deeper into unknown realms with a mind-bending, exploratory energy.
The B-side expands the narrative: ‘Stellar’ pairs intricate drum programming with constantly
shifting synths and basslines, while the closing track ‘Destination’ locks into progressive grooves and immersive pads, unfolding toward a hypnotic endpoint.

Dal Platinum returns to the Toxic Funk series with another double-sided serving of funky breakbeat gold, once again proving why he remains one of the most creative beat craftsmen in the global Nu Funk scene. Following up on his previous Toxic Funk outing, the Danish groove specialist delivers two fresh cuts packed with soulful samples, neck-snapping drums and irresistible dancefloor flavor.

Leading the charge on the A-side, Shave the Lords blends tight funk breaks, slick edits and classic party-rocking energy into a heavyweight groove designed for DJs and crate diggers alike. Flip the vinyl over and Good Shines takes things deeper with infectious basslines, uplifting vibes and a raw funky swagger that perfectly captures the spirit of the Toxic Funk series. Both tracks carry Dal Platinum’s unmistakable signature style — playful, soulful and built to move crowds.

This 7” release marks yet another essential chapter in the Toxic Funk legacy, delivering timeless grooves for funk lovers, breakbeat heads and vinyl collectors around the world. Toxic Funk Vol. 22 is ready to bring the heat straight to your turntable — so don’t sleep on this limited 45 before it disappears into the crates of DJs worldwide!

20:20 Vision has been defining the house underground for decades now, and much of its earlier material remains as revealing as its newer output. A case in point is this reissue of the rare Echo Beach release. Founder Ralph Lawson and his old pal Carl Finlow's recordings from The Farm in the Rhubarb Triangle retain a warmth and analogue weight that contemporary production struggles to replicate - all hands-on-deck live passes through drum machines, synths and outboard desks, the process audible in every groove. The discovery of unreleased cut 'Blues Dimensions', which was rescued from corrupted DATs, is the real find here: rasping Moog bass, P-Funk refrain and heavy Rhodes that sounds anything but archival. Top drawer excavation.

‘Signs Of The Time’ is a powerful, driving roots reggae anthem by Azizzi Romeo calling for global unity. The track features the legendary Max Romeo in what would be his final recording before his passing.

The track is fuelled by the lush, authentic arrangements of Denmark's premier 11- piece roots collective, Guiding Star Orchestra.

Blending heavy traditional rhythms with a modern conscious edge, the track boasts dynamic brass lines and an irresistible groove. Essential for modern roots, cultural reggae, and global conscious playlists celebrating the enduring legacy of a reggae icon.

The release comes with a dub version by Tippy I-Grade who weaves heavy, foundational basslines through echoed horn stabs and beautifully fragmented vocal chops that ripple seamlessly across the stereo field.

It’s an essential addition for listeners who crave the meditative depth of classic 70s dub reimagined through a modern, high-fidelity lens.

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Our previous remix-EP of Ness' classic album "Flesh Of The Gods" was, for various reasons, a long and slow process. When Ness himself suggested us to ask Vladw for a contribution we finally had a good reason to reach out to a long time favorite @ the Navigare HQ. Although located, literally, on the other side of the planet, his deep, driving and breezy productions ring true to our, slightly northern, musical vision. So we are not surprised that his excellent remix of "Transilient" is, already, one of the most celebrated tracks in our half decade long history. We asked for more, and finally we are able to present three brand new originals, seeded, watered and harvested with a Navigarean intent. Three highly functional pieces, aimed at focused dancefloors underneath open skies, balancing the beautiful and lush with the edgy and slightly twisted. Although being our first ever collaboration, any Navigare listener would understand that Luigi Tozzi has played a huge role for us on our path. Since his first releases with Hypnus we've listened carefully, on repeat, for a dozen years by now. A guiding light for our scene, always curious, always pioneering, yet always on point. His remix of "Drya" takes the harmonix of the original, adds a monstrous bassline and - trust us on this one - that massive clap will cause a mass frisson on the dancefloor. Trust Navigare Audio...

Sindh presents the Vagali EP, a striking continuation of his tunnelling, futuristic take on techno. Growling synths, driving basslines, alien atmospherics and finely tuned percussion define a sound that feels unmistakably his own.
Following his Komudo series — which has built a devoted following since its debut in 2024 — this latest release leans further into his signature sound design, pairing hypnotic sequences and menacing synth lines which feel right

Cover changed

With his Periodical EP, Isaiah delivers a six-tracker rooted in the foundations of early techno, built around percussion, groove, and stripped-back functionality. As a driving force in the underground scene, both as a DJ and the founder of the Frenzy and Vulged collectives, Isaiah meticulously designed this EP for selectors and club settings.

Opening with 'Monthly', the EP sets the tone with a punchy kick, crisp high-end percussion and a driving bassline, while smeared textures and subtle effects create depth within a minimal framework. 'Yearly' intensifies the approach, with sharper hi-hats and layered mid percussion pushing the energy forward, maintaining a hypnotic yet no-frills momentum.'Hourly' keeps the focus on rhythm, pairing dense percussion work with a bouncing bassline that locks into a steady groove, while occasional pad accents add flashes of brightness.

On the second half, 'Real' strips things back, centering around a rolling bassline and sparse percussion, with shimmering synth touches guiding the track into deeper territory. 'Everlasting' reintroduces a tougher edge, driven by a hard-hitting kick and a bouncing low end, while eerie synth elements add a darker tone. Closing the EP, Beau Didier, a rising force in the Techno scene and fellow Frenzy collective member, reshapes 'Everlasting' into a smoother, more low-end focused roller. Known for his heavy basslines and powerful rhythms, Didier brings the bassline to the forefront, softens the percussion and introduces vocal chops that expand the atmosphere.

On his debut EP on Regal's Backspin Records, the 8th release of the newborn imprint, Isaiahpresents a focused collection of percussive techno tools built for diverse sets, offering tracks for every moment while maintaining a consistent, groove-driven identity throughout.

The "La Musica Habla EP Purple Splattered Vinyl Edition" by 5universos is released as a 12" and focuses on stripped-back club sounds that move between minimal house and tech house. Striking bass sequences, pinpoint percussion, and sparingly placed melodic fragments create room for subtle tension; Balearic-tinged textures and dub elements stand out as stylistic markers, giving the tracks an airy spaciousness and allowing DJs to craft clear transitions in the mix.

The project is headed by Cristian Cosignani, who releases his own productions under the name 5UNIVERSOS and also runs the label of the same name. 5 Universos simultaneously serves as a vinyl store and a platform for curated releases, enabling the label to maintain a close connection to the club and DJ scene while keeping its program firmly focused on physical editions.

Sonically, the release relies on clear arrangements and a DJ-friendly structure: long, hypnotic sections, subtle filter work, and a focused low-end range invite creative mixing. The Purple Splattered Vinyl Edition underscores its collectible nature without placing the musical intention to front and center; the result is a matter-of-fact, dance-oriented EP that puts the characteristic style of 5universos in the spotlight.

2026 Repress

Brazilian producer 'Bungle' returns to Thirtyone Records with his sophomore EP for the renowned British outlet for all things drum & Bass. Doc Scott curates the label closely and has selected four Bungle cuts that all have that same prolific vibe to them.

''Cocooned EP'' opens up with the sublime and dark title song. 'Cocooned' revolves around a savvy bass cut and Bungle's signature big drums. 'Distance' is a special piece with a gigantic pad at the centre of the song.

The big and jazzy hats are compilmenting the rhythm nicely while splashes of FX are cleverly being used throughout.
'Eclipse' is a nervous electronic cut with a thumping feel to it. Tech sounds, distortion and ethereal sounds are moulded to a buldging piece of dancefloor music. On the last position of the 'Cocooned EP' tracklist we find 'Impulse'. This track stands for: huge drums, deep bass sounds and a very ominous atmosphere

Crypt of the Wizard is proud to make available two legendary underground albums by Slutet on vinyl and digital formats.
Slutet originated in Uppsala well over a decade ago, first emerging as a loose idea around 2010. The original cluster of strangely like minded individuals - Dingir, Ryttersson, J.P., Sviatopolk, were equally set on starting a cult as they were a band, the former emerging as a loose collective known as The End Commune, while the latter eventually began rehearsing together as Slutet on September 1, 2013.
From this constellation three notorious demo tapes sprung which were self-released in very limited numbers, and only available by trading bodily fluids, blood, and/or hair for the cassettes. “A very loose guess but we made probably around 20-30 hand-drawn/custom demo tapes of the first three releases. We got blood and hair from many places, actually the very first offering was from INDONESIA. Slovakia, Germany, USA, Argentina, Norway, Canada, Finland followed.... if my memory serves..... hazy years indeed”
J.P. left early 2015. Later that year, after trying the band as a bass-drum-vocals outfit for a while, Fjalar joined on guitar. This is the classic constellation. Dingir, Ryttersson, Fjalar, Sviatopolk. The same troupe playing to this very day.
Following on from the compilation Slutet began work on their next offering entitled Jihad. While the departure of J.P. left them temporarily without a guitarist, a chance meeting with Fjalar at a rave ushered in a new era for the band. “I met the drummer and the bass player at a psytrance rave in the forest. I didn’t have any band and I wanted to play music and I saw this fucking weirdo with long dreads and a Hellhammer shirt and I just went up to talk to him”.
After Fjalar joined the rather chaotic fray, songwriting duties were spread out more broadly and Jihad was rehearsed and recorded in a haze. First released as a cassette by Manifest Of Hate Creations, and later on vinyl in an edition of 100 by Goatowarex the release quickly sold out and became as legendary, and as incredibly difficult to obtain as the previous releases. “It has got some psychedelic improvs, some very unorthodox and quite genius vocal work, some electronic undertones, some noisy ambience, a message of existentialism; all this wrapped up in some sloppy but very authentic and intense black metal-ish music.”
“After the vinyl compilation was out (early 2015) we felt probably a bit directionless, and, having parted ways with a befriended and talented guitar player, we felt maybe a bit morally weakened to continue. First, for a year almost, we toiled on without the 6-strings and rehearsed quite lengthy material for a proposed upcoming LP. However, that material never surfaced. Then we got a new guitar player (Fjalar) and created and recorded this mess”.
It is with great pride that we make these albums available to a general audience and in a wider pressing without need for bloodshed.

2026 Repress

Georgian powerhouse Yanamaste drops long-anticipated new EP on Mutual Rytm.

In-demand DJ/producer Yanamaste is a resident at Georgia's renowned Khidi Club and a key part of Amsterdam's Vault Sessions crew. His unique sound and fresh creative approach result in raw and visceral techno, reflecting his passion for pushing boundaries and showcased perfectly via his 'Dance' EP on Vault last year. Now, he returns with an EP born out of the creative process behind his live set with a debut appearance on SHDW's Mutual Rytm, 'Evil' - a collection of heavily-requested tracks that have already made an impact after featuring in his Boiler Room and Stone Techno Festival livestream.

'Evil' kicks things off with perfectly rubbery, funky drum patterns and an urgent sense of movement that sweeps you off your feet. 'Lahante' is more percussive, with busy snares riding the rolling, forceful drums and stark synths arresting your attention. 'Dragonfly' is perfectly reduced via minimal drums intertwined with thunderous effects and ghoulish energy, while 'Modulation Detected' has a more cosmic feel as it journeys into the future with whispered spoken words and synths searching across the face of the groove. Last but not least is the irresistible broken beat goodness of 'Walking On Mars', with its swinging kicks and vast bassline spraying about the mix beneath hypnotic melodic patterns.

Two superb bonus cuts, 'Ohohoi' and 'Pwiu', are also provided for digital buyers, bringing further gems loaded with moody depths and compelling rhythms.

2026 Repress

If ever an album could transport you to the hazy sunshine and imagined halcyon paradise of Southern California in the mid-1980s, could capture the early evening warmth of hanging at an inclusive boogie jam as it approaches “magic hour” in Santa Ana or Anaheim, then it’s Vaughan Mason and Butch Dayo’s Feel My Love. A brilliantly produced deep slung, low rider funk classic originally released on Salsoul in 1983. It’s a masterpiece of “funk love music”.

Yes, this is indeed a perfectly formed five track “mini LP” of unparalleled heat, but there’s one song here that, above the rest, represents Orange County boogie-funk. A straight killer beloved by all that have had the pleasure of moving to it. A track that can fill up a dance floor within seconds of its starting. That song is the eternal title track, “Feel My Love”.

This is a work of art that made people fall in love with the funk. It transcends the limitations of genre. “Feel My Love”’s deceptive simplicity makes it perfect to drop during a house set, a classic funk party or at a west coast rap jam. It’s sexy, deeply emotional, melancholic, hopeful, passionate and just radiates so, so much raw energy. This is music.

The rest of the record is hardly filler though. Opener “Oh, Love” is a dizzying, emotional slow jam. With heaven-sent vocals riding gorgeous, sweeping keys that alternate between sweet twinkling lines and funk-fuelled stabbing. It’s sensational. A rollerskating jam named “Rollalong Songs” is an ultra-swish piece of dance floor dynamite. Its slick drums, staccato piano and neck snapping claps underscore Dayo’s buoyant vocals. It’s essentially “Bounce, Rock, Skate, Roll Part II”.

The flip begins with “Party On The Corner”. Smoother than silk vocals, day-glo synths, a bubbling bassline and guitar licks that surely received the Prince seal of approval. It’s another example of how Vaughan Mason and Butch Dayo flirt with perfection so routinely. The most majestic closer, the kaleidoscopic, cow-bell-assisted synth-funk heater “You Can Do It” is a proto-rap groover that truly smokes.

This prized LP is a stone cold jam and finding original copies on vinyl at affordable prices has been tough for years. Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, this fresh Be With reissue ensures this legendary LP now sounds, looks and feels as sensational as it should.

Alpha’s Trip continues its vinyl journey with the Day Tripper EP from French producer - Framboisier. The title track sets the tone with rolling rhythms, E-MU basslines, and subtle UK garage inflections, while ‘Body Double’ leans into deeper territory through understated grooves. ‘Kessel Drive’ pushes forward with late-night energy, blending progressive and tech house influences into a stripped-back but effective club tool.

Throughout the EP, nostalgic vocal fragments and warm pads meet punchy low-end pressure, creating a sound that feels both timeless and contemporary. Designed for intimate dancefloors and peak-time moments alike, Day Tripper showcases Framboisier’s ability to fuse character and functionality. Closing the release, Alpha’s Trip founder A for Alpha delivers an exclusive remix, reshaping the original around a driving, seductive bassline and her signature atmospheric pads, while maintaining the groove-focused energy that runs throughout the EP. A versatile package that moves effortlessly between warm-up sets, intimate dancefloors, and late night moments, Day Tripper is a record built for selectors who value depth, movement, and timeless house music.

Jay Lumen is back on the label with his brand new pumpy and fat floor filler EP. His massive bassline section and 303 elements perfectly complement the pulsating rhythm of the "Bounce" track.
While "Metro" is a good proof of Jay's melodic bassy side. The roots of the track are the old school techno and hardgroove elements in his own recreation with some trippy melodies.
Last but not least, the "I have the beat" track is a power house masterpiece with the perfect balance of the groovy bassline and the dusty stab sections. Mind your Footwork! :)

Mit FATHERS präsentiert sich ein außergewöhnliches neues Kollektiv aus Produzent Kenny Beats, Keyboarder Kiefer, Bassist CARRTOONS und Drummer Nate Smith. Auf ihrem selbstbetitelten Blue-NoteDebüt verbinden sie die Offenheit des Jazz mit Hip-Hop, Funk, Soul und elektronischen Einflüssen zu einem
ebenso virtuosen wie zugänglichen Sound. Entstanden aus einer Zusammenarbeit beim Montreal Jazz Festival 2023 und weiterentwickelt auf gemeinsamen Tourneen durch die USA und Japan, lebt FATHERS
von der kreativen Chemie seiner Mitglieder. Das Ergebnis sind acht Songs voller präziser Grooves, starker
Melodien und geschmackvoller Arrangements, die musikalische Raffnesse mit unmittelbarer Zugänglichkeit
verbinden.

Since launching two years ago, Craig White has used the Mister Bear label as a vehicle for quality, musically expansive deep house from a handful of established artists. Chief among these is Chicago great Vick Lavender, who here once more joins forces with trusted multi-instrumentalist Justin Dillard (and on side B, Will Jackson) for a pair of cuts fronted by honeyed vocalist Brian 'Smokey' Williams. A-side 'Experimental' is particularly special, with Williams seemingly improvising atop a chunky, bass-heavy organic house groove marked out by funky Clavinet licks, Ron Trent style percussion, spacey synths and rich organ chords. The collective goes deeper, smoother and even more intricate on flip-side 'Love Times', which is presented in both full vocal and instrumental forms.